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Un autre mode de production de prototype s'est fait à la Game Jam organisée par le Fab Lab de la Cité des Sciences en Octobre 2016.

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Tandis que nous gardions en mémoire la première version des ateliers qui avait donné lieu à des prototypes plutôt extraordinaires en un seule semaine de travail, nous avons souhaité reproduire l'expérience de collaboration entre l'IRCAM (ISMM) et l'ENSCI-Les Ateliers en avril 2018.

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Sandrine Maximilien, alors conseiller scientifique de l'ambassade de France à Bombay nous a invités à donner un atelier à Ubisoft Pune.

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Anne & Hortense - encadrantes Little Heart Movement

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Frédéric, Benjamin & Joseph - encadrants de l'IRCAM

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Je tiens à remercier sincèrement Jan Schacher et Hortense Kack, sans qui les ateliers de Puna puis les seconds ateliers de l'ENSCI n'auraient donné lieu aux développements futurs (notamment au projet des_gestes_augmentés, soutenu par ARCADI en 2018).

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L'ensemble du dispositif technologique utilisé pour toute cette série d'ateliers sur le mouvement a été conçu et réalisé par l'équipe ISMM de l'IRCAM avec Norbert Schnell et Frédéric Bevilacqua.

Jean-François Jégo et Joseph Larralde nous ont accompagné en Inde.

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S'émanciper des écrans tout en proposant des jeux inédits. C'était l'objectif de la gamejam "smartphones et mouvements" organisée au fablab de la Cité des sciences du 21 au 23 octobre, sous la houlette du Gamelab du CRI.

Une gamejam qui swingue... Vu le programme (" smartphones et mouvements "), vu le casting (le gamelab du CRI Paris, l'association Gamelier, l' Ircam, l'Ensci-Les Ateliers et le fablab Carrefour numérique), le week-end allait être ludique et forcément inédit. L'objectif annoncé : " Créer des jeux collectifs poétiques alliant mouvement, son et musique. " Quelque trente participants se sont retrouvés vendredi 21 octobre au soir, à la Cité des sciences, dans une salle attenante au fablab Carrefour numérique, pour entamer cet atelier de prototypage partagé. Tenues confortables de rigueur pour bouger, avait prévenu Alexandre Vaugoux, maître de cérémonie et gamelab manager.

Frédéric Bevilacqua, à la tête de l'équipe de recherche Interaction Son Musique Mouvement à l'Ircam, présente le capteur de mouvement R-IoT. © Nicolas Barrial

En introduction, Norbert Schnell et Frédéric Bevilacqua, chercheurs à l'Ircam, Joël Chevrier, enseignant au CRI et à l'Ensci, ont présenté des expériences explorant la relation entre corps, média et espace réalisées à l'Ensci et dans le cadre du projet Cosima (Collaborative Situated Media). L'anthropologue Anne Dubos et la danseuse Hortense Kack ont évoqué des recherches sur le mouvement, du théâtre indien aux... gestes déposés par les fabricants de smartphones.

Le mouvement dans la danse selon Anne Dubos, anthropologue. © Nicolas Barrial

A disposition des participants, outre le fablab Carrefour numérique, une palette d'outils logiciels ( prototypes d'applications, bibliothèques d'interfaces, le socle d'applications Soundworks, dédié aux expériences musicales avec smartphones), et, côté hardware, les cartes à capteurs de mouvement R-IoT de l'Ircam, un kit de bio-capteurs ainsi que le contrôleur capteur Movuino et sa plateforme, développés par Kevin Lhoste (CRI).

Hortense Kack chorégraphie les gestes du smartphone

Cache-cache sonore, orchestre de battements de cœur...

Après conciliabules, les game jammers ont présenté pléthore d'idées de jeu : un art martial pour taire les sons dissonants de l'adversaire, un jeu de cache-cache sonore, un Street Fighter dans la vraie vie, un orchestre basé sur les rythmes du cœur, un système de réalité virtuelle pour se voir à la troisième personne...

Les participants présentent leurs idées de jeu vendredi soir. © Nicolas Barrial

Samedi, six groupes se sont formés autour des projets retenus, comprenant designers, développeurs, danseurs, sound designers et même un fabmanager, Vivien Roussel de la Fabrique numérique de Gonnesse. Côté Carrefour numérique, Mike, graphiste, et Nicolas, 14 ans, modélisaient des totems sur le logiciel 3D Blender pour le jeu de cache-cache, qui s'était déjà transformé en rituel d'initiation tendance aztèque. Des raquettes de ping-pong étaient aussi à la découpe. Objectif : y insérer des capteurs.

