Tag Archives: affective interface

St. God’s: Unscannable Panic

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During Joe’s consultation with Dr. Lexus, all the clues he has been stumbling past finally begin to sink in. When Dr. Lexus asks him to pay the bill, and—thinking Joe is mentally challenged—instructs him to put his tattoo up to the OmniBro payment system, he realizes that Joe has no barcode on his wrist.

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The doctor is absolutely terrified of this. He can barely conceive it. “Why come you don’t have a tattoo?” [sic] “You’re not unscannable, are you‽…You’re unscannable!!” In a panic he reaches out to his treatment panel and smashes the lower-left hand icon, shouting, “UNSCANNABLE!!” This causes a klaxon to sound and red beacon light to blink. Joe realizes he can’t stay and flees.

The panel

Dr. Lexus has a 3×4 mini-panel similar to Biggiez’ intake interface. It gets only a blurry half a second of screen time, but through the annoying power of screengrab, I can see that they’re a subset of the graphics from the intake interface.

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Artists’ janky interpretation

Too bad. It was an opportunity for more hilarity, perhaps something similar to Dr. Lexus’ moronic ramblings. Think buttons for Kick Ass, Sound like a Dick, and Fucked Up. (Serious props to Jason Long for pulling these lines off so hilariously.) But let’s instead talk about mashing buttons.

Avoiding accidental activation

We want to ensure that a doctor only presses this high-cost button deliberately, but it still has to be easy to press. The classic CTRL-ALT-DELETE key chord is an example of deliberateness. It was designed to be very difficult to press accidentally. A gas station shut-off emergency shut off is an example of an emergency button that is easy to find and press.

Dr. Lexus’ panic button is the opposite of this: A high-cost button that looks like and sits adjacent to all these other presumably low-cost buttons, and even sits in one of the easiest-to-hit areas, requiring some of the least precision. The risk of accidental activation seems very high. Don’t do this.

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On the other hand, it’s possible that the keyboard is aware of Dr. Lexus’ emotional state, either from lots of context cues, or the strength of his mashing, or the fact that he’s touching four buttons at once.

Affective input

Smashing is its own kind of input—it’s different than the deliberate key presses of ordinary use. It means that either the user is in some intense emotional state (angry, panicked, or…a joyful toddler, maybe?) or not actually trying to provide input, just manipulating the interface (say, picking up the keyboard to move it.) These are events which designers can consider and design for. A real world example is the mobile version of Google Maps, shake it and it presumes that you are angry and asks you for feedback.

So it’s possible—if you want to give interfaces in the Idiocracy more credit than is justifiable given the idiocracy—that the panel is detecting the fast, hard, mashing of multiple keys, and registering that as a distress call. Long-time readers may recall Zorg mashing his desktop keypad in a panic as he chokes on a cherry pit in The Fifth Element. Perhaps this interface can sit alongside it as a possible opposite.

Triple your resistance to the Idiocracy (today)

Straight from DSCC: The last FEC deadline before Election Day is in just two days. That means the final decisions are being made right now about where to allocate resources for the last weeks before November’s elections.

It also means that the final ad buys of the midterm elections are being made—and we need to make sure sane candidates have the resources they need to get their message out. Enter the DSCC.

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They have a $300,000 goal, and only have until Wednesday at midnight to hit it. If you make a donation, it will be TRIPLE-MATCHED to give candidates what they need to flip the Senate and put some necessary counterbalance to the insanity coming from the executive branch.

Talking to a Puppet

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As mentioned, Johnny in the last phone conversation in the van is not talking to the person he thinks he is. The film reveals Takahashi at his desk, using his hand as if he were a sock puppeteer—but there is no puppet. His desk is emitting a grid of green light to track the movement of his hand and arm.

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The Make It So chapter on gestural interfaces suggests Takahashi is using his hand to control the mouth movements of the avatar. I’d clarify this a bit. Lip synching by human animators is difficult even when not done in real time, and while it might be possible to control the upper lip with four fingers, one thumb is not enough to provide realistic motion of the lower lip. Continue reading →

Dat glaive: Projectile gestures

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TRIGGER WARNING: IF YOU ARE PRONE TO SEIZURES, this is not the post for you. In fact, you can just read the text and be quit of it. The more neurologically daring of you can press “MORE,” but you have been forewarned.

