Current discussion on AI often presents binary for/against stances, making it difficult to foster nuanced discourse. But how can we as designers, developers, researchers, and artists communicate the nuances of our work to non-experts? Art can be a powerful medium for public engagement prompting reflection on complex topics. We examine audience engagement with Cat Royale, an artwork that invited audiences to reflect on AI, robotics, and the trust we place in them. We show that constructing and presenting an art installation as a deliberately ambiguous interface can provoke and encourage critical reflection, and we argue for the importance of making abstract technologies, such as AI, tangible and relatable through concrete examples, including artworks. Finally, we examine forms of ambiguity that arise at the intersection of AI and public engagement, and propose two new kinds relevant to the future of beyond-human interaction in HCI: moral ambiguity and ambiguity of species.

The fourth workshop on Explainable AI for the Arts (XAIxArts) continues to bring together and expand a community of researchers and creative practitioners in Human-Computer Interaction (HCI), Interaction Design, AI, eXplainable AI (XAI), and Digital Arts to explore the role of XAI for the Arts. XAI is a key concern of Responsible and Human-Centred AI, emphasising HCI techniques that make opaque AI models more understandable to people. XAIxArts offers a distinctive lens to examine explainability through creative and artistic domains. The previous workshops explored the landscape and the speculative futures of AI in creative processes. To respond to emerging challenges and contribute to creative and societal transformation more broadly, this workshop focuses on the operationalisation of XAI in the Arts. Specifically, we will: i) critically reflect on emerging practices that encourage diversity and inclusivity in XAI; ii) collectively ideate a library of missing projects to encourage future collaborations and speculations; iii) scope the development of a resource hub for open XAIxArts projects to archive tangible XAI interventions and facilitate future community building with the wider discourse on Human-Centred AI.

Location-based games (LBGs) merge digital play with physical environments, creating hybrid spaces that require players to navigate complex trust dynamics. Despite their global popularity, LBGs introduce unique challenges around fairness, safety, and privacy, spanning interactions among players, game systems, local communities, and non-players in shared public spaces. To examine how trust is perceived, built, and sustained in these environments, we conducted in-depth interviews with 26 players of four major LBGs: Pokémon GO, Monster Hunter Now, Ingress, and Pikmin Bloom. Using reflexive thematic analysis, we identified dynamics of trust across four trustor–trustee relationships: player–system, player–player, player–community, and player–non-player in five key aspects: fair play, location privacy, online vetting, hybrid interaction, and public play. Drawing on our findings, we propose a trust model for analyzing and designing trust in LBGs as hybrid spaces, and we outline design implications aimed at strengthening trust building and sustaining trustworthy interactions across the LBG ecology.

Emerging multimodal conversational search (MCS) tools (e.g., Gemini Live) allow users to search for spatiotemporal information through natural language dialogues as they move through urban space. Despite the growing popularity of these tools, there is limited understanding of how people engage with this technology. To address this gap, we developed UrbanSearch, an MCS technology probe designed to capture the user’s current geolocation, time, and visual surroundings. A contextual inquiry (N=23) revealed that MCS tools provide two core values: requiring low effort in forming queries while offering highly relevant responses, and functioning as a central information gateway. As a promising technology, MCS supports environmental learning, in-situ decision making, and personalized navigation. Participants also revealed unmet needs for spatial reasoning and transparent integration of multi-source information, along with concerns related to peripheral awareness, social context, and personal space. Drawing from the findings, we discuss design implications for future MCS tools in urban spaces.

This paper introduces a novel methodological approach for surfacing the acceptability and adoption challenges that confront future and emerging technologies from the perspective of mundane action, in which they will ultimately be embedded and used. This novel approach configures design fiction as a breaching experiment to surface taken for granted background expectancies that are fateful for acceptability and adoption. We explain the logic of this new interdisciplinary method and present a concrete case to demonstrate its viability: a design fiction called Experiencing the Future Mundane (EFM), which depicts a future world in which watching TV is driven by smart adaptive media. We explicate the design of the EFM, how it was configured to breach common sense knowledge and surface taken for granted background expectancies concerning how watching TV works and is expected to work, the acceptability and adoption challenges that emerge from user engagement with the experience, and how this novel approach may be adopted more broadly.