Mike et Nicolas découvrent qu'après l'impression, tout reste à faire. © Nicolas Barrial

Raquettes augmentées, équipées du capteur de Kevin Lhoste. © Nicolas Barrial

" Communication des streams en peer to peer, binding VR intégré. " Alexandre Vaugoux a quitté sa casquette de MC pour travailler avec Jonathan Girou, programmeur, sur le projet de vision à la troisième personne à l'aide d'un casque de réalité virtuelle. Tout est sur Github. Plus qu'à le tester dans une gamejam dont la devise serait : " Qui ne sait pas sauter n'est pas développeur ! " Laurent Qui, compositeur à l'origine du projet de " cœur orchestre ", avait perdu son équipe de développeurs. A la rescousse, les codeurs de l'Ircam Joseph Larralde et Benjamin Matuszewski.

Pas facile de se repérer quand quelqu'un d'autre contrôle vos yeux. © Nicolas Barrial

La programmation du cœur orchestre développée grâce aux bio-capteurs Bitalino. © Nicolas Barrial

Quand on ne programme pas, on coud, avec le designer Rémi Bec. © Nicolas Barrial

Le menu gestuel du "Street Fighter" IRL avec Emmanuel Million, développeur. © Nicolas Barrial

La soirée démo de dimanche

Ceux qui n'avaient pas de programmeur de génie mais une bonne idée de gameplay, comme la chorégraphe Jeanne Bloch et le chercheur designer Rémi Bec, smartphones chevillés au corps, ont tout misé sur une performance échevelée dimanche soir, à l'heure de la restitution des projets. La démonstration finale était ouverte au public, qui s'est bien amusé à défaut de toujours comprendre ce qu'il regardait...

Rémi et Jeanne à la lutte pour éviter les fausses notes

Super Attack du Air Fighter d'Emmanuel, Clément et Jesse

Boîte à rythme cardiaque par François Rey, danseur

La raquette augmentée de Gaëtan Guironnet, prof d'EPS

Le projet d'Adrien, ingénieur... Pas tout compris, mais on aime quand même
La documentation des projets est en cours sur la plateforme Itch

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J'ai bougé à la gamejam du mouvement au Carrefour numérique

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Une gamejam qui swingue... Vu le programme (" smartphones et mouvements "), vu le casting (le gamelab du CRI Paris, l'association Gamelier, l' Ircam, l'Ensci-Les Ateliers et le fablab Carrefour numérique), le week-end allait être ludique et forcément inédit. L'objectif annoncé : " Créer des jeux collectifs poétiques alliant mouvement, son et musique.

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Ubisoft Pune

Kumar Cerebrum IT Park, B3-5th floor, Behind Gold Adlabs, Kalyaninagar, Pune - 411014, Maharashtra

Ubisoft Pune est l'un des studios de jeux vidéo les plus créatifs et les plus grands d'Inde. Fondé en 2008, il rassemble à ce jour plus de 1 200 talentueux collaborateurs. Notre effectif comme notre expertise ne cessent de croître. Au fil du temps, Ubisoft Pune est également devenu le deuxième plus grand service de contrôle qualité du groupe Ubisoft. Le studio intègre les dernières technologies et innovations pour améliorer la qualité de ses jeux. Les équipes QC travaillent en synergie et gèrent divers cycles de test : tests fonctionnels sur consoles et mobiles, compatibilité, conformité, etc. Le studio héberge aussi une équipe de production au complet, qui participe au codéveloppement de plusieurs titres AAA Ubisoft. Ubisoft Pune est fier de son effectif diversifié et résolu à enrichir le quotidien des joueurs.

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JavaScript has been disabled on your browser, please enable JS to make this app work. Kumar Cerebrum IT Park, B3-5th floor, Behind Gold Adlabs, Kalyaninagar, Pune - 411014, Maharashtra Ubisoft Pune est l'un des studios de jeux vidéo les plus créatifs et les plus grands d'Inde.

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Project at work

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Designing Gestures for Interactive Systems: Towards Multicultural Perspectives

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Designing Gestures for Interactive Systems: Towards Multicultural Perspectives

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Autors
Anne Dubos , Frédéric Bevilacqua , Joseph Larralde ,

Joël Chevrier , and Jean-François Jégo

Abstract
This practice-based workshop aims at exploring various method- ologies and tools to design gestures that could be used in interactive systems. We argue that gesture design, which can be seen as being a smaller part of the interaction design process, is generally overlooked. Our goals are to develop various methods, some being inspired by performing arts practices, and to discuss the multicultural aspects of gesture design.

