Local Commons : communicating local issues through place-based interventions

Due to the numerous possibilities of voicing concerns and the flood of data we are exposed to, local issues are at a risk of being overlooked. Following a research agenda proposed by Foth et al. (2013), this thesis explored the possible contributions of situated digital and tangible media for communicating local issues. Making use of the location of an issue could thereby not only allow to reach the targeted audience but also for a deeper involvement of citizens. Through the development of a design intervention in public space, called Local Commons, the benefits of this approach were investigated. Therefore, the intervention combined digital and tangible media in order to engage the public to contribute and debate different perspectives on a given local issue. The interaction with the intervention was thereby twofold. First, the intervention invited the audience to submit images of their perspectives on the issue, which were displayed on a public screen. Via tangible buttons in front of the screen, the audience then had the possibility to agree or disagree to the displayed perspectives, creating a space for deliberation. In a field study, the concept was subsequently tested and evaluated. The results of this study, although not generalisable, supported the chosen approach of this thesis.

WATER - a series of photographs by Louise Grayson

This body of photographic work has been created to firstly, explore a new approach to practice-led research that uses an “action genre” approach to reflective practice (Lemke) and secondly, to visually explore human interaction with the fundamental item in life - water. The first of these is based on the contention that to understand the meanings inherent in photographs we cannot look merely at the end result. It is essential to keep looking at the actions of practitioners, and the influences upon them, to determine how external influences affect the meaning potential of editorial photographs (Grayson, 2012). WATER therefore, provides an ideal platform to reflect upon the actions and influences involved in creating work within the photographic genre of photojournalism. It enables this practitioner to reflect on each stage of production to gain a better understanding of how external influences impact the narrative potential within images created. There are multi-faceted influences experienced by photographers who are creating images that, in turn, are part of constructing and presenting the narrative potential of editorial photographs. There is an important relationship between professional photographers and the technical, cultural, economic and institutional forces that impinge upon all stages of production and publication. What results is a greater understanding of technical, cultural, economic and institutional forces that impinge upon all stages of production and publication. Therefore, to understand the meanings inherent in photographs within WATER, I do not look merely at the end result. It provides a case study looking at my actions in the filed, and the influences upon me, to determine how external influences affect the meaning potential of these photographs (Grayson, 2012). As a result, this project adds to the body of scholarship around the definition of Photojournalism, how it has adapted to the current media environment and provides scope for further research into emerging new genres within editorial photography, such as citizen photojournalism. Concurrently, the photographs themselves were created to visually explore how there remains a humanistic desire to interact with the natural form of water even while living a modern cosmopolitan life around it. Taking a photojournalistic approach to exploring this phenomenon, the images were created by “capturing moments as they happened” with no posing or setting up of images. This serendipitous approach to the photographic medium provides the practitioner with at least an attempt to direct the subjectivity contained explicitly in photographs. What results is a series of images that extend the visual dialogue around the role of water within modern humanistic lifestyles and how it remains an integral part of our society’s behaviors. It captures important moments that document this relationship at this time of modern development. The resulting works were exhibited and published as part of the Head On Photo Festival, Australia's largest photo festival and the world's second largest festival in Sydney 20-24 May 2013. The WATER series of images were curated by three Magnum members; Ian Berry, Eli Reed and Chris Steele-Perkins. Magnum is a highly regarded international photographic co-operative with editorial offices in New York, London, Paris and Tokyo. There was a projection of the works as part of the official festival programme, presented to both members of the public and Sydney’s photography professionals. In addition, a sample of images from the WATER series was chosen for inclusion in the Magnum-published hardcover book. References Grayson, Louise. 2012. “Editorial photographs and patterns of practice.” Journalism Practice. Accessed: http://www.tandfonline.com/doi/abs/10.1080/17512786.2012.726836#.UbZN-L--1RQ Lemke, Jay. 1995. Textual Politics: Discourse and Social Dynamics. London: Taylor & Francis.