The third workshop on Explainable AI for the Arts (XAIxArts) continues to bring together and expand a community of researchers and creative practitioners in Human-Computer Interaction (HCI), Interaction Design, AI, explainable AI (XAI), and Digital Arts to explore the role of XAI for the Arts.XAI is a key concern of Responsible and Human-Centred AI, emphasising the use of HCI techniques to explore how to make complicated and opaque AI models more understandable to people.The previous workshops moved from mapping the landscape of XAI for the Arts to co-developing an XAIxArts manifesto.To continue driving discourse on XAIxArts, the anticipated outcomes of this workshop are: i) fresh insights into the evolving challenges of AI bias, lack of transparency and barriers to inclusivity through discussion of current and emerging XAIxArts practices; ii) co-developed speculative futures which expand XAIxArts discourse beyond post-hoc rationalisations of AI decisions into the imaginative possibilities of AI as an interlocutor in the creative process; iii) plans for a co-developed proposal of an edited book on XAIxArts; and iv) community expansion and engagement in wider discourses on Responsible and Human-Centred AI.

Tasks in augmented reality (AR), such as 3D interaction and instructional comprehension, are often designed for users with uniform sensory abilities. Such an approach, however, can overlook the more nuanced needs of Deaf and Hard of Hearing (DHH) users who might have reduced auditory perception. To better understand these challenges, our study utilized the single-player AR game Angry Birds AR as a probe to explore how 11 DHH participants and 15 hearing participants experienced AR interactions. Our findings highlight that DHH users prefer interaction based on context, effective haptic cues, audio cue substitutes, and clear instructional design. We, therefore, propose the following design recommendations to enhance the accessibility of AR for DHH users. This includes customizable UI options, modular feedback systems, and virtual avatars for sign language instructions.

Shared Augmented Reality (Shared AR) is an emerging technology that enables multiple users to interact synchronously within a collocated AR environment. Yet, there is limited research on the group interactions and dynamics in Shared AR, particularly in the context of gaming. To address this gap, we investigate Shared AR group interactions using a phone-based Shared AR mobile game called Urban Legends . Through in situ observations, focus groups, and one-on-one interviews with 22 participants, we examine how users collaborate and communicate within the game. Our findings reveal that while verbal communication predominates, non-verbal cues are often overlooked by collocated participants, and users initially struggle to recognize the expansive virtual space and the need for physical movement. Over time, users adapt to the hybrid environment, demonstrating increasing spatial awareness and more dynamic collaboration. Based on these insights, we present a suite of design recommendations for enhancing spatial awareness, supporting multi-modal communication, and fostering engaging group dynamics in future Shared AR applications.

This second workshop on explainable AI for the Arts (XAIxArts) brings together a community of researchers and creative practitioners in Human-Computer Interaction (HCI), Interaction Design, AI, explainable AI (XAI), and Digital Arts to explore the role of XAI for the Arts. XAI is a core concern of Human-Centred AI and relies heavily on HCI techniques to explore how to make complex and difficult to understand AI models more understandable to people. Our first workshop explored the landscape of XAIxArts and identified emergent themes. To move the discourse on XAIxArts forward and to contribute to Human-Centred AI more broadly this workshop will: i) bring researchers together to expand the XAIxArts community; ii) collect and critically reflect on current and emerging XAIxArts practice; iii) co-develop a manifesto for XAIxArts; iv) co-develop a proposal for an edited book on XAIxArts; v) engage with the wider discourse on Human-Centred AI.

While ethical challenges are widely discussed in HCI, far less is reported about the ethical processes that researchers routinely navigate. We reflect on a multispecies project that negotiated an especially complex ethical approval process. Cat Royale was an artist-led exploration of creating an artwork to engage audiences in exploring trust in autonomous systems. The artwork took the form of a robot that played with three cats. Gaining ethical approval required an extensive dialogue with three Institutional Review Boards (IRBs) covering computer science, veterinary science and animal welfare, raising tensions around the welfare of the cats, perceived benefits and appropriate methods, and reputational risk to the University. To reveal these tensions we introduce beneficiary-epistemology space, that makes explicit who benefits from research (humans or animals) and underlying epistemologies. Positioning projects and IRBs in this space can help clarify tensions and highlight opportunities to recruit additional expertise.