Keywords: Gesture 􏰶 Design 􏰶 Multi-Modal interfaces 􏰶 International and cultural aspects of HCI 􏰶 Interactive systems

1 Context and Objectives
We address in this workshop the problem of designing gestures in interactive systems. Current multi-touch and motion sensing technologies allow for capturing a large scope of gestures and movements that can be used to interact expressively with various media. Yet, the common use of gestures remains limited to few well-known strokes such as wipes and pinches. The use of hand or body movements is even more rare, with the exception of some video-game systems using the Wii or the Kinect.

Several issues can be invoked to explain the difficulties to include rich and expressive gestural input in interactive systems. First, the choice of possible gestures is generally imposed by manufacturers that focus on easiness of use (and even patent them). Only few systems let users to propose their own movement vocabularies. Second, we argue that shared methodologies for designing and learning gestures and movement are generally lacking in the engineering fields.

Our aim is precisely to explore the questions of gesture and movement design in a participatory workshop. In particular, we wish to guide the discussion on differences in cultures and contexts, and how these elements might affect either positively or adversely the appropriation of shared gestural interaction paradigms.

2 Workshop Program
This one-day workshop is practice-based. After a short presentation of the different methods, the participants will be asked to collectively participate to the elaboration of gesture/movement vocabularies. The creation of the gestures will be guided using different methods and technologies, from the use of game-like scenarios to techno- logical tools such as interactive machine learning [1, 2]. Tools and methods are to be submitted by the participants before the workshop, documented by an extended abstract and video materials that will be made available.

3 Target Audience
The workshop is open to participants of diverse backgrounds, including engineering, human and social sciences, design and the performing arts. We will particularly encourage culture diversity and gender balance.

4 Expected Outcomes
The outcome of the collective experiments will be documented by video recording and collecting material such as sketching. The different artefacts produced will be made available on the website (http://gesturedesign.ircam.fr), and possibly displayed during the whole conference (with the consent of the participants). We believe that this workshop will trigger stimulating discussions and provide for the participants new design methods and tools. The gather material could be used for subsequent collective publications. Moreover, we ambition that this workshop will initiate a series of inter- national events and multicultural collaborations on this topic (including India).

5 Key Organisers
The organizers have recently led participatory design workshops, hackathons and gamejam. Anne Dubos is an anthropologist and a transmedia artist, with expertise on the gesture transmission in contemporary theatre in Kerala (South India). Frédéric Bevilacqua and Joseph Larralde are researchers on the development of gesture-based interactive systems and movement-sound interaction. Joël Chevrier is a physics pro- fessor currently developing new methodologies to introduce science and technology to broad audiences. Jean-François Jégo is an artist-researcher, expert on virtual reality & augmented reality.

Acknowledgements. We acknowledge from the Rapid-Mix project (H2020-ICT-2014-1 Pro- ject ID 644862).

References

1. Bevilacqua, F., Zamborlin, B.,Sypniewski, A., Schnell, N., Guédy, F., Rasamimanana, N.: Continuous realtime gesture following and recognition. In: Kopp, S., Wachsmuth, I. (Eds.) GW 2009. LNAI, Vol. 5934, pp. 73–84. Springer, Heidelberg (2010)

2. http://rapidmix.goldsmithsdigital.com/rapid-api/. Accessed 31 Jan 2017

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Gesture Design ITW - Varun Pimple - IIT Bombay

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Gesture Design - ITW Sneha Maji - IIT Bombay

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Gesture Design - ITW Manjunath Siddappa - IIT Bombay

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Gesture Design - ITW Manish Kori - IIT Bombay

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Gesture Design ITW - Sapna Nayak - IIT Bombay

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Gesture Design - ITW Charvi Upadhye - IIT Bombay

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Gesture Design - ITW Ewa Callahan - IIT Bombay

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Gesture Design - ITW Bhanu Sharma - IIT Bombay

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Avril 2016
ENSCI-Les Ateliers : Smart-Move

Octobre 2016
Game Jam de la Cité des Sciences, Paris La Villette

Septembre 2017
Interact India IIT Bombay
Maker's Asylum
Ubisoft, Puna

Avril 2018
ENSCI-Les Ateliers : Mobiles & movement

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Mobiles, Gestures and MovementsExploring collective interactions with smartphones

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Mobiles, Gestures and MovementsExploring collective interactions with smartphones

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Autors
Anne Dubos (Artist, Researcher), Benjamin Matuszewski (Researcher), Norbert Schnell (Professor), Joël Chevrier (Physics Professor), Frédéric Bevilacqua (Researcher).

