Seriously playful : the uses of networked spoof videos in China

This thesis examines online spoof videos in China. It shows the relationship between user-created content and change and how such videos are impacting on social memory. In the West, we are witnessing two outstanding trends in media. On the one hand, media are turning more "demotic" (Turner, 2006) and "participatory" (Jenkins, 2006), whereby lay audiences use popular media for identity formation, representation and association, reconfiguring the media and cultural landscape, and rendering invalid the old paradigm based on the dichotomy of audience and author, creator and consumer, expert and amateur. On the other hand, in both mainstream media and user-creation online there is a trend towards "silly citizenship", with comedy, send-ups and spoofs that used to reside in the margin propelled to the central stage in both pleasure and politics (Hartley, 2010), as is shown in the rising popularity of the Daily Show, Colbert Report, and spoof videos in elections ,e.g. the 2008 presidential election in US (Gray, Jones, & Thompson, 2009; Tryon, 2008). User generated content—and spoof subcultures—is now much a debated phenomenon in China. However, with different political (one party rule and censorship) and cultural (media regarded mainly as instrument for education and social stabilization instead of a critical fourth estate) configurations, will the social and cultural impacts of the two trends in the West be as the same in China? If not, what will be the specificities in the China context? The project starts with a historical review of popular culture and user-created content in China, before turning to spoof videos and looking at how they are produced and shared, travel and diffused on the Internet, and how the communities and sub-cultures forming and emerging around spoof videos are changing the overall cultural landscape in China. By acting as a participant observer in online video sharing sites and conducting face-to face as well as online interviews, I identify lead users and creators of spoof videos and the social networks emerging around them. I call these lead users "skill hubs" and their networks "liquid communities", foregrounding the fact that their appeal doesn’t come from their amicable personality, but rather from their creative skills; and that the networks surrounding them are in a permanent flux, with members coming and going as they see fit. I argue that the "liquidness" (Bauman, 2000) of these communities is what makes them constantly creative and appealing. Textual analysis of online videos, their comments and derivatives are conducted to tease out the uses that that can be made of spoof videos, namely as phatic communication, as alternative memory and as political engagement. Through these analyses I show that spoof videos constitute not only a space where young generations can engage with each other, communicate their anger and dissatisfaction, fun and hope, and where they participate in socio-cultural and political debates, but also create a space where they can experiment with their new skills, new ideas, and new citizenship. The rise of spoof videos heralds the beginning of a trend in popular culture in contemporary China towards the "canonization of the jester" and the dethroning of the establishment. I also argue that a historical perspective is needed to understand the current surge of use creativity and user activism in China, and that many forms of popular media we experience today have their antecedents in various stages of Chinese history. The entrenched "control-resistance" binary is inadequate in interpreting the rich, flux and multilayered Internet space in China.

Positively playful : when videogames lead to player wellbeing

Videogames are an increasingly popular entertainment choice, yet we have a limited understanding of their potential wellbeing benefits. The current research used an online survey (N = 429) to investigate how gameplay choices and the psychological experience of gameplay impact on player wellbeing. Specifically, a hierarchical multiple regression was conducted to determine if, controlling for age and gender, current gameplay choices (amount of play, game genre, mode of play) and play experience (flow, psychological need satisfaction) predicted current wellbeing. Results indicated that age, social play, relatedness during gameplay and flow were positively associated with player wellbeing. Implications for our understanding of player wellbeing, as well as directions for future research are discussed.

The serious and playful work of gender : talk and social order in a preschool classroom

This chapter reports some observations made of the social interactions of girls and boys, aged 3 to 5 years, in play situations in a preschool classroom of a childcare centre. It provides an alternate framework for early childhood educators to become aware of how preschool children construct their gendered social organizations. As girls and boys organise and build their social worlds of play through their talk-in-interaction, they are building their social orders. In this chapter, an analysis of one episode of children's play has, as its focus , the methods that some girls and boys use in their talk and activity to make sense of their everyday interactions. The analysis of play shows the children's real life work of constructing and maintaining gendered social orders in their lived everyday social worlds. A close reading of the transcript of an episode illustrates how two girls turn they boys' masculine practices o ritualized threats into performance. By so doing, they show that while they know masculine discourse, and can perform it themselves, they do not actually 'own' it in the same way that the boys do. In this way, gender is established not as a social density but as a shaped dynamic practice that is ongoing, build by relational encounters and shaped by the collective performances of the participants.

Organizational probes : exploring playful interactions in work environment

Playfulness, with non-intrusive elements, can be considered a useful resource for enhancing social awareness and community building within work organizations. Taking inspirations from the cultural probes approach, we developed organizational probes as a set of investigation tools that could provide useful information about employees’ everyday playful experiences within their work organizations. In an academic work environment, we applied our organizational probes over a period of three weeks. Based on the collected data we developed two design concepts for playful technologies in work environments.

