EN ALGÚN LUGAR DEBE HABER UN BASURAL DONDE ESTÁN AMONTONADAS LAS MEMORIAS

What would happen if one day the disused mobiles began to tell their stories and those of their ex-owners? Would we feel sad about the stories of their abandonments? Could we empathize with them if see the traces of the use they once had? Or would they make us feel insecure about the information they contain?

Starting from these questions, the project is an exercise of speculative fiction aimed at reflecting on the relationship between programmed obsolescence, the personal memories contained by our devices and the relationships we establish with them.

The project is formalized as a large-format multimedia installation that shows a table entirely covered by unused mobiles. Through 3 headphones, the public can listen to the life stories of 6 mobiles.

Each story tells the life of one of the abandoned mobile phones, mixing their feelings, their memories and the personal data of their ex-owners. In this way, playing with the ambiguity between the human and the non-human, the anthropomorphization of technology and personal narratives, the project aims to generate a critical and playful space in which to experience technological empathy as a model for reflection on sustainability

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Digital Puppetry – Centre Obert Torre Baró

During October and November 2017, we (me, Marie-Monique Schaper and Cristina Valero) worked with the “Centre Obert de Torre Baró” (Barcelona) in a project aimed at co-creating a series of fictional narratives using digital puppetry with the children of the centre

During the workshop, the children created 3 site-specific stories for their favourite places of the neighbourhood. Here, the story of It the clown trying to destroy the Font Maragall:

The project counted with the collaboration of the Centre Obert Torre Baró and the Ateneu de Fabricación Ciutat Meridiana

Interactive and Augmented Reality Narratives

Together with Marie Monique Schaper, we designed and facilitated the workshop “Augmented and Mixed Reality Narratives” for girls between 8 and 11 years old, as part of the #Girlstech Summer Camp.

The #Girlstech Summer Camp was co-organized by the American Space Barcelona and the Department of Information and Communication Technologies Engineering (ETIC) of Universitat Pompeu Fabra to support young girls’ interest in digital technology.

In the workshop, the participating girls were creating interactive, augmented and mixed reality narratives using different technologies such as Augment, Photoshop and Scratch.

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Co-creating digital toys

Together with Marie Monique Schaper, we designed and facilitated the workshop “Co-creating digital toys” for girls between 8 and 11 years old. Co-creating digital toys is a digital fabrication workshop that forms part of the #Girlstech Summer Camp, co-organized by the American Space Barcelona and the Department of Information and Communication Technologies Engineering (ETIC) of Universitat Pompeu Fabra.

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The workshop is oriented toward support young girls’ interest in digital technology. To this end, the participating girls were invited to design, program and build their own digital toys using a wide range of technologies such as 3D printing. Makey-Makey and Scratch.

Lo urbano invisible

In collaboration with Marie Monique Schaper, we were selected for the grant Art al Barri for the project “Lo urbano invisible” funded by Centro Cívic Sant Jordi-Ribera Baixa and the City Council of El Prat de Llobregat.

With the project “Lo urbano invisible” we aimed at generating new ways of expressing the identity of the neighborhood, using participatory research and co-creating cartography in different formats. The project focused on searching and making visible those invisible and intangible elements that constitute and build the identity of the neighborhood beyond its urban and architectural structure. To this end the project focused on three main axes: 1) the neighborhood and the emotions; 2) the neighborhood and memories; 3) the neighborhood and the wishes.

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During the project, we worked with the neighborhood association, a local primary school and a residency for the elderly. Their contributions were summarized in a final exhibit at the Centro Cívic Sant Jordi-Ribera Baixa and in an augmented guided tour in the neighborhood.

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For more information, visit: https://urbanoinvisible.wordpress.com

Yachay wasi

Yachay wasi is a project with Escuelab Lima (Peru) and Grisart (Peru) as part of the EU project ‘LAIC – Culture and Arts Supporting Social Cohesion in Latin American Cities’, developed by Interarts and BOZAR and funded by DG DEVCO of the European Commission.

The project was developed in Medellin during November 2016 and was presented at BOZAR (Bruxels) in the exhibition “Latin American Cartographies – Art, Social Cohesion and Urban Landscapes”.

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The project is an artistic research to investigate the paradox between the supposed connectivity of the online world and the disconnection from our physical and social environment. To this end, we focused on exploring urban learnings, those that are constructed and unfold in the knowledge of the streets.