Abstract
In this article, we report on a workshop we carried on with design students at ENSCI-Les Ateliers (The National School for Design and Industrial Creation in Paris) on the topic of “Mobiles, Gestures and Movement”. Our aim was to investigate and prototype novel uses for smartphones, considering their advanced motion sensing abilities. In particular, we explored how body-centered approaches could be applied to uncommon use cases of mobile technologies. Our contribution is based on collaborative knowledge and gesture design. What are the relationships between gestures, body movements and their engagement in collective games through the use of mobile technologies?

Introduction
The anthropology of gesture and the analysis of body techniques provide a strong basis for conceiving augmented gestures. But how to generate new kinds of collective knowledge augmented by technology? And how to innovate in smart device design?

Mark Weiser’s vision of ubiquitous computing, initially proposed in the 1990’s, seems to prevail nowadays with the widespread use of mobile computing and computer-mediated communication [1]. Nevertheless, the initially positive vision that “ubiquitous computing may mean the decline of the computer addict” is far from realized, considering our daily use of smartphones and our ensuing addictions to screens. Indeed, such technologies deeply impact our social behaviours and affect our perceptions in ways that none could have predicted more than twenty years ago.

Artists, philosophers, ethnographers and designers contributions, offer stimulating and critical perspectives on user choices [2, 3, 4]. The French artist Julien Prévieux for example, criticizes the fact that manufacturers impose gestures’ controls on mobile technologies. His artworks criticises the fact that major tech companies patent human gestures [2].

“What Shall We Do Next” asks very disturbing question of both authorship and identity of gestures.

A complementary perspective is proposed Nicolas Nova who describes the “curious” smartphone interaction gestures such as rituals [3].

The designer depicts the social impact of mobile technologies in everyday lives. Nova details his observation under sketches, titles and comments. Nova’s book portrays curious postures humans can take while using diverse technological apparatus (e.g. the baboon face, performed when once does not want to be heard ; the periscope, as the very iconic gesture of a whole generation using smartphones in concerts) and transcribes mordant criticism on our contemporary habits: “The Obsessive Checker: These digital obsessives have their cell screen within reaching distance at all times. They repeatedly lean their heads down, checking for signs of any potential updates such as SMS, emails, or any app notifications.”

As a group of researchers and artists, we do explore these questions through alternative design propositions for various uses of smartphones [5]. From connected objects to tangible interfaces, we do aim at enlarging the boundaries of current thinking about mobile computer technology [6]. This includes experimenting with embodied and collective interactions, as well as designing proposals for new gestures and body engagement in the manipulation of smart-objects [5, 6, 7, 8].

This research is inspired by works of several media artists who have ingeniously included various sensors and technology in their arts for a long time (the “9 evenings” in the 60’ constituting one of the foundational landmark). More specifically, several artistic works utilized mobiles phones, such as Levin with the “Dialtones - a telesymphony” as early as 2001, where mobiles were used as collective listening devices. Several other works for music- listening (including sound-walks) and music making have been proposed (see [11] for a review). We summarize below our complementary approach as following:

1. Mobile technology is a constraining apparatus
According to the philospher Giorgio Agamben’s definition: “I call apparatus anything that has, one way or another, the ability to capture, guide, determine, intercept, shape, control and ensure the actions, behaviours, the opinions and the speech of the living beings” [9], the apparatus describes a dominant strategic function, where the governmentality is run through the works of invisible engineering.

In return, our first observation is such: multi-touch interaction on screens is the dominant input modality of mobile technologies. While “mobility” is branded as a key feature of the communication technologies, the use of body movement remains underexplored. The so- called mobile technologies keep us moving only one or two fingers on our screens. Moreover, screens as the first interaction platform, keeps our eye-movement fixed on very small surfaces. The field of perception is therefore reduced to a minimal surface that progressively makes humans lose track of their perceptive environment [11,12,13].

2.Motion sensors of mobile devices are under-explored
Our second point addresses the current use of the available technology: all mobile devices embed motion-sensing capabilities such as accelerometers, gyroscopes, and compasses. Accelerometers are generally used for detecting device orientation. They can be used to sense micro-vibrations as well as large movements.

We believe that there is a large spectrum of novel uses that should be imagined, designed, and implemented. Therefore, our research tends to develop new sorts of applications that rely on proprioception [14, 15].

3. Mobiles should become an embodied part of our social
lives (no disintegrators)
Various case studies of our congregation illustrate that the use of mobile technologies could be designed for many new kinds of interactions that consider enactive processes as a necessary evolution of the use of technology [20, 21]. Whether hacking and programming enable to alter mobile devices and their properties, the embodied approach helps the design of new sorts of applications [16,17].

We hypothesise that smartphones, as tangible objects equipped with sensors, can trigger creativity in collaborative interactions through the use of sensor feedback [17, 19].
The workshop conducted in 2016 with artists and design students, explicitly targeted these different research questions. Our methodology was to critically approach the use of mobile technology through the use of various gesture repertories and body movements in an educational setting.