Co-located collaborative shared augmented reality (CS-AR) environments have gained considerable research attention, mainly focusing on design, implementation, accuracy, and usability. Yet, a gap persists in our understanding regarding the accessibility and inclusivity of such environments for diverse user groups, such as deaf and Hard of Hearing (DHH) people. To investigate this domain, we used Urban Legends, a multiplayer game in a co-located CS-AR setting. We conducted a user study followed by one-on-one interviews with 17 DHH participants. Our findings revealed the usage of multimodal communication (verbal and non-verbal) before and during the game, impacting the amount of collaboration among participants and how their coordination with AR components, their surroundings, and other participants improved throughout the rounds. We utilize our data to propose design enhancements, including onscreen visuals and speech-to-text transcription, centered on participant perspectives and our analysis.

We reflect on the design of a multispecies world centred around a bespoke enclosure in which three cats and a robot arm coexist for six hours a day during a twelve-day installation as part of an artist-led project. In this paper, we present the project’s design process, encompassing various interconnected components, including the cats, the robot and its autonomous systems, the custom end-effectors and robot attachments, the diverse roles of the humans-in-the-loop, and the custom-designed enclosure. Subsequently, we provide a detailed account of key moments during the deployment and discuss the design implications for future multispecies systems. Specifically, we argue that designing the technology and its interactions is not sufficient, but that it is equally important to consider the design of the ‘world’ in which the technology operates. Finally, we highlight the necessity of human involvement in areas such as breakdown recovery, animal welfare, and their role as audience.

As novel media experiences turn towards audience personal data for enhancement, a range of socio-technical challenges that confront their adoption into the everyday lives of audiences are simultaneously surfaced. Podcasts, being the latest member of this emergent phenomena help present the next generation of challenges here like the management of trust within scenarios of implicit (audio-based experiences’) data collection and the consideration for real world social scenarios where these media experiences are shared. This paper reports the conceptualisation and design phase of the first adaptive podcast that seeks to explore these questions of management of trust and sociality of data through the application of the principles of Human Data Interaction, particularly the provision of scope for user data negotiations.

This first workshop on explainable AI for the Arts (XAIxArts) brings together a community of researchers and creative practitioners in Human-Computer Interaction (HCI), Interaction Design, AI, explainable AI (XAI), and Digital Arts to explore the role of XAI for the Arts. XAI is a core concern of Human-Centred AI and relies heavily on HCI techniques to explore how complex and difficult to understand AI models such as deep learning techniques can be made more understandable to people. However, XAI research has primarily focused on work-oriented and task-oriented explanations of AI and there has been little research on XAI for creative domains such as the Arts. This workshop will: i) build an XAIxArts research community; ii) map out the current and future possible landscapes of XAIxArts; iii) critically reflect on the potential of XAI for the Arts, forming the basis for an edited book on XAIxArts and an international network of researchers.

Crowdsourcing in China is a thriving industry. Among its most interesting structures, we find crowdfarms, in which crowdworkers self-organize as small organizations to tackle macrotasks. Little, however, is known as to which practices these crowdfarms use to tackle the macrotasks, and this goes hand in hand with the current practice of the HCI research community to treat all forms of complex crowdsourcing work as practically the same. However, macrotasks differ substantially regarding structure and decomposability. Treating them under one umbrella term - macrotasking - can lead to an imprecise understanding of the workforce involved. We address this gap by examining the work practices of 31 Chinese crowdfarms on the four main macrotask types, namely: modular, interlaced, wicked, and container macrotasks. Our results confirm essential differences in how these nascent crowd organizations address different macrotasks and shed light on what platforms can do to improve the uptake of such work.