We interviewed people in the streets of Medellin and Lima to explore the city as a non-formal, non-regulated learning space where what is learned arises from experiences, emotions, observation,  sensoriality, meaningfulness, empathy, socialization, sight, hearing and confusion. We explored forms of non-legitimized knowledge, spaces for defining identities, socializing values, strategies, tactics and ways of being. We explored these spaces to re-focus our perception of the here and now.To learn other ways to observe, listen, move and feel. To unlearn and re-learn perception. To re-connect with the emotions, the senses, the others and the meaningful.

The results is a sum of voices, images and movement. A listening station of testimonies about learning in the street in Lima and Medellín. And one question: what are the qualities of an urban space to become a “playground” where we can learn other ways of observing, listening and moving (where to connect with the here and now)?

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El camino bordado a mis pies

In collaboration with Cora Bellotto, supported by LaNauCoclea

According to Chinese tradition the person who carries embroidered insoles in the shoes will have good luck along the way his/her life. These small and intimate objects, hidden between the plant of the foot and the earth, relate the caring of who embroidered them for the other. Each of its points reveals the feelings of the authors who, from afar, protect the trip of the walker.

The project “El camino bordado a mis pies” took place during the GrandTour , a collective hiking trip that crosses the borders between France and Spain. During the hiking we involved the participating walkers in collecting natural elements and use them to make a prototype of an insole, which would depict their subjective experience of the walking. At the arrival in the French village of Saint Laurent de Cerdans, we contacted with the local association of embroiderers and presented our prototypes.
By collecting, mixing and reinterpreting our prototypes, the embroiderers create two insoles, which were the sum of our journeys and our encounter.

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TVLAB: Experimental television for children

TVLAB is an experimental television laboratory oriented toward education innovation in schools. The project is promoted by Laboral Centro de Arte y Creación Industrial and funded by Gobierno del Principado de Asturias y Ministerio de Educación Cultura y Deporte.
TVLAB forms parts of a bigger educational project oriented toward innovating educational practices in schools in Asturias.
The project is mainly devoted toward training teachers in Project-Based learning and skills-based curricula. This training takes place through an experiential process where schools are involved in one-year project in which children produce their own audiovisual products. Schools came to the TVLAB for a total of 10 sessions (4 hours each) during the overall years. During this process. the children have to choose a topic or theme of their interest and work on it in a transdisciplinar and collaborative way. During the year, the children work in researching, formalizing and producing different format of audiovisual material such as tv shows, fictional stories or documentaries based on their own interests and concerns.

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The TVLAB is set-up as a television set that affords and needs coordination, collaboration and shared attention to work. During the last year, some relevant projects addressed the need for structural improvements in the schools and the creation of a fictional story on the values of elderly and the values of childhood.
For more information about the project, look at: http://tvlab.laboralcentrodearte.org/
If you want to see the videos produced by the children: https://vimeo.com/user39653974

The World-as-Support: exploring AR/MR technologies

Defining the project

Context: the project was oriented toward exploring the affordances of novel technological solutions for Augmented/Mixed Reality system. The project form part of the methodological research “Evaluation-Driven Design” , funded by Ministerio de Economia y Competividad and was developed at Universitat Pompeu Fabra

My role

In this research project I’ve been in charge of designing and carrying out the study, analyzing data and writing related reports

The research framework

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The most widespread technological configurations for Augmented/Mixed Reality systems are based on smartphones and tablet devices and on the interaction paradigm known as Window-on-the-World (WoW). This paradigm provides the user with augmented information on the surrounding physical space by using the device’s screen to merge digital contents with the user’s view of the physical surroundings.

In contrast to this approach, we identify a novel and emerging conceptual paradigm to design ARMR applications for mobile technologies: the World-as-Support (WaS) interaction paradigm. This paradigm is based on projective augmented reality configurations which allow the users to augment the physical surroundings by intelligently projecting the digital information on the physical world.

In order to understand the potential of these paradigms we compare their usage in an ARMR application aimed at supporting the collaborative improvisation of site-specific narratives by children.fig1ok

Comparing the Window-on-the-World and the  World-as-Support interaction paradigm

experiment

 

Research goals: Explore the affordances that the two paradigms offer in terms of usage of the space and social interaction

Apparatus:

For the study we employed the “EspaiStory” application and tested under two conditions:

  1. Window-on-the-World (WoW): Based on an Android tablet, the system provided a view of the physical environment through the tablet screen as a live feed from the camera of the tablet. The contents created by the children were displayed on the tablet screen as an additional layer
  2. World-as-Support (WaS): Based on the combination of an Android tablet and a Philips PicoPix PPX3414 pico-projector bundled in a box and case. The system allowed children to carry around the device and project their own contents directly on the physical environment.