Vote with your feet : hyperlocal public polling for urban screens

Technological advances have led to an ongoing spread of public displays in urban areas. However, they still mostly show passive content such as commercials and digital signage. Researchers took notice of their potential to spark situated civic discourse in public space and have begun working on interactive public display applications. Attracting people’s attention and providing a low barrier for user participation have been identified as major challenges in their design. This thesis presents Vote With Your Feet, a hyperlocal public polling tool for urban screens allowing users to express their opinions. Similar to vox populi interviews on TV or polls on news websites, the tool is meant to reflect the mindset of the community on topics such as current affairs, cultural identity and local matters. It shows one Yes/No question at a time and enables users to vote by stepping on one of two tangible buttons on the ground. This user interface was introduced to attract people’s attention and to lower participation barriers. Vote With Your Feet was informed by a user-centred design approach that included a focus group, expert interviews and extensive preliminary user studies in the wild. Deployed at a bus stop, Vote With Your Feet was evaluated in a field study over the course of several days. Observations of people and interviews with 30 participants revealed that the novel interaction technology was perceived as inviting and that Vote With Your Feet can spark discussions among co-located people.

Dispelling ageing myths in technology design

We present a review of literature from the fields of gerontology, gerontechnology, HCI and government policy that deals with social and technical solutions for the ageing population. We highlight common assumptions about ageing people, which we argue are still embedded in much of the research related to the domain of ageing. This paper challenges six common assumptions across four broad themes that we identified in the literature. It aims to provide a reminder and resource for designers to eschew assumptions during designing technology for 'older' users.

From “anytime, anywhere” to “here and now”: place and time restrictions in mobile narratives to enhance situated engagement of mobile users

The usage of the mobile Internet has increased tremendously within the last couple of years, and thereby the vision of accessing information anytime, anywhere has become more realistic and a dominant design principle for providing content. However, this study challenges this paradigm of unlimited and unrestricted access, and explores the question whether constraints and restrictions can positively influence the motivation and enticement of mobile users to engage with location-specific content. Restrictions, such as a particular time or location that gives a user access to content, may be used to foster participation and engagement, as well as to support content production and to enhance the user’s experience. In order to explore this, a Mobile Narrative and a Narrative Map have been created. For the former, the access to individual chapters of the story was restricted. Authors can specify constraints, such as a location or time, which need to be met by the reader if they want to read the story. This concept allows creative writers of the story to exploit the fact that the reader’s context is known, by intensifying the user experience and integrating this knowledge into the writing process. The latter, the Narrative Map, provides users with extracts from stories or information snippets about authors at relevant locations. In both concepts, a feedback channel was also integrated, on which location, time, and size constraints were imposed. In a user-centred design process involving authors and potential readers, those concepts have been implemented, followed by an evaluation comprising four user studies. The results show that restrictions and constraints can indeed lead to more enticing and engaging user experiences, and restricted contribution opportunities can lead to a higher motivation to participate as well as to an improved quality of submissions. These findings are relevant for future developments in the area of mobile narratives and creative writing, as well as for common mobile services that aim for enticing user experiences.

Open-ended art environments motivate participation

In this research we observe the situated, embodied and playful interaction that participants engage in with open-ended interactive artworks. The larger project from which this work derives [28] contributes a methodological model for the evaluation of open-ended interactive artwork that treats each work individually and recognises the importance of the artist intent and the traditions from which the work derives. In this paper, we describe this evolving methodology for evaluating and understanding participation via three case studies of open-ended interactive art installations. This analysis builds an understanding of open-ended free-play non-narrative environments and the affordances these environments enable for participants.

Building sensitising terms to understand free-play in open-ended interactive art environments

In this paper we introduce and discuss the nature of free-play in the context of three open-ended interactive art installation works. We observe the interaction work of situated free-play of the participants in these environments and, building on precedent work, devise a set of sensitising terms derived both from the literature and from what we observe from participants interacting there. These sensitising terms act as guides and are designed to be used by those who experience, evaluate or report on open-ended interactive art. That is, we propose these terms as a common-ground language to be used by participants communicating while in the art work to describe their experience, by researchers in the various stages of research process (observation, coding activity, analysis, reporting, and publication), and by inter-disciplinary researchers working across the fields of HCI and art. This work builds a foundation for understanding the relationship between free-play, open-ended environments, and interactive installations and contributes sensitising terms useful for the HCI community for discussion and analysis of open-ended interactive art works.

Ethnography considered useful : situating criticality

Increasingly the fields of Human Computer Interaction (HCI) and art are intersecting. Interactive artworks are being evaluated by HCI methods and artworks are being created that employ and repurpose technology for interactive environments. In this paper we steer a path between empirical and critical–theoretical traditions, and discuss HCI research and art works that also span this divide. We address concerns about ‘new’ ethnography raised by Crabtree et al. (2009) in “Ethnography Considered Harmful”, a critical essay that positions ethnographic and critical-theoretical views at odds with each other. We propose a mediated view for understanding interactions within open-ended interactive artworks that values both perspectives as we navigate boundaries between art practice and HCI.