Abstract Chatbot-based tools are becoming pervasive in multiple domains from commercial websites to rehabilitation applications. Only recently, an eleven-item satisfaction inventory was developed (the ChatBot Usability Scale, BUS-11) to help designers in the assessment process of their systems. The BUS-11 has been validated in multiple contexts and languages, i.e., English, German, Dutch, and Spanish. This scale forms a solid platform enabling designers to rapidly assess chatbots both during and after the design process. The present work aims to adapt and validate the BUS-11 inventory in Italian. A total of 1360 questionnaires were collected which related to a total of 10 Italian chatbot-based systems using the BUS-11 inventory and also using the lite version of the Usability Metrics for User eXperience for convergent validity purposes. The Italian version of the BUS-11 was adapted in terms of the wording of one item, and a Multi-Group Confirmatory Factorial Analysis was performed to establish the factorial structure of the scale and compare the effects of the wording adaptation. Results indicate that the adapted Italian version of the scale matches the expected factorial structure of the original scale. The Italian BUS-11 is highly reliable (Cronbach alpha: 0.921), and it correlates to other measures of satisfaction (e.g., UMUX-Lite, τb = 0.67; p < .001) by also offering specific insights regarding the chatbots’ characteristics. The Italian BUS-11 can be confidently used by chatbot designers to assess the satisfaction of their users during formative or summative tests.

Abstract The Bot Usability Scale (BUS) is a standardised tool to assess and compare the satisfaction of users after interacting with chatbots to support the development of usable conversational systems. The English version of the 15-item BUS scale (BUS-15) was the result of an exploratory factorial analysis; a confirmatory factorial analysis tests the replicability of the initial model and further explores the properties of the scale aiming to optimise this tool seeking for the stability of the original model, the potential reduction of items, and testing multiple language versions of the scale. BUS-15 and the usability metrics for user experience (UMUX-LITE), used here for convergent validity purposes, were translated from English to Spanish, German, and Dutch. A total of 1292 questionnaires were completed in multiple languages; these were collected from 209 participants interacting with an overall pool of 26 chatbots. BUS-15 was acceptably reliable; however, a shorter and more reliable solution with 11 items (BUS-11) emerged from the data. The satisfaction ratings obtained with the translated version of BUS-11 were not significantly different from the original version in English, suggesting that the BUS-11 could be used in multiple languages. The results also suggested that the age of participants seems to affect the evaluation when using the scale, with older participants significantly rating the chatbots as less satisfactory, when compared to younger participants. In line with the expectations, based on reliability, BUS-11 positively correlates with UMUX-LITE scale. The new version of the scale (BUS-11) aims to facilitate the evaluation with chatbots, and its diffusion could help practitioners to compare the performances and benchmark chatbots during the product assessment stage. This tool could be a way to harmonise and enable comparability in the field of human and conversational agent interaction.

Abstract Standardised tools to assess a user’s satisfaction with the experience of using chatbots and conversational agents are currently unavailable. This work describes four studies, including a systematic literature review, with an overall sample of 141 participants in the survey (experts and novices), focus group sessions and testing of chatbots to (i) define attributes to assess the quality of interaction with chatbots and (ii) the designing and piloting a new scale to measure satisfaction after the experience with chatbots. Two instruments were developed: (i) A diagnostic tool in the form of a checklist (BOT-Check). This tool is a development of previous works which can be used reliably to check the quality of a chatbots experience in line with commonplace principles. (ii) A 15-item questionnaire (BOT Usability Scale, BUS-15) with estimated reliability between .76 and .87 distributed in five factors. BUS-15 strongly correlates with UMUX-LITE by enabling designers to consider a broader range of aspects usually not considered in satisfaction tools for non-conversational agents, e.g. conversational efficiency and accessibility, quality of the chatbot’s functionality and so on. Despite the convincing psychometric properties, BUS-15 requires further testing and validation. Designers can use it as a tool to assess products, thus building independent databases for future evaluation of its reliability, validity and sensitivity.

Crowdsourcing is a new value creation business model. Annual revenue of the Chinese market alone is hundreds of millions of dollars, yet few studies have focused on the practices of the Chinese crowdsourcing workforce, and those that do mainly focus on solo crowdworkers. We have extended our study of solo crowdworker practices to include crowdfarms, a relatively new entry to the gig economy: small companies that carry out crowdwork as a key part of their business. We report here on interviews of people who work in 53 crowdfarms. We describe how crowdfarms procure jobs, carry out macrotasks and microtasks, manage their reputation, and employ different management practices to motivate crowdworkers and customers.