Participants: 35 children (8-9 years old)

Procedure: Children created their own character and subsequently the explored the school telling the story of the character

Data analysis: : To analyze children interaction with the device we employed a multimodal analytical approach focusing on the following resources paths of exploration of the space, interaction with the device, gaze directionality, gestures, group disposition, verbal utterances. From these data we modeled different perfiles related to the ways of using the space and the ways of interacting with others

Results

Usage of the space

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Modeling the ways of using the space

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Using the space: Comparing the two conditions

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Interacting with others

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Modeling ways of interacting with others

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Interacting with others: Comparing the two conditions

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Lessons learned

  • The two interfaces strongly shaped social relationship
  • The two interfaces promoted different ways of inhabiting and making sense of the physical/digital environment

Espaistory: defining design requirements for site-specific story-authoring tool

“Espaistory” is an application aimed at supporting the collaborative authoring of site-specific narratives by children. The application has two main goals. On the one hand, it aims at scaffolding children’s interest and awareness toward their social and physical environment. On the other hand, the application aims at facilitating conditions for collaboration and co-creation of content. The application can be used to create fictional narratives or to work on content knowledge related to specific places (e.g. historical sites, their neighborhood, etc.).

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My role

This project is currently being developed at Universitat Pompeu Fabra. In the project I’ve been in charge of researching, defining design requirements, working with users and coordinating the design and research team

Defining the project

Context: the project form part of the methodological research “Evaluation-Driven Design” , funded by Ministerio de Economia y Competividad

Goals:

  • enable children’s collaborative site-specific content creation
  • support coordination and collaboration
  • support embodied improvisation in storytelling

Target users: 7-10 years old children

 

Challenges

  • Develop a novel Augmented/Mixed Reality solution
  • Allow children to explore and create meaning of their social and physical environement

The initial research: combining theory, ethnography and Enactment workshops

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Theory

  • Review of traditional approaches to support storytelling
  • Review of related works

Ethnography

20160511_104657-880x440Ethnographical analysis of children activities related to creating audiovisual stories

Context: 8 days, 4 schools (8 hours per school), 60 children

Method: field notes

Findings

The importance of choosing
  • allow children to choose between different sources (e.g. images for the background / characters / music..)
The importance of creating
  • allow children to design their project (plan & create their narrative)
  • offer prompts to stimulate creative process
Balance planning and improvising
  • offer instances  for brainstorming and planning
  • allow space for improvisation
  • show to children the potential of the system so they can think about “suitable ideas”
  • allow them to repeat
the human-machine choreography as a way of working on collaboration
  • assign children to different roles
  • each role should be relevant for the final outcomes
  • the different roles need to properly coordinate between themselves in order to have everything working
  • do not centralize coordination
the shared perspective
  • the space should be shaped in a way that all children need to be able to see what the others are doing and  what they are creating
the value of self-evaluation
  • record their creation to allow them reflect upon it

Enactment workshop

Using embodied empathy understand user experience

Method:

  • Researchers enact  what children will do during the experience
  • After that researchers discuss around relevant design questions to postulate design hypothesis

Defining requirements

Content Creation User Experience Interface
  • Wide wall: Afford different possible paths to support storytelling and content creation and enable children to get involved at different level of content creation
  • Modulating guidance : offer prompts to stimulate creative process
  • Offer instance for brainstorming and planning
  • Allow space for improvisation
  • Show to children the potential of the system
  • Low floor / High Ceiling: easy to start with; allow for “expert” usage
  • Afford space/time for reflection/observation
  • Afford collaboration and social learning
  • Assign children to different roles
  • The space should be shaped in a way that all children need to be able to see well what the others are doing; what they are creating
  • Record their creation to allow them reflect upon it

 

The initial prototype

The design is currently underdevelopment. For the initial prototype we designed a hardware solution based combination of an Android tablet and a Philips PicoPix PPX3414 pico-projector bundled in a box and case. At the same time we developed an initial Android application to facilitate content creation.