Evoking gesture in interactive art

In this paper, we describe an interactive artwork that uses large body gestures as its primary interactive mode. The artist intends the work to provoke active reflection in the audience by way of gesture and content. The technology is not the focus, rather the aim is to provoke memory, to elicit feelings of connective human experiences in a required-to-participate audience. We find the work provokes a diverse and contradictory set of responses. The methods used to understand this include qualitative methods common to evaluating interactive art works, as well as in-depth discussions with the artist herself. This paper is relevant to the Human - Centered Computing track because in all stages of the design of the work - as well as the evaluation - the focus is on the human aspect; the computing is designed to enable all-too-human responses.

Talk2Me : the art of augmenting conversations

This paper describes an interactive installation work set in a large dome space. The installation is an audio and physical re-rendition of an interactive writing work. In the original work, the user interacted via keyboard and screen while online. This rendition of the work retains the online interaction, but also places the interaction within a physical space, where the main 'conversation' takes place by the participant-audience speaking through microphones and listening through headphones. The work now also includes voice and SMS input, using speech-to-text and text-to-speech conversion technologies, and audio and displayed text for output. These additions allow the participant-audience to co-author the work while they participate in audible conversation with keyword-triggering characters (bots). Communication in the space can be person-to-computer via microphone, keyboard, and phone; person-to-person via machine and within the physical space; computer-to- computer; and computer-to-person via audio and projected text.

Bug reproduction : a collaborative practice within software maintenance activities

Software development settings provide a great opportunity for CSCW researchers to study collaborative work. In this paper, we explore a specific work practice called bug reproduction that is a part of the software bug-fixing process. Bug re-production is a highly collaborative process by which software developers attempt to locally replicate the ‘environment’ within which a bug was originally encountered. Customers, who encounter bugs in their everyday use of systems, play an important role in bug reproduction as they provide useful information to developers, in the form of steps for reproduction, software screenshots, trace logs, and other ways to describe a problem. Bug reproduction, however, poses major hurdles in software maintenance as it is often challenging to replicate the contextual aspects that are at play at the customers’ end. To study the bug reproduction process from a human-centered perspective, we carried out an ethnographic study at a multinational engineering company. Using semi-structured interviews, a questionnaire and half-a-day observation of sixteen software developers working on different software maintenance projects, we studied bug reproduction. In this pa-per, we present a holistic view of bug reproduction practices from a real-world set-ting and discuss implications for designing tools to address the challenges developers face during bug reproduction.

Active awareness : supporting the intentional disclosure of awareness information in collaborative systems