From an anthropological point of view, we indented to renew the paradigm of ‘The social life of things’ settled by Arjun Appadurai in the late 80s (i.e. Objects travel and transform our social lives, while developing their own cultural lives [22]). From that regard, we encouraged students to use their smartphones capacities with ingenuity that would cause new kind of collective and embodied interaction, specifically avoiding the use of screens.

Workshop Methodology

The workshop setting was designed to leverage creativity and collaborative knowledge processes. Technology was used as a means for creating paradigms of collaborative games and interactive scenarios. We were interested to experiment on how such an educational setting could give rise to original proposals in a relatively short time (5 continuous days).

A total of fifteen students were enrolled for one week. The supervisor team of seven experts provided complementary expertise on movement, music, choreography, and human-computer interaction with different perspectives from social sciences, to design, and computing.

Students worked in groups of two to four persons. The groups were formed around designing different projects, which included conceptual pieces, installations, and performances.

They were coached in the use of common techniques for participatory design (e.g., brainstorming, scenario building, sketching, and critical thinking).

Supervisors provided them with an original software framework that was used to implement collective and situated interactions using web technologies [6].

At the end of each day, a short presentation by each group allowed for exchange and discussion. At the end of the week, the students prepared a public presentation, in which every group presented its project in a free format (video, performance, or installation).

Projects and descriptions

Starting with quite different approaches, from improvisation games to exploring technological possibilities, each group proposed a concept, a story or a prototype.

Each of them is reported on the side, under the title chosen by students.

Discussion and Conclusion

Through various acts of narratives on various tones (such as mockery, poetry, fantasy), students had to renew their approach of mobile phones. All projects proposed original contributions, developing applications that did not imitate any existing commercial use of the smartphone. Moreover, all student projects were based on collective and human-to-human interaction scenarios, and avoided using conventional restrictive gaming paradigms with competitive rules. Focused on collaborative games, gestures and body movement, the use of screen interface was little exploited in the design propositions. Therefore, mobiles became tools for empowering group interaction and reflection.

We could moreover observe that the mobiles were considered as non-personal objects, and shared between students as any random object. This collectivization of the personal item allows some new axes of reflections on the forthcoming developments of mobile technologies. Bringing new methodology insights for the teachers, as a trans-disciplinary protocol for knowledge creation and transmission, we have found this workshop fruitful. Finally, the amazing richness and creativity of the students offered us various new opening questions to our proposed research statements.

Acknowledgements

Many thanks to Jan Schacher (ZHdK) and Danna Kostroun (IPIUI) for their proofreadings, the students for their investment, Loïc Lobé and Florent Deloison for helping in conducting the workshop. We acknowledge support from the ANR Projects CoSiMa and DeSciTech.

References and Notes
[1] M. Weiser, “The computer for the 21st century,” Scientific american, vol. 265, no. 3,pp. 94-105 (1991)

[2] Prévieux, J., “What Shall We Do Next? Séquence# 1”, 2011, <http://www. previeux.net/html/videos/Next. Html>, accessed 1st August 2018.

[3] Nicolas Nova, “Curious Rituals”, <curiousrituals.nearfuturelaboratory.com/#boo>, accessed 1st August 2018.

[4] Dubos, A., Quelle voix pour le théâtre? Fabrication des corps et des identités, pour une étude du mouvement dans les théâtres contemporains au Kerala (Inde du Sud) (Doctoral dissertation, Paris, EHESS, 2013).

[5] A. Dubos, F. Bevilacqua, J. Larralde, J. Chevrier, and J.-F. Jego, “Designing Gestures for Interactive Systems: Towards Multicultural Perspectives,” vol. LNCS-10516 of Human-Computer Interaction – INTERACT 2017, pp. 524--526, Springer International Publishing (2017).

[6] Based on the project CoSiMa at <cosima.ircam.fr>, accessed 1st August 2018.

[7] Schnell, Norbert, et al. "Playing the" MO"-Gestural Control and Re-Embodiment of Recorded Sound and Music." NIME 2011.

[8] Schacher, Jan C., and Angela Stoecklin. "Traces-Body, Motion and Sound." NIME. 2011.

[9] Agamben, G. (2009). " What is an apparatus?" and other essays. Stanford University Press

[10] Gibson, James J. The ecological approach to visual perception: classic edition. Psychology Press, 2014.

[11] Essl, Georg, and Sang Won Lee. "Mobile devices as musical instruments-state of the art and future prospects." International Symposium on Computer Music Multidisciplinary Research. Springer, Cham, (2017), p. 525-539.