In this initial prototype, children could create their own contents (drawings or pictures) and display them in the physical environment. The system allowed children to carry around the device and project their own contents directly on the physical environment.child_miniprojector

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Evaluation methods: Combining multimodal analysis and user-as-informants

This methodological approach combines the analysis of children’s in situ interaction with the system and their retrospective reflections on the experience. To evaluate these aspects, we employ the observation, analysis, integration and interpretation of a wide range of multimodal resources. At a procedural level, this approach is based on having children interacting with the system and subsequently involve them in posterior redesign activities. Methodologically, data proceeding from in situ interaction and from the redesign activities are analyzed employing multimodal analysis. This approach showed to be effective in encompassing the experiential learning cycle of getting engaged with an experience, experimenting with it and transforming it into an object of knowledge (Kolb et al., 2001).

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Related Publications:

Malinverni, L., Mora-Guiard, J., & Pares, N. (2016). Towards methods for evaluating and communicating participatory design: A multimodal approach. International Journal of Human-Computer Studies.

Evaluation methods: Multimodal analysis

Multimodality is an interdisciplinary approach, derived from socio-semiotics and aimed at analyzing communication and situated interaction from a perspective that encompasses the different resources that people use to construct meaning. At a methodological level, multimodal analysis provides “concepts, methods and a framework for the collection and analysis of visual, aural, embodied and spatial aspects of interaction and environments” (Jewitt, 2013).

For understanding embodied meaning-making in Full-Body Interactions Learning Environments, we employed this methodological approach to analyze users’ in situ interaction with the system. Specifically, we focused on analyzing both the affordances offered by the system (e.g. its physical configuration, the available physical/digital objects, etc.) as well as the embodied forms of interacting with it (e.g. the paths that users follow to explore the environment, the variations and repetitions in their sensorimotor enactments, their usage of the available physical/digital elements, their focus of attention and their reciprocal proxemics and social relations). This analysis, by fully acknowledging and taking into account embodiment, constituted an appropriate and consistent research method to better understand meaning construction and learning in this kind of environments. At the same time, it provided relevant insights to guide Design-Based research processes and defining design improvements.

In the pictures, two examples of different techniques for the graphical transcriptions for multimodal analysis.

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Evaluation methods: Redesign as an evaluation technique

Redesign is an evaluation techniques oriented toward grasp children’s retrospective understanding of an experience. After playing with an interactive experience, children are involved as critics to discuss on it and are required to propose design improvements and refinements. For this purpose, different PD techniques are employed. The use of critique and Redesign showed to be quite effective to grasp children’s understandings and to complement our observations of in situ interaction.

Participatory Design: Intuitive actions

The Intuitive Actions Elicitation technique is based on requiring participants to invent and perform physical actions related to specific activities during the interactive experience, using a mid-tech Wizard of Oz prototype of a Full-Body Interaction Learning Environment.

This technique allows the design team to analyze how children intuitively interacted without the influence of external mediation or requests. Furthermore, it facilitates observations related to the affordances of the spatial configuration of the environment, i.e. which sensorimotor experience the interface of virtual environment evoked. We conclude that this design technique is particularly useful to confirm and refine initial ideas for physical actions by comparing the designers’ proposals with children’s intuitive interaction in an existing prototype.

 

Related Publications:

Malinverni, L., Schaper, M.-M.,  and Pares, N. (2016). An evaluation-driven design approach to develop learning environments based on full-body interaction. Educational Technology Research and Development. DOI=http://dx.doi:10.1007/s11423-016-9468-z

Participatory Design: Transmodal translation

The transmodal translation, is an elicitation techniques that requires participants to translate the same idea across different modal resources (e.g. drawing, writing, enactment, etc.). Children are, therefore, provided with different tasks (e.g. make a drawing or a video report) to describe their experience with the interactive system.

Its application allows tapping into different shades of children understandings around the experience. Even if future research on this technique is still needed, we suggest that this approach can be particularly suitable to gather requirements when working with an early prototype of the system since it offers relevant contributions to delve into the different shades of children’s understanding of a phenomenon.

Participatory Design: the Pictionary activity

The Pictionary techniques is an elicitation method to evaluate which concepts children are familiar with and explore their embodied representations of those specific concepts. We suggest its usage in the initial stage of the design process, by involving children as co-designers to properly frame the experience.

The technique is based on using the mechanics of the board game Pictionary and using terms related to the addressed learning goals. Specifically, one child per time is asked to randomly pick-up one of the terms and to represent it through drawings on a whiteboard. The other children have one minute to guess it. In our studies, this technique showed to offer relevant affordances to grasp children’s representations across different modes. Furthermore, it showed to be particularly effective when associated with a careful analysis of the specific formal features of their drawings and their embodiment during the task (e.g. gestures, facial expression). The playful nature of the activity makes it engaging for children and its time-based structure avoids that they focusing too much on surface details. As a consequence, we suggest that this technique may represent a useful tool to grasp children’s conceptions around a specific topic in a playful and “quick-and-dirty” way.