Recent research highlights the potential of crowdsourcing in China. Yet very few studies explore the workplace context and experiences of Chinese crowdworkers. Those that do, focus mainly on the work experiences of solo crowdworkers but do not deal with issues pertaining to the substantial amount of people working in 'crowdfarms'. This article addresses this gap as one of its primary concerns. Drawing on a study that involves 48 participants, our research explores, compares and contrasts the work experiences of solo crowdworkers to those of crowdfarm workers. Our findings illustrate that the work experiences and context of the solo workers and crowdfarm workers are substantially different, with regards to their motivations, the ways they engage with crowdsourcing, the tasks they work on, and the crowdsourcing platforms they utilize. Overall, our study contributes to furthering the understandings on the work experiences of crowdworkers in China.

Abstract In recent years, machine learning has developed rapidly, enabling the development of applications with high levels of recognition accuracy relating to the use of speech and images. However, other types of data to which these models can be applied have not yet been explored as thoroughly. Labelling is an indispensable stage of data pre-processing that can be particularly challenging, especially when applied to single or multi-model real-time sensor data collection approaches. Currently, real-time sensor data labelling is an unwieldy process, with a limited range of tools available and poor performance characteristics, which can lead to the performance of the machine learning models being compromised. In this paper, we introduce new techniques for labelling at the point of collection coupled with a pilot study and a systematic performance comparison of two popular types of deep neural networks running on five custom built devices and a comparative mobile app (68.5–89% accuracy within-device GRU model, 92.8% highest LSTM model accuracy). These devices are designed to enable real-time labelling with various buttons, slide potentiometer and force sensors. This exploratory work illustrates several key features that inform the design of data collection tools that can help researchers select and apply appropriate labelling techniques to their work. We also identify common bottlenecks in each architecture and provide field tested guidelines to assist in building adaptive, high-performance edge solutions.

Expressions of territoriality have been positioned as one of the main reasons users alter their behaviors and perceptions of spatiality and sociality while engaging with location-based social networks (LBSN). Despite the potential for this interplay to further our understanding of LBSN usage in the context of identity, very little work has actually been done toward this. Addressing this gap in the literature is one of the chief aims of the article. Drawing on an original 6-week study with 42 participants utilizing a bespoke LBSN entitled “GeoMoments,” our research explores the following: (1) the way that territoriality is linked to self-identity; and (2) how this interplay affects the interactions between users as well as the environments they inhabit. Our findings suggest that participants affirmed their self-identity by selectively posting and claiming ownership of their neighborhood through the LBSN. Here, the locative decisions are made related to risk, hierarchies, and the users’ relationship to the area. This practice then led participants to discover and interact with the digital information overlaying their physical environments in a playful manner. These interactions demonstrate the perceived power structures that are facilitated by identity claims over a virtual area. In the main, our results reaffirm that territoriality is a central concept in understanding LBSN use, while also drawing attention to the temporality involved in user-to-user and user-to-place interactions pertaining to physical place mediated by LBSN.

Guitars are physical instruments that require skillful two-handed use. Their use is also supported by diverse digital and physical resources, such as videos and chord charts. To understand the challenges of interacting with supporting resources at the same time as playing we conducted an ethnographic study of the preparation activities of working musicians. We observe successive stages of individual and collaborative preparation, in which working musicians engage with a diverse range of digital and physical resources to support their preparation. Interaction with this complex ecology of digital and physical resources is finely interwoven into their embodied musical practices, which are usually encumbered by having their instrument in hand, and often by playing. We identify challenges for augmenting guitars within the rehearsal process by supporting interaction that is encumbered, contextual and connected, and suggest a range of possible responses.

In recent years, mobile phone technology has taken tremendous leaps and bounds to enable all types of sensing applications and interaction methods, including mobile journaling and self-reporting to add metadata and to label sensor data streams. Mobile self-report techniques are used to record user ratings of their experiences during structured studies, instead of traditional paper-based surveys. These techniques can be timely and convenient when data are collected “in the wild”. This paper proposes three new viable methods for mobile self-reporting projects and in real-life settings such as recording weather information or urban noise mapping. These techniques are Volume Buttons control, NFC-on-Body, and NFC-on-Wall. This work also provides an experimental and comparative analysis of various self-report techniques regarding user preferences and submission rates based on a series of user experiments. The statistical analysis of our data showed that pressing screen buttons and screen touch allowed for higher labelling rates, while Volume Buttons proved to be more valuable when users engaged in other activities, e.g. while walking. Similarly, based on participants’ preferences, we found that NFC labelling was also an easy and intuitive technique when used in the context of self-reporting and place-tagging. Our hope is that by reviewing current self-reporting interfaces and user requirements, we will be able to enable new forms of self-reporting technologies that were not possible before.