If the first use of Loki’s glaive is as a melée weapon, the second use is of a projectile weapon. Loki primes it, it glows fiercely blue-white, and then he fires it with usually-deadly accuracy to the sorrow of his foes.

This blog is not interested in the details of the projectile, but what is interesting is the interface by which he primes and fires it. How does he do it? Let’s look. He fires the thing 8 times over the course of the movie. What do we see there? Continue reading →

Alphy

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Barbarella’’s onboard conversational computer is named Alphy. He speaks with a polite male voice with a British accent and a slight lisp. The voice seems to be omnidirectional, but confined to the cockpit of the space rocket.

Goals

Alphy’’s primary duties are threefold. First, to obey Barbarella’’s commands, such as waking her up before their approach to Tau Ceti. Second, autopilot navigation. Third, to report statuses, such as describing the chances of safe landing or the atmospheric analysis that assures Barbarella she will be able to breathe.

Display

Alphy

Whenever Alphy is speaking, a display panel at the back of the cockpit moves. The panel stretches from the floor to the ceiling and is about a meter wide. The front of the panel consists of a large array of small rectangular sheets of metal, each of which is attached on one side to one of the horizontal bars that stretch across the panel. As Alphy talks, individual rectangles lift and fall in a stochastic pattern, adding a small metallic clacking to the voice output. A flat yellow light fills the space behind the panel, and the randomly rising and falling rectangles reveal it in mesmerizing patterns.

The light behind Alphy’’s panel can change. As Barbarella is voicing her grave concerns to Dianthus, Alphy turns red. He also flashes red and green during the magnetic disturbances that crash her ship on Tau Ceti. We also see him turn a number of colors after the crash on Tau Ceti, indicating the damage that has been done to him.

In the case of the conversation with Dianthus, there is no real alert state to speak of, so it is conceivable that these colors act something like a mood ring, reflecting Barbarella’’s affective state.

Language

Like many language-capable sci-fi computer systems of the era, Alphy speaks in a stilted fashion. He is given to “computery” turns of phrases, brusque imperatives, and odd, unsocialized responses. For example, when Barbarella wishes Alphy a good night before she goes to sleep, he replies, “Confirmed.”

Barbarella even speaks this way when addressing Alphy sometimes, such as when they risk crashing into Tau Ceti and she must activate the terrascrew and travel underground. As she is piloting manually, she says things like, “Full operational power on all subterranean systems,” “45 degree ascent,” and “Quarter to half for surfacing.”

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Nonetheless, Alphy understands Barbarella completely whenever she speaks to him, so the stilted language seems very much like a convention than a limitation.

Anthropomorphism

Despite his lack of linguistic sophistication, he shows a surprising bit of audio anthropomorphism. When suffering through the magnetic disturbances, his voice gets distressed. Alphy’’s tone also gets audibly stressed when he reveals that the Catchman has performed repairs “in reverse,” in each case underscoring the seriousness of the situation. When the space rocket crashes on Tau Ceti, Alphy asks groggily, ““Where are we?” We know this is only affectation because within a few seconds, he is back up to full functioning, reporting happily that they have landed, ““Planet 16 in the system Tau Ceti. Air density oh-point-oh-51. Cool weather with the possibility of stormy precipitations.”” Alphy does not otherwise exhibit emotion. He doesn’t speak of his emotions or use emotional language. This convention, too, is to match Barbarella’s mood and make make her more comfortable.

Agency

Alphy’s sensors seem to be for time, communication technology, self-diagnostics, and for analyzing the immediate environment around the ship. He has actuators to speak, change his display, supply nutrition to Barbarella, and focus power to different systems around the ship, including the emergency systems. He can detect problems, such as the “magnetic disturbance”, and can respond, but has no authority to initiate action. He can only obey Barbarella, as we hear in the following exchange.

Barbarella: What’s happening?
Alphy: Magnetic disturbances.
Barbarella: Magnetic disturbances?…Emergency systems!
Alphy: All emergency systems will now operate.

His real function?

All told, Alphy is very limited in what he can do. His primary functions are reading aloud data that could be dials on a dashboard and flipping switches so Barbarella won’t have to take her hands off of…well, switches…in emergency situations. The bits of anthropomorphic cues he provides to her through the display and language confirm that his primary goal is social, to make Barbarella’s adventurous trips through space not feel so lonely.