Brendan Walker

Uncomfortable interactions

We argue for deliberately and systematically creating uncomfortable interactions as part of powerful cultural experiences. We identify the potential benefits of uncomfortable interactions under the general headings of entertainment, enlightenment and sociality. We then review artworks and performances that have employed discomfort, including two complementary examples from the worlds of entertainment and performance. From this, we articulate a suite of tactics for designing four primary forms of discomfort referred to as visceral, cultural, control and intimate. We discuss how moments of discomfort need to be embedded into an overall experience which requires a further consideration of the dramatic acts of exposition, rising action, climax, falling action, and dénouement. Finally, we discuss an ethical framework for uncomfortable interactions which leads us to revisit key issues of consent, withdrawal, privacy and risk.

Performing thrill: designing telemetry systems and spectator interfaces for amusement rides

Fairground: Thrill Laboratory was a series of live events that augmented the experience of amusement rides. A wearable telemetry system captured video, audio, heart-rate and acceleration data, streaming them live to spectator interfaces and a watching audience. In this paper, we present a study of this event, which draws on video recordings and post-event interviews, and which highlights the experiences of riders, spectators and ride operators. Our study shows how the telemetry system transformed riders into performers, spectators into an audience, and how the role of ride operator began to include aspects of orchestration, with the relationship between all three roles also transformed. Critically, the introduction of a telemetry system seems to have had the potential to re-connect riders/performers back to operators/orchestrators and spectators/audience, re-introducing a closer relationship that used to be available with smaller rides. Introducing telemetry to a real-world situation also creates significant complexity, which we illustrate by focussing on a moment of perceived crisis.

Breath control of amusement rides

Emerging robotic technologies are enabling the control of individual seats on rollercoasters and other thrill rides. We explore the potential of breathing as an effective and engaging way of driving this. Observations and interviews from trials of an enhanced bucking bronco ride show that breath-control is fun, challenging and intelligible, and reveal riders-x tactics as they battled the machine. We conclude that breath control is feasible and appropriate for controlling rides, unpack its important characteristics, and consider how it might be built into future ride systems. We argue that the combination of voluntary and involuntary factors in breathing is especially appealing for controlling rides as it balances game-like elements of skill and learning against the thrill of surrendering control to the machine.

Performance-Led Research in the Wild

We explore the approach of performance-led research in the wild in which artists drive the creation of novel performances with the support of HCI researchers that are then deployed and studied at public performance in cultural settings such as galleries, festivals and on the city streets. We motivate the approach and then describe how it consists of three distinct activities -- practice, studies and theory -- that are interleaved in complex ways through nine different relationships. We present a historical account of how the approach has evolved over a fifteen-year period, charting the evolution of a complex web of projects, papers, and relationships between them. We articulate the challenges of pursuing each activity as well as overarching challenges of balancing artistic and research interests, flexible management of relationships, and finally ethics.

Uncomfortable user experience

How to create and resolve discomfort for a thrilling and memorable experience.

Breathalising games: understanding the potential of breath control in game interfaces

This paper explores the potential for breath control as an interaction medium for gaming. In particular it examines the positioning of breath control within the stack of interface paradigms: As the only control, as a secondary control and as an ancillary or ambient control. It describes a technology developed using specially adapted gas masks to measure breath flow. By describing five simple games (or game modifications), each developed using breath in a somewhat different way, we show some of the possibilities of this unique interface paradigm. Crucially, the paper aims to demonstrate that breathing, though in principle a one dimensional interface medium, is actually a subtle and viable control mechanism that can be used either as a control mechanism in itself, or to enhance a more traditional game interface, ultimately leading to a satisfying and immersive game experience.

Augmenting amusement rides with telemetry

We present a system that uses wireless telemetry to enhance the experience of fairground and theme park amusement rides. Our system employs wearable technologies to capture video, audio, heart-rate and acceleration data from riders, which are then streamed live to large public displays and are also recorded. This system has been embedded into a theatrical event called Fairground: Thrill Laboratory in which riders are first selected from a watching audience and their captured data is subsequently presented back to this audience and discussed by experts in medical monitoring, psychology and ride design. Drawing on our experience of deploying the system on three contrasting rides, during which time it was experienced by 25 riders and over 500 audience members, we reflect on how such telemetry data can enhance amusement rides for riders and spectators alike, both during and after the ride.

Sequential art for science and CHI

This paper illustrates our preliminary studies of new interactive tools that support the generation of sequential art for entertainment, learning and scientific discourse. In the first of two examples, primary school students document a practical science session through the creation of a photostory. In the second, participants in a study on the biological nature of thrill create a souvenir photostory by selecting images from a DVD. The paper is written in a comic-book format to further explore and highlight the communicative capabilities of the medium, one that can be visually attractive and facilitate rapid dissemination to a wide audience.

The gas mask: a probe for exploring fearsome interactions

We introduce an interface for horror-themed entertainment experiences based on integrating breath sensors and WiFi into gas masks. Beyond enabling the practical breath control of entertainment systems, our design aims to heighten the intensity of the experience by amplifying the users awareness of their breathing, as well as their feelings of isolation, claustrophobia and fear. More generally, this interface is intended to act as a technology probe for exploring an emerging research agenda around fearsome interactions. We describe the deployment of our gas masks in two events: as a control mechanism for an interactive ride, and to enhance a theme park horror maze. We identify six broad dimensions - cultural, visceral, control, social, performance and engineering - that frame an agenda for future research into fearsome interactions.

The Challenges of Using Biodata in Promotional Filmmaking

We present a study of how filmmakers collected and visualized physiological data—“biodata”—to construct a series of short promotional films depicting people undergoing “thrilling” experiences. Drawing on ethnographic studies of two major advertising campaigns, we highlight key concerns for integrating sensors and sensor data into film production. Our findings address the perceived benefits of using biodata within narratives; the nature of different on-screen representations of biodata; and the challenges presented when integrating biodata into production processes. Drawing on this, we reconsider the nature of information visualization in the filmmaking context. Further implications from our case studies provide recommendations for human--computer interaction (HCI) collaborations with filmmaking and broadcast industries, focusing both on the practical matters of fitting sensor technologies into and handling data within production workflows, as well as discussing the broader implications for managing the veracity of that data within professional media production.