We report on the design, premiere and public evaluation of a multifaceted audience interface for a complex non-linear musical performance called Climb! which is particularly suited to being experienced more than once. This interface is designed to enable audiences to understand and appreciate the work, and integrates a physical instrument and staging, projected visuals, personal devices and an online archive. A public premiere concert comprising two performances of Climb! revealed how the audience reoriented to the second performance through growing understanding and comparison to the first. Using trajectories as an analytical framework for the audience 'journey' made apparent: how the trajectories of a single performance are embedded within the larger trajectories of a concert and the creative work as a whole; the distinctive demands of understanding and interpretation; and the potential of the archive in enabling appreciation across repeated performances.

We report lessons from iteratively developing a music recognition system to enable a wide range of musicians to embed musical codes into their typical performance practice. The musician composes fragments of music that can be played back with varying levels of embellishment, disguise and looseness to trigger digital interactions. We collaborated with twenty-three musicians, spanning professionals to amateurs and working with a variety of instruments. We chart the rapid evolution of the system to meet their needs as they strove to integrate music recognition technology into their performance practice, introducing multiple features to enable them to trade-off reliability with musical expression. Collectively, these support the idea of deliberately introducing "looseness" into interactive systems by addressing the three key challenges of control, feedback and attunement, and highlight the potential role for written notations in other recognition-based systems.

This paper reflects on the dynamics and practices of building a maker community around a new hardware platform. We examine the factors promoting the successful uptake of a maker platform from two perspectives: first, we investigate the technical and user experience considerations that users identify as the most important. Second, we explore the specific activities that help attract a community and encourage sustained participation. We present an inductive approach based on the case study of Bela, an embedded platform for creating interactive audio systems. The technical design and community building processes are detailed, culminating in a successful crowdfunding campaign. To further understand the community dynamics, the paper also presents an intensive three-day workshop with eight digital musical instrument designers. From observations and interviews, we reflect on the relationship between the platform and the community and offer suggestions for HCI researchers and practitioners interested in establishing their own maker communities.

In this paper we use results from two ethnographic studies of the music production process to examine some key issues regarding how work is currently accomplished in studio production environments. These issues relate in particular to workflows and how metadata is adapted to the specific needs of specific parts of the process. We find that there can be significant tensions between how reasoning is applied to metadata at different stages of production and that this can lead to overheads where metadata has to be either changed or created anew to make the process work. On the basis of these findings we articulate some of the potential solutions we are now examining. These centre in particular upon the notions of Digital/Dynamic Musical Objects and flexible metadata shells.

This paper explores the design of digital musical instruments (DMIs) for exploratory play. Based on Gaver's principles of ludic design, we examine the ways in which people come to terms with an unfamiliar musical interface. We describe two workshops with the D-Box, a DMI designed to be modified and hacked by the user. The operation of the D-Box is deliberately left ambiguous to encourage users to develop their own meanings and interaction techniques. During the workshops we observed emergent patterns of exploration which revealed a rich process of exploratory play. We discuss our observations in relation to previous literature on appropriation, ambiguity and ludic engagement, and we provide recommendations for the design of playful and exploratory interfaces.

We explore how physical artefacts can be connected to digital records of where they have been, who they have encountered and what has happened to them, and how this can enhance their meaning and utility. We describe how a travelling technology probe in the form of an augmented acoustic guitar engaged users in a design conversation as it visited homes, studios, gigs, workshops and lessons, and how this revealed the diversity and utility of its digital record. We describe how this record was captured and flexibly mapped to the physical guitar and proxy artefacts. We contribute a conceptual framework for accountable artefacts that articulates how multiple and complex mappings between physical artefacts and their digital records may be created, appropriated, shared and interrogated to deliver accounts of provenance and use as well as methodological reflections on technology probes.