Between Bodies: comparing embodied interfaces

BetweenBodies is Full-Body Interaction environment aimed at supporting the collaborative creation of drawings and to serve as a starting point for guiding children’s reflection on group dynamics and discrimination.  

My role

I led the design of the BetweenBodies project as part of my PhD in the Full-Body Interaction Lab of University Pompeu Fabra. In this project I’ve been in charge of conducting interviews with experts, designing and carry out Participatory Design workshops with children, defining design requirements, analyzing and interpreting quantitative and qualitative data. The project has been realized in collaboration with Gustavo Hitscherich and Marie Monique Schaper.

The challenges

Collaboration and group dynamics are important learning goals during childhood. In this project we aimed at developing a playful application that can serve as as a starting point for guiding children’s reflection on group dynamics and discrimination.  Its development should be based on making a meaningful use of embodied resources through the use of Full-Body Interaction interfaces.

The design process

The design process was structured in three stages:

  • An ideation stage aimed at eliciting and integrating requirements from experts and children
  • A preliminary evaluation stage where we tested the first prototype and compared its usage with the two different interfaces (Vertical Screen and Floor Projection).
  • The  definition of design refinements

 

The ideation stage

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Elicitation of requirements from experts Children as partners in the design ideation stage
Goal: Delineate learning goals  Goal:  Analyze how children understand and live discrimination and groups’ dynamics.
Method: Semi-structured interviews with experts  Method: Participatory design workshop, employing methods based on the Pictionary Activity and on Game Design activities.
Outcomes:

  • the need of addressing aspects related to in-group or out-group perceptions (e.g. social identity and categorization of the others)
  • the need of  not speaking directly about cultural difference
 

Outcomes: The workshop allowed spotting out some relevant insights to guide the design of the experience. Specifically:

  • The role of emotional facial and bodily expressions as a mediator of meaning construction
  • The role of physical proximity to express similarity and difference
  • The gesture of Pointing as discriminating
  • The role of touch and physical contact as an embodied metaphor for collaboration
The initial prototype

From participation to design concepts

We decided to work with the following design concepts:

  • identity / categories
  • proximity
  • approach movement
  • synchrony

Furthermore, we decided to evaluate the suitability of two different Full-Body Interaction interfaces (Vertical Screen and Floor Projection).

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The prototype

We developed an initial application was based on a back-story that describes the world of “Pimpis”, the inhabitants of a faraway planet. The children had to help the characters to rebuild their planet by freely drawing a novel environment. Children are presented an almost empty scenario, where only four characters of different colors were present. Each child can control one character by using a small hand-held lantern.To be able to draw, two children needed to bring their characters close to one another. When the two characters were sufficiently close to each other, a drawing line appeared. If the children now jointly moved through the space and maintained the physical contact between their characters, the drawing line followed their paths and they could draw whatever they wanted.

The preliminary evaluation

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Goals:

  • comparing the two interfaces (Vertical Screen and Floor Projection)
  • identifying design refinements

Methods:

  • Questionnaires for assessing social perception
  • The analysis of children’s in situ interaction with the two systems according to a multimodal approach
  • The analysis of the outcomes of a Redesign workshop after the play experience.

 

Outcomes

Questionnaires Multimodal analysis
Results showed that children assigned to the Floor Projection condition (Mdn =10.9) rated collaboration significantly higher than children assigned to the Vertical Screen condition (Mdn =4), U = 76.50, p < 0.001. The analysis of the multiple embodied resources showed that:

  • In the Floor Projection, the children tended to experiment more with their bodies than in the Vertical Screen.
  • In the Floor Projection, the children explored the overall projected space. Instead, in the VS, the children tended to explore mainly the area where they were standing and most of them did not change their initial position in front of the screen.
  • In the Floor Projection, the children displayed a higher variability in the selection of the play partner, while in the VS the children mainly interacted with the partner who was standing beside them
  • In the Floor Projection, the children performed more complex synchronized behaviors.

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Design refinements
  • The Floor Projection may represent a more appropriate interface to promote collaboration, negotiation of the tasks and discussion on group behavior.
  • Need for a critical reflection on the consistency between the proposed sensorimotor experience and the task of drawing
  • Need of creating a stronger boundary between the visual output and the narrative of the game.