This thesis opens up the design space for awareness research in CSCW and HCI. By challenging the prevalent understanding of roles in awareness processes and exploring different mechanisms for actively engaging users in the awareness process, this thesis provides a better understanding of the complexity of these processes and suggests practical solutions for designing and implementing systems that support active awareness. Mutual awareness, a prominent research topic in the fields of Computer-Supported Cooperative Work (CSCW) and Human-Computer Interaction (HCI) refers to a fundamental aspect of a person’s work: their ability to gain a better understanding of a situation by perceiving and interpreting their co-workers actions. Technologically-mediated awareness, used to support co-workers across distributed settings, distinguishes between the roles of the actor, whose actions are often limited to being the target of an automated data gathering processes, and the receiver, who wants to be made aware of the actors’ actions. This receiver-centric view of awareness, focusing on helping receivers to deal with complex sets of awareness information, stands in stark contrast to our understanding of awareness as social process involving complex interactions between both actors and receivers. It fails to take into account an actors’ intimate understanding of their own activities and the contribution that this subjective understanding could make in providing richer awareness information. In this thesis I challenge the prevalent receiver-centric notion of awareness, and explore the conceptual foundations, design, implementation and evaluation of an alternative active awareness approach by making the following five contributions. Firstly, I identify the limitations of existing awareness research and solicit further evidence to support the notion of active awareness. I analyse ethnographic workplace studies that demonstrate how actors engage in an intricate interplay involving the monitoring of their co-workers progress and displaying aspects of their activities that may be of relevance to others. The examination of a large body of awareness research reveals that while disclosing information is a common practice in face-to-face collaborative settings it has been neglected in implementations of technically mediated awareness. Based on these considerations, I introduce the notion of intentional disclosure to describe the action of users actively and deliberately contributing awareness information. I consider challenges and potential solutions for the design of active awareness. I compare a range of systems, each allowing users to share information about their activities at various levels of detail. I discuss one of the main challenges to active awareness: that disclosing information about activities requires some degree of effort. I discuss various representations of effort in collaborative work. These considerations reveal that there is a trade-off between the richness of awareness information and the effort required to provide this information. I propose a framework for active awareness, aimed to help designers to understand the scope and limitations of different types of intentional disclosure. I draw on the identified richness/effort trade-off to develop two types of intentional disclosure, both of which aim to facilitate the disclosure of information while reducing the effort required to do so. For both of these approaches, direct and indirect disclosure, I delineate how they differ from related approaches and define a set of design criteria that is intended to guide their implementation. I demonstrate how the framework of active awareness can be practically applied by building two proof-of-concept prototypes that implement direct and indirect disclosure respectively. AnyBiff, implementing direct disclosure, allows users to create, share and use shared representations of activities in order to express their current actions and intentions. SphereX, implementing indirect disclosure, represents shared areas of interests or working context, and links sets of activities to these representations. Lastly, I present the results of the qualitative evaluation of the two prototypes and analyse the results with regard to the extent to which they implemented their respective disclosure mechanisms and supported active awareness. Both systems were deployed and tested in real world environments. The results for AnyBiff showed that users developed a wide range of activity representations, some unanticipated, and actively used the system to disclose information. The results further highlighted a number of design considerations relating to the relationship between awareness and communication, and the role of ambiguity. The evaluation of SphereX validated the feasibility of the indirect disclosure approach. However, the study highlighted the challenges of implementing cross-application awareness support and translating the concept to users. The study resulted in design recommendations aimed to improve the implementation of future systems.

Identifying factors that promote consumer behaviours causing expired domestic food waste

Many commentators argue that domestic food waste is strongly influenced by consumer behaviours. This article reports on a study using mixed-methods to identify key factors responsible for promoting consumer behaviours that lead to domestic food waste through the lens of the Value-Belief-Norm (VBN) theory. Based on the study’s findings, three factors are proposed that cause behaviours that lead to food waste: supply knowledge – does a consumer know what food they have available; location knowledge – does a consumer know where to locate food items, and; food literacy – to what degree do past experience and acquired knowledge impact on a consumer’s food consumption and wastage practices. We analyse the study’s findings in light of a review of literature about consumer food wastage behaviours and in turn, present new insights into consumer behaviour, food waste, and the use of technology to reduce food waste.

Ethnography of software maintenance activities in an industrial engineering setup

New technical and procedural interventions are less likely to be adopted in industry, unless they are smoothly integrated into the existing practices of professionals. In this paper, we provide a case study of the use of ethnographic methods for studying software bug-fixing activities at an industrial engineering conglomerate. We aimed at getting an in-depth understanding of software developers' everyday practices in bug-fixing related projects and in turn inform the design of novel productivity tools. The use of ethnography has allowed us to look at the social side of software maintenance practices. In this paper, we highlight: 1) organizational issues that influence bug-fixing activities; 2) social role of bug tracking systems, and; 3) social issues specific to different phases of bug-fixing activities.

UbiOpticon : participatory sousveillance with urban screens and mobile phone cameras

In many cities around the world, surveillance by a pervasive net of CCTV cameras is a common phenomenon in an attempt to uphold safety and security across the urban environment. Video footage is being recorded and stored, sometimes live feeds are being watched in control rooms hidden from public access and view. In this study, we were inspired by Steve Mann’s original work on sousveillance (surveillance from below) to examine how a network of camera equipped urban screens could allow the residents of Oulu in Finland to collaborate on the safekeeping of their city. An agile, rapid prototyping process led to the design, implementation and ‘in the wild’ deployment of the UbiOpticon screen application. Live video streams captured by web cams integrated at the top of 12 distributed urban screens were broadcast and displayed in a matrix arrangement on all screens. The matrix also included live video streams of two roaming mobile phone cameras. In our field study we explored the reactions of passers-by and users of this screen application that seeks to inverse Bentham’s original panopticon by allowing the watched to be watchers at the same time. In addition to the original goal of participatory sousveillance, the system’s live video feature sparked fun and novel user-led apprlopriations.