Playful interactions for people with intellectual disabilities

For people with intellectual disabilities, there are significant barriers to inclusion in socially cooperative endeavors. This paper investigates the effectiveness of Stomp, a tangible user interface (TUI) designed to provide new participatory experiences for people with intellectual disability. Results from an observational study reveal the extent to which the Stomp system supports social and physical interaction. The tangible, spatial, and embodied qualities of Stomp result in an experience that does not rely on the acquisition of specific competencies before interaction and engagement can occur.

The internet of playful things

This one-day workshop brings together researchers and practitioners to share knowledge and practices on how people can connect and interact with the Internet of Things in a playful way. Open to participants with a diverse range of interests and expertise, and by exploring novel ways to playfully connect people through their everyday objects and activities, the workshop will facilitate discussion across a range of HCI discipline areas. The outcomes from the workshop will include an archive of participants' initial position papers along with the materials created during the workshop. The result will be a road map to support the development of a Model of Playful Connectedness, focusing on how best to design and make playful networks of things, identifying the challenges that need to be addressed in order to do so.

The lens of ludic engagement : evaluating participation in interactive art installations

Designers and artists have integrated recent advances in interactive, tangible and ubiquitous computing technologies to create new forms of interactive environments in the domains of work, recreation, culture and leisure. Many designs of technology systems begin with the workplace in mind, and with function, ease of use, and efficiency high on the list of priorities. [1] These priorities do not fit well with works designed for an interactive art environment, where the aims are many, and where the focus on utility and functionality is to support a playful, ambiguous or even experimental experience for the participants. To evaluate such works requires an integration of art-criticism techniques with more recent Human Computer Interaction (HCI) methods, and an understanding of the different nature of engagement in these environments. This paper begins a process of mapping a set of priorities for amplifying engagement in interactive art installations. I first define the concept of ludic engagement and its usefulness as a lens for both design and evaluation in these settings. I then detail two fieldwork evaluations I conducted within two exhibitions of interactive artworks, and discuss their outcomes and the future directions of this research.

SCOOT CBN

SCOOT is a hybrid event combining the web, mobile devices, public displays and cultural artifacts across multiple public parks and museums in an effort to increase the perceived and actual access to cultural participation by everyday people. The research field is locative game design and the context was the re-invigoration of public sites as a means for exposing the underlying histories of sites and events. The key question was how to use game play technologies and processes within everyday places in ways that best promote playful and culturally meaningful experiences whilst shifting the loci of control away from commercial and governmental powers. The research methodology was primarily practice led underpinned by ethnographic and action research methods. In 2004 SCOOT established itself as a national leader in the field by demonstrating innovative methods for stimulating rich interactions across diverse urban places using technically-augmented game play. Despite creating a sophisticated range of software and communication tools SCOOT most dramatically highlighted the role of the ubiquitous mobile phone in facilitating socially beneficial experiences. Through working closely with the SCOOT team, collaborating organisations developed important new knowledge around the potential of new technologies and processes for motivating, sustaining and reinvigorating public engagement. Since 2004, SCOOT has been awarded $600,00 in competitive and community funding as well as countless in kind support from partner organisations such as Arts Victoria, National Gallery of Victoria, Melbourne Museum, Australian Centre for the Moving Image, Federation Square, Art Centre of Victoria, The State Library of Victoria, Brisbane River Festival, State Library of Queensland, Brisbane Maritime Museum, Queensland University of Technology, and Victoria University.

Now everything looks like a game : Mobile phones and location-based games.

This paper explores how we may transform peoples’ perceived access to cultural participation by exploiting the possible relationships between place, play and mobile devices. It presents SCOOT; a location-based game in order to investigate how aspects of game-play can be employed to evoke at once playful and culturally meaningful experiences of place. In particular this paper is concerned with how the portable, communicative and social affordances of mobile phones are integral to making a “now everything looks like a game” experience.

Playpolis : transyouth and urban networking in Seoul

The overarching aim of this study is to create new knowledge about how playful interactions (re)create the city via ubiquitous technologies, with an outlook to apply the knowledge for pragmatic innovations in relevant fields such as urban planning and technology development in the future. The study looks at the case of transyouth, the in-between demographic bridging youth and adulthood in Seoul, one of the most connected, densely populated, and quickly transforming metropolises in the world. To unravel the elusiveness of ‘play’ as a subject and the complexity of urban networks, this study takes a three-tier transdisciplinary approach comprised of an extensive literature review, Shared Visual Ethnography (SVE), and interviews with leading industry representatives who design and develop the playscape for Seoul transyouth. Through these methodological tools, the study responds to the following four research aims: 1. Examine the sociocultural, technological, and architectural context of Seoul 2. Investigate Seoul transyouth’s perception of the self and their technosocial environment 3. Identify the pattern of their playful interaction through which meanings of the self and the city are recreated 4. Develop an analytical framework for enactment of play This thesis argues that the city is a contested space that continuously changes through multiple interactions among its constituents on the seam of control and freedom. At the core of this interactive (re)creation process is play. Play is a phenomenon that is enacted at the centre of three inter-related elements of pressure, possibility, and pleasure, the analytical framework this thesis puts forward as a conceptual apparatus for studying play across disciplines. The thesis concludes by illustrating possible trajectories for pragmatic application of the framework for envisioning and building the creative, sustainable, and seductive city.