[12] Durand, Jean-Baptiste, et al. "Privileged visual processing of the straight-ahead direction in humans." Journal of vision 12.6 (2012): 34-34.

[13] Ingold, Tim. "Culture, nature et environnement." Tracés. Revue de sciences humaines 22 (2012): 169-187.

[14] Schacher, Jan C. "Motion To Gesture To Sound: Mapping For Interactive Dance." NIME. 2010.

[15] Dubos A. (2019) « L’ambiance n’a pas de côté, Paysages et corps sensibles. À propos des ambiances co-générées par l’usage des technologies numériques » Paysages Sensoriels, Sous la direction de Véronique Mehl et Laura Péaud, Presses Universitaires de Rennes.

[16] Lenay Charles, "Enaction, externalisme et suppléance perception" Intellectica 2006/1 43 pp.27-52, December 2006

[17] Workshop description and video materials at <cosima.ircam.fr/2016/04/18/workshop- smartphones-and-movement-ensci-les-ateliers/>, accessed 1st August 2018

[18] Schacher, Jan C. "Gesture control of sounds in 3D space." Proceedings of the 7th international conference on New interfaces for musical expression. ACM, 2007

[19] Dubos, Anne, and Jan Schacher. "The Calder Effect: Embodied Knowledge Through Moving Images." Proceedings of the 6th International Conference on Movement and Computing. ACM, 2019.

[20] P. Dourish, Where the action is: the foundations of embodied interaction (The MIT Press, 2004).

[21] P. Dourish, “Epilogue: Where the action was, wasn't, should have been, and might yet be”. ACM Transactions on Computer-Human Interaction (TOCHI), 20(1), 2, (2013).

[22] Appadurai, Arjun, ed. The social life of things: Commodities in cultural perspective. Cambridge University Press, 1988.

[23] J. Ruiz, Y. Li, and E. Lank, “User-defined motion gestures for mobile interaction”. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI '11). ACM, New York, NY, USA, 197-206 (2011).

Biographical Information

Anne Dubos is an anthropologist and a transmedia artist. She is now a Fellow and correspondent member at the Institute for Advanced Studies, in Nantes.

Benjamin Matuszewski is a researcher at STMS Ircam-CNRS-Sorbonne Université in Paris and PhD student at CICM/musidance EA1572, Université Paris 8.

Norbert Schnell is Professor of Music Design at Hochschule Furtwangen University, Germany.

Joël Chevrier is a Physics Professor at Université Grenoble Alpes and associated professor at CRI-Paris, Université Paris

Frédéric Bevilacqua is head of the research team “Sound Music Movement Interaction” at UMR STMS Ircam-CNRS-Sorbonne Université in Paris.

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(Ke Fang, Aglaé Poisson, Marie Simon Thomas, Kenza Traoé)

The first group imagined a future in which the smartphone would not be handled manually anymore. They anticipated the future use of ‘smart textiles’ that would contain microprocessors and sensors, and overtake the present use of touch-screens. Students reflected on a prospective way: what kind of new gestures might appear in the next 50 years?

In order to free themselves from the constraints imposed by the current size and shape of smartphones, they imagined body and gestural commands. Therefore, playing on the mockery register, they sought to generate a ‘catalog for gestures to come’ that could be used for interactions without the need to hold the phone in the hands. As such, they designed short stories and interactions considering the whole body as a mean for communication between people, and they directed a video mockups (see examples below).

Calling and getting a call or using email/messaging systems:
- I'm getting a call: The wrist is rolling while hand is shaking.
- I feed the conversation: Turning the arms in circles over the elbow.
- Opening mail application: This gesture mimics the opening of a wide journal.

Media commands by moving
Slowing down the physical activity lowers the music volume: When the runners stops, there is no more sound played.
Downloading data: Circling the hips, that by analogy, represents the wheel that appears on a screen to indicate the ‘download in progress’ status of the computer.

Collective movements
Communicating a password:Two persons mimic each other’s head movements
Powering a video play: The two partners sitting together activate a video through the "butterfly" movement, found in the yoga asanas directory.

The project offered a radical humorous point of view on usual behaviours related to mobile technologies. Proposing new kinds gestures for various functions, students reflected on the notion of apparatus [9]: What would look like a society with ‘technological gestures’ extended to a full body? From triggering processes (opening emails), to sharing information (such as sharing a password), the video showed as many options as pushed the limits of the design of a normative body shaped by new technologies engineering. This approach goes against general principles of interface ergonomics, that generally tends to minimize efforts and aims at efficiency.

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LEMO.N (apprentissage par mouvement) a pour objectif de créer une plateforme pour le partage de connaissances interdisciplinaires sur le mouvement du corps pour les danseurs et les musiciens, à partir d’interaction avec l’usage d’applications mobiles.