A final version of the system is currently under development

Lessons Learned

  • importance of moving evaluation of comparative studies beyond verbal reports
  • need for a proper understanding of spatial and material affordances

Pico’s Adventure: A Kinect Game to Promote Social Initiation in Children with Autism Spectrum Condition

 

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Pico’s Adventure is a Kinect game for children with autistic spectrum disorder, aimed at promoting social initiation. The project was part of the European Project “M4all: motion- based adaptable playful learning experiences for children with motor and intellectual disabilities” and developed in the collaboration between the Universitat Pompeu Fabra and the Specialized Unit on Developmental Disorders of the Hospital Sant Joan de Déu.

My role

During my Phd  I have been working in the design and evaluation of the game “Pico’s Adventure” . Specifically, I focused in the requirements elicitation, participatory design, evaluation and reporting.

Defining the project

schermata-2016-10-17-alle-19-47-31Context: European Project “M4all: motion- based adaptable playful learning experiences for children with motor and intellectual disabilities”

Goal: Develop  a Kinect-based game for children with Autistic Spectrum Condition aimed toward promoting social initiation, understood as the promotion of behaviors such as approaching and looking for others, trying to start social communication and producing any verbal or gestural behavior for communicative goals.

Target users: 4-6 children with Autistic Spectrum Condition

The concept:  THE GAME AS A MEDIATOR OF SOCIAL COMMUNICATION = Design situations that:

  •  Are valuable for the children to communicate about them
  • Integrate therapeutic techniques used to facilitate social initiation
  • Require the child to look for external collaboration

Challenges

  • Make an experience that is relevant for children and effective in terms of therapeutic goals
  • Orchestrate requirements from therapists and children’s interests
  • Test the therapeutic effectiveness of the developed game

The Design Approach

  • Elicit and combine requirements from therapists and children

Approach: Narrative- based elicitation to combine narrative structure and therapeutic techniques

Method: Participatory Design with Children and Focus Groups with therapists

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  • Iterative Design and Evaluation : field notes, video analysis, questionnaire for stakeholders feedbacks

The Game

During the game, the children will be introduced to a fantasy world inhabited by a friendly mascot (the virtual agent), named “Pico”, who will accompany them in the journey toward social initiation. Children – either alone or in collaboration with adults and peers – will have to help the mascot, an amicable alien, who landed on our planet Earth after having some problems with its spaceship. Children will have to help it in overcome different missions, each one designed to address a targeted behavior related with social initiation. Within that, major emphasis will be posed on designing game situations that require the child to seek for the collaboration either of an adult or a peer.

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The evaluation

The game has been evaluated in two stages: a first exploratory stage aimed at evaluating its acceptance by the child, and a second experimental study oriented at assessing the effectiveness of the game in trigger target behaviors related with social initiation.

Experimental study

schermata-2016-10-17-alle-21-38-09Population: The study  involved 15 boys with ASD between 4 and 5 years old.

Goals: In the study we compare social interaction between free-plays activities and games activity

Methods: For the analysis we employed systematic video-coding by focusing specifically on: Social requests, Social initiation, Responses, Gestures

 

Results

schermata-2016-10-17-alle-20-41-27Results show a significant increase of social initiation behaviors in 1st and 4th game sessions compared to free play (p< 0.05)

 

 

 

 

Lessons Learned

  • The use of narrative resources showed to be an effective mediator between different disciplines, framework and generations.
  • We develop a set of effective participatory design methods for populations with special needs
  • Effectiveness of immersive, bodily-based interaction to support social initiation and collaborative behaviors

Related publications

Malinverni, L., Mora-Guiard, J., Padillo, V., Valero, L., Hervás, A., & Pares, N. (2016). An inclusive design approach for developing video games for children with Autism Spectrum Disorder. Computers in Human Behavior.

Malinverni, L., MoraGuiard, J., Padillo, V., Mairena, M., Hervás, A., & Pares, N. (2014, June). Participatory design strategies to enhance the creative contribution of children with special needs. In Proceedings of the 2014 conference on Interaction design and children (pp. 85-94). ACM.

Mora-Guiard, J., Malinverni, L., Pares, N., (2014) Narrative-Based Elicitation: Orchestrating Contributions from Experts and Children, in CHI ’14 Extended Abstracts Proceedings of ACM SIGCHI Conference on Human Factors in Computing Systems, Toronto, Canada

THE GAME “PICO’S ADVENTURE”  IS AVAILABLE FOR DOWNLOADING FOR WINDOWS 7 or WINDOWS 8 in the following webpage: http://m4all.widetesting.info/