Ethnography in the kindergarten:examining childrens'play experiences

This paper describes an ethnographic study completed within a kindergarten environment with the view of gaining insights into the development of new technology for young children. Ethnography within HCI has primarily focused on studies of work practices. This project explored the effectiveness of ethnography in supporting the design of playful technology for a constantly changing, creative, and (sometimes) messy environment. The study was effective in drawing out patterns in observations and as such provides useful suggestions for the development of technology for kindergarten settings.

Understanding engagement with tangible user interfaces

This paper examines the issues surrounding the successful design and development of tangible technology for optimal engagement in playful activities. At present there is very little data on how, and in what contexts, tangible interactions with technology promote lasting engagement and immersion. The framework at the core of this paper has been designed to guide the effective design of tangible technology for immersive interaction. The paper investigates the relationship between tangible user interfaces (TUI) characteristics of representation and control, and immersive flow experiences produced through balancing skill and challenge in user interaction.

Lumia : Art | light | motion. The Art of Kuuki.

The State Library of Queensland is delighted to present Lumia: art/light/motion, a culmination of many years of collaboration by the Kuuki collective led by Priscilla Bracks and Gavin Sade. This extraordinary exhibition not only showcases the unique talent of these Queenslanders, it also opens up a world of future possibilities while re-presenting the past and present. These contemporary new media installations sit comfortably within the walls of the library as they are the distinctive products of inquisitive and philosophical minds. In a sense the exhibition highlights the longevity and purposefulness of a cultural learning institution, through the non-traditional use of data, information, research and collection interpretation. The exhibition simultaneously articulates one of our key objectives – to progress the state’s digital agenda. Two academic essays have been commissioned for this joint Kuuki and State Library of Queensland publication. The first is by artist and writer Paul Brown, who has specialised in art, science and technology since the late 1960s and in computational and generative art since the mid 1970s. Brown investigates the history of new media, which is celebrating its 60th anniversary, and clearly places Sade and Bracks at the forefront of this genre nationally. The second essay is by arts writer Linda Carroli, who has delved deeply into the thoughts and processes of the artists to bring to light the complex workings of the artists’ minds. The publication also features an interview Carroli conducted with the artists. This exhibition is playful, informative and contemplative. The audience is invited to play, and consequently to ponder the way we live and the environmental and social implications of our choices. The exhibition tempts us to travel deep into the Antarctic, plunge into the Great Barrier Reef, be swamped by an orchestra of crickets, enter the Charmed world and travel back in time to a Victorian parlour where you can interact with a ‘new-world’ lyrebird and consider a brave new world where our only link to the animal world is with robotic representations. In essence this exhibition is about ideas and knowledge and what better institution than the State Library of Queensland to partner such a project?. State Library is committed to preserving culture, exploring new media and creating new content as a lasting legacy of Queensland for all Queenslanders.

The three little pigs and the art of playfulness

A number of pictorial based texts for children use animals as models for displaying or approaching aspects of childhood. Although authors and illustrators utilise various tactics for including anthropomorphic animals in their books, those that are used as 'surrogate' children can be seen to focus in the main on issues of behaviour, socialisation and maturity - issues that reflect the everyday life of the growing child. This paper aims to explore three pictorial texts that specifically utilise the pig character as a child model, to facilitate for authors/illustrators the opportunity to deal with examples of childhood experience. The paper also tentatively examines how such roles might encourage a reassessment of other more stereotypical associations some audiences have historically/culturally formed about the pig.

Designing for engagement towards healthier lifestyles through food image sharing : the case of I8DAT

This paper introduces the underlying design concepts of I8DAT, a food image sharing application that has been developed as part of a three-year research project – Eat, Cook, Grow: Ubiquitous Technology for Sustainable Food Culture in the City (http://www.urbaninformatics .net/projects/food) – exploring urban food practices to engage people in healthier, more environmentally and socially sustainable eating, cooking, and growing food in their everyday lives. The key aim of the project is to produce actionable knowledge, which is then applied to create and test several accessible, user-centred interactive design solutions that motivate user-engagement through playful and social means rather than authoritative information distribution. Through the design and implementation processes we envisage to integrate these design interventions to create a sustainable food network that is both technical and socio-cultural in nature (technosocial). Our primary research locale is Brisbane, Australia, with additional work carried out in three reference cities with divergent geographic, socio-cultural, and technological backgrounds: Seoul, South Korea, for its global leadership in ubiquitous technology, broadband access, and high population density; Lincoln, UK, for the regional and peri-urban dimension it provides, and Portland, Oregon, US, for its international standing as a hub of the sustainable food movement.