L'enjeu est de travailler au développement d'un outil technologique et critique pour une approche sensible (phénoménologique et narrative) de la réalité.

D’abord sous forme de recherche expérimentale entre le chant, la danse, la composition et la chorégraphie, une série d'ateliers danse-musique-technologie mettra ensuite le corps des élèves au cœur des apprentissages.

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Quelle est la différence entre la danse et la musique ? Le corps du danseur n’est-il pas déjà un corps musicien ? Et le corps du musicien n’est-il pas lui-même dansant ?

L’enjeu des ateliers de LeMON est de produire un outil pédagogique, telle une interface pédagogique entre la musique et la danse.

En fonction des publics impliqués, il pourra également faire l’objet d’une recherche avancée pour la performance augmentée par la technologie.

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Workshop ENSCI – Physical Player – CoSiMa

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Workshop ENSCI – Physical Player

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Le projet LEMO.N a pour objectif d’engendrer de nouvelles ressources et matériaux pour la recherche interdisciplinaire. Il s’articule en 4 phases :

1. Analyser le matériel existant rassemblé lors des récents ateliers,

2. Classer ce matériau, les mettre à disposition des pédagogues,

3. Concevoir un outil pédagogique à proposer en ateliers trans-disciplinaires,

4. Diffuser ces outils au sein d’ateliers pédagogiques sous forme de stages ou de journées de travail.

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La pratique de recherche pédagogique autant que les ateliers sont documentés, de manière à pouvoir travailler à l’implémentation d’une méthode, dont tous les pédagogues seront tous en fonction de leur discipline, en mesure de cerner les écueils ou les points positifs.

Les contributions de chacun seront offertes telles de nouvelles possibilités pour la conception de gestes pour la performance.

Ce réseau grandissant aura un impact à la fois sur les chercheurs et les étudiants dans ce nouveau domaine : la performance augmentée par technologie.

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(Antoine Lecharny and Simon Geneste)
The second group started from a discussion around the idea of transmitting a repertoire of gestures: how could technology be used for recording gestures? The group imagined that smartphones could be transformed into a serial of toys (a train, a plane, a boat or car) that could trace their own manipulations on a map. As a proof of concept, students created a 3D printed accessory to transform a mobile device into a little plane, as the motion data was real- time transmitted for trajectories to be displayed on a screen, communicating to the users a trace of the toy’s movement. On the application side, users could record sounds, dynamically transformed through manipulation. The first plane use-case was made to be extended in other vehicle toys, by simply creating and printing a new set of accessories.

The little plane at work:
- First concepts, drawn on the whiteboard.
- 3D printed mobile accessory to transform the toy

The project started with a concept that evolved towards a specific implementation. The affordance of a smartphone was altered by adding both a specific hardware accessories. Secondly, sound became responsive to the movement. Thirdly, movements were represented on real time graphic that traced the various explorations of different trajectories. Finally, the function of recording and displayed trajectories added an interesting memory aspect to the movement, which opened perspectives for extending the game-play.

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Née d'une volonté politique en 1982, l'École Nationale Supérieure de Création Industrielle (ENSCI-Les Ateliers) est la seule école nationale exclusivement consacrée à la création industrielle et au design.

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ENSCI - Les Ateliers: L'École Nationale Supérieure de Création Industrielle " ENSCI - Les Ateliers "

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L'École Nationale Supérieure de Création Industrielle, " ENSCI - Les Ateliers ", est le premier établissement français d'enseignement supérieur public exclusivement consacré au design, et se positionne parmi les meilleures écoles de création dans les classements internationaux. Son modèle pédagogique original est fondé sur la réalisation de projets avec des partenaires économiques (entreprises, administrations...)

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(Alexis Boscariol, Johan Chanéac, Cinzia Scarsi, Sarah Woodhouse)

The first idea of this group was to create a network of smartphones that would interact depending on their spatial location. Considering that smartphones can detect vibrations through the embedded accelerometers, students decided to explore how smartphones, when attached to a vibration-conducting surface, can detect the proximity of other persons or devices. This initial idea allowed them to pursue their exploration of spatial interactions in- between smartphones. After several experimentations, students realized that the high sensitivity of accelerometers could work as a magnifying glass for touch and reveal presence. The project was finalized in the form of an installation where the public could gradually experience the system through visual and auditory feedback of various stimuli, such as touch or footsteps.

The installation shows different modes of interaction, through touch or walking
- Various objects containing a smartphone are reacting to touch, displaying varying light intensity and sounds in reaction to user action.
- Network of objects reacting to footsteps in a corridor; the same principle is used reacting to hand touch on a table.

