In this paper we describe the development of Six-Forty by Four-Eighty: an art and design installation composed of 220 interactive lighting tiles. We discuss previous work that addresses the physicality of computation, our design and fabrication processes, technical implementation, the development of a novel technique for data transmission through the body, the piece's exhibition context and public response. By describing the interrelationship between these elements we hope to shed light into the forging of a post-industrial design practice that straddles the art, design and technology trichotomy.

In this paper we present g-stalt, a gestural interface for interacting with video.g-stalt is built upon the g-speak spatial operating environment (SOE) from Oblong Industries.The version of g-stalt presented here is realized as a three-dimensional graphical space filled with over 60 cartoons.These cartoons can be viewed and rearranged along with their metadata using a specialized gesture set.gstalt is designed to be chirocentric, spatiotemporal, and telekinetic.

We are in the midst of an explosion of emerging human-computer interaction techniques that redefine our understanding of both computers and interaction. We propose the notion of Reality-Based Interaction (RBI) as a unifying concept that ties together a large subset of these emerging interaction styles. Based on this concept of RBI, we provide a framework that can be used to understand, compare, and relate current paths of recent HCI research as well as to analyze specific interaction designs. We believe that viewing interaction through the lens of RBI provides insights for design and uncovers gaps or opportunities for future research.

This paper explores situations in which interfaces may be improved or simplified by switching feedback modalities. Due to availability of and familiarity with audio/visual technologies, many interfaces provide feedback via audio/visual pathways when a haptic pathway would best serve. The authors present a series of interface designs in which simple and inexpensive choices allow for reduction of cognitive complexity by allowing mental simplicity rather than technological familiarity to dictate design of information transmission.

In this paper we present SpeakCup, a simple tangible interface that uses shape change to convey meaning in its interaction design. SpeakCup is a voice recorder in the form of a soft silicone disk with embedded sensors and actuators. Advances in sensor technology and material science have provided new ways for users to interact with computational devices. Rather than issuing commands to a system via abstract and multi-purpose buttons the door is open for more nuanced and application-specific approaches. Here we explore the coupling of shape and action in an interface designed for simplicity while discussing some questions that we have encountered along the way.

Attaining simplicity is a key challenge in interaction design. Our approach relies on a minimalist design exercise to explore the communication capacity for interaction components. This approach results in expressive design solutions, useful perspectives of interaction design and new interaction techniques. Author Keywords Interface design, expressiveness, simplicity, usability

In this paper we introduce the Tangible Video Editor (TVE), a multi-user, tangible interface for sequencing digital video. We present a new approach to tabletop interaction by using multiple handheld computers embedded in plastic tokens. Drawing from the rich physical experience of tradition film editing techniques we designed the TVE to engage multiple users in a collaborative process and encourage the exploration of narrative ideas. We used active tokens to provide a malleable interface, enabling users to organize the interface components in unspecified ways. Our implementation improves upon common projection-based tabletop interfaces in a number of ways including a design for use beyond dedicated two dimensional spaces and a naturally scaling screen resolution.