The drift table: designing for ludic engagement

By William W. Gaver, Jo A. Bowers, Andy Boucher, Hans-Werner Gellersen, Sarah Pennington, Albrecht Schmidt, A. Steed, N. Villar, Brendan Walker. CHI EA '04, 2004

494 citations recorded by the source corpus.

Subfields: Human-Computer Interaction

View Paper: https://www.semanticscholar.org/paper/371ec9ae374cf364d177625f7ed67bc9bdf83cf7

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In Human-Computer Interaction

Citations in the corpus

The reacTable: exploring the synergy between live music performance and tabletop tangible interfaces (2007, background): “We are talking about concepts such as “social interaction and collaboration” [13], or “ludic interaction” [12], which are both directly encouraged by the social affordances associated with tables.”
Reflective design (2005, background): “It recognizes that playful or ludic activities are not merely a matter of entertainment, or a waste of time, but can be a ‘mechanism for developing new values and goals, for learning new things and for achieving new understandings’ [23].”
Entanglement HCI The Next Wave? (2019, background): “Relatedly, non-functional use of technology as in ludic design [Gaver et al. 2004] or studies into interactions with unaware objects [Odom and Wakkary 2015] or technology non-use [Fuchsberger et al. 2014] call into question whether the classical conception of the user and her needs really should be…”
Moving on from Weiser's Vision of Calm Computing: Engaging UbiComp Experiences (2006, background): “Examples of projects that have pioneered the design of novel physical-digital spaces to facilitate creativity and reflection include the Hunting of the Snark [32], Ambient Wood [36], RoomQuake [33] Savannah [17], Environmental Detectives [27], Drift Table [19] and Feeding Yoshi [7].”
An analysis and critique of Research through Design: towards a formalization of a research approach (2010, methodology): “For example, the Drift table was an artifact developed during the project that offered a proposition about how to use technology, a prototype that people responded to in their homes, and the basis for design theories formed around the sensitizing concept of Ludic design (Figure 2) [19].”
Staying open to interpretation: engaging multiple meanings in design and evaluation (2006, methodology): “Although this is most commonly used in HCI for design, it is equally valuable in evaluation (see [18] for an example).”
Research through design as a method for interaction design research in HCI (2007, background): “The Drift Table offers a well known example of critical design in HCI, where the design of an interactive table that has no intended task for users to perform raises the issue of the community’s possibly too narrow focus on successful completion of tasks as a core metric of evaluation and product su”
From game design elements to gamefulness: defining "gamification" (2011, background): “Despite this considerable body of research, no consensual theory or terminology of playfulness has emerged so far: Sometimes, it is equated broadly with any “pleasurable experience” [20] or “fun” [28], or indeed every interaction that goes beyond utilitarian wor k and tas k contexts [30,31,52].”
Human-centered Explainable AI: Towards a Reflective Sociotechnical Approach (2020, methodology): “To operationalize the CTP perspective, we can incorporate rich strategies from other methodological traditions rooted in HCI, critical studies, and philosophy such as participatory design [11,18], value-sensitive design [24,23], reflection-inaction [35,40,15], and ludic design [26,27].”
Empathy and experience in HCI (2008, background): “The growing interest in experience in HCI has been accompanied by a rich interdisciplinary discourse addressing topics such as the aesthetics of interaction, affective computing, ludic engagement, enchantment with technology, hedonics and so on [12, 24, 30, 32, 40, 52].”
"My Roomba Is Rambo": Intimate Home Appliances (2007, background): “Finally, Bill Gaver’s concept of ludic engagement speaks to the playful and unanticipated consequences of people’s interactions with technology [14].”
How emotion is made and measured (2007, methodology): “This reading draws from and further develops other alternative approaches to affective computing (e.g. Fagerberg et al., 2004; Gaver et al., 2004; McCarthy and Wright, 2004; Sundström et al., 2005).”