The project proposes to hack the original function of the accelerometer, principally used to inform on the phone orientation, enabling unexpected interaction modalities based on detecting vibrations. Based on this capacity, the installation allowed the collective interaction through an extended touch modality, such as, for example the use of hands or feet.

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(Benoît Canaud, Luca Notarfrancesco and Gautier Bourdonnay)
This group developed a project for three performers and a score. The performers moved into a larger space, interpreting trajectories and symbols marked on the floor. Wearing mobile devices on their arms, body motion induced events and changes in musical environment rendered through loudspeakers, placed at corners of the room.

Movement recognition was used to control an interactive audio player, by triggering a given sample or by changing the speed of a track.

The mobile devices analysed the performers’ movements, distinguishing different postures and actions such as standing still, walking, running (fast and slow), jumping, and somersault. The score, traced as coloured paths on the floor was sufficiently explicit for the public to anticipate the execution of an action.

The setupalso created unexpected correspondences between the visible score and the actual possible actions.

Performance of the Physical Player:
- Each participant is moving according to the score, traced on the floor.
- From walking to jump and roll on the floor, each movement corresponds to a sound modulation.

Used as motion sensors, the smartphones allowed the development for a complete interactive choreography. The interpretation of the score by the performers created thus a complex layering of elements — static and graphical on the ground, contrasting with the simultaneous movements of the bodies of the performers. A shared notational space on the floor formed an important part of the originality of the Physical Player.

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(Azaee Legrix, Caroline Tricaud, Angélica Aguilar, Léonor Tourneboeuf)
The last group of students created a project between a storytelling and an interactive performance that was structured in four scenes. The four elements (fire, water, earth, and air) were represented through sound. The narrative was orchestrated according to four scenes. For example, fire element was a mise-en-scène of lighting a chimney, using match-box sound. The public was invited to follow certain movements with their phone, which activated an immersive sound environment of aerial voices to perform the air element.

Sorcières, an interactive performance:
- A central speaker also activated bass frequencies directly on the floor.
- The audience is invited to follow the gestures and body movement of the witch, in order to generate an immersive sound ambiance.

Recent research has explored the type of actions one could perform using our smartphone for common operations such as a programmable ‘remote control’ to interact with all kind of connected and smart-objects [23]. Students decided to transform it into a ‘magic stick’.

Based on the assumption that gestures are contagious [4], the audience was made to “move” by imitation, while gesture-based sound rendering helped the audience to synchronize their movements. And here lays the actual spell: the audience participation is guided without having to state explicit instructions. In that case, the smartphone was used as a device to transform the environment, according to the scenario conceived by the students.

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CRI is co-constructing and sharing new ways of learning, teaching, conducting research and mobilizing collective intelligence in the fields of life, learning and digital sciences, in order to address the UN's sustainable development goals (SDGs).

CRI operates around 4 main areas :

Developing and hosting educational programs, from preschool to high school (Savanturiers - École de la Recherche), interdisciplinary Bachelor, Master, and PhD (EURIP Graduate School) as well as lifelong learning degree programs of the Université de Paris.

Conducting research within its INSERM-Université de Paris research Collaboratory Unit, advised and guided by a Scientific Advisory Board, composed of prestigious international scientific leaders.

Developing the #LearningPlanet initiative in partnership with UNESCO, of which it also holds a Chair, and AFD to inspire and empower learners of all ages who wish to identify, develop and amplify the most effective ways to learn how to solve problems together.

Building a living campus where innovative makers can set up digital infrastructures for learning communities to help them to resolve global challenges.

CRI was founded in 2006 by François Taddei and Ariel Lindner with the Bettencourt Schueller Foundation as an essential and key supporting partner and Paris City Hall. It also benefits from the support of a wide range of foundations, corporate sponsors and institutions including the University of Paris, with which CRI co-founded the interdisciplinary action-based research challenge institute (" Institut des Défis ") to prototype a model of a Learning University enable of responding to the global challenges of our time.

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cri recherche master licence bachelor doctorat igem phd aiv aire fdv projects interdisciplinaire interdisciplinary

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CRI is co-constructing and sharing new ways of learning, teaching, conducting research and mobilizing collective intelligence in the fields of life, learning and digital sciences, in order to address the UN's sustainable development goals (SDGs).

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Fab Lab - Carrefour numérique² - Lieux ressources - Au programme - Cité des sciences et de l'industrie

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La cité des sciences et de l'industrie est un établissement public de diffusion de la culture scientifique, technique et industrielle située à Paris, La Villette. La Cité propose expositions, films, conférences et animations pour les enfants et leurs familles.