This series of studies make it clear that a wide range of both physical and digital resources are involved in domestic music consumption. The selection of digital resources is particularly evident, and it can be observed that domestic music consumption is a fragmented business, taking advantage of many different “channels” for getting, using and preparing music. While there are not a series of common channels, each home displayed a variety of methods in respect to using metadata in multiple different modalities: regardless, the activities involved in getting, using and preparing music cohere through a noticeable, emergent set of workflows . We find that not only does metadata support searching, as one might expect, but also it pervades all parts of the workflow and is used in real-time as a reflexive artifact and in terms of its future perceived/prescribed use. The findings of the research raise a series of possibilities and issues that form the basis for understanding and designing for metadata use.

This paper reports on a study of 4CG, a cooperative enterprise located in rural Wales. 4CG operates for the good of the local economy and seeks to diversify its commercial portfolio through the creation of an online shop retailing goods and services from local suppliers. The paper compliments prior field studies focusing on rural enterprise and the challenges posed by this category of business for IT support. The current study is motivated by 4CG’s interest in setting up a local online shop and explicates the organisational issues that this venture turns upon and elaborates for broader sustainability agendas.

Abstract Pervasive sensing has opened up new opportunities for measuring our feelings and understanding our behavior by monitoring our affective states while mobile. This review paper surveys pervasive affect sensing by examining and considering three major elements of affective pervasive systems, namely “sensing,” “analysis,” and “application.” Sensing investigates the different sensing modalities that are used in existing real-time affective applications, analysis explores different approaches to emotion recognition and visualization based on different types of collected data, and application investigates different leading areas of affective applications. For each of the three aspects, the paper includes an extensive survey of the literature and finally outlines some of challenges and future research opportunities of affective sensing in the context of pervasive computing.

This paper discusses the design, development and deployment of a large projected multi-touch surface within a rural context. Based on our previous work we deployed the system and worked in a real world setting in order to understand how it might be used in this particular scenario and to further understand the issues involved in using such systems in a rural context. Such systems are often deployed in urban or lab-based scenarios, however rural settings come with their own set of issues that can often make them very different in terms of design implications from urban settings, and it is important to understand how these issues can impact upon both the design of the interface and the whole system. This innovative research engaged with the local community and this enabled us to further understand how we might advance the use of the system, in terms of its interface, software architecture and physical design. This paper discusses the impetus for the design of the system, the methods we used to frame our studies, the technical development and design of the system, and some findings from the actual deployment.

Our natural environment is complex and sensitive, and is home to a number of species on the verge of extinction. Surveying is one approach to their preservation, and can be supported by technology. This paper presents the deployment of a smartphone-based citizen science biodiversity application. Our findings from interviews with members of the biodiversity community revealed a tension between the technology and their established working practices. From our experience, we present a series of general guidelines for those designing citizen science apps.

This paper reports on a field study of small market in Wales undertaken as part of broader research project aimed at developing IT solutions to support rural enterprise. The project is predicated on the assumption that the primary challenge facing rural enterprise is that of scale and that IT solutions could and should add value by enabling growth. The study suggests that many rural enterprises are micro in character, that they are not driven by the need to grow, and that value is and can be added in different ways that reflect the social values oriented to and employed by micro businesses and their consumers. The paper elaborates vernacular understandings of supply chains and their coordination, along with business and consumer motivations to consider alternative possibilities for design that place emphasis on making micro rural enterprise "pay a bit better" rather than scaling it up.

Participate was a 3-year collaboration between industry and academia to explore how mobile, Web and broadcast technologies could combine to deliver environmental campaigns. In a series of pilot projects, schools used mobile sensors to enhance science learning; visitors to an ecological attraction employed mobile phones to access and generate locative media; and the public played a mobile phone game that challenged their environmental behaviours. Key elements of these were carried forward into an integrated trial in which participants were assigned a series of environmental missions as part of an overarching narrative that was delivered across mobile, broadcast and Web platforms. These experiences use a three-layered structure for campaigns that draw on experts, local groups and the general public, who engage through a combination of playful characterisation and social networking.

There is a growing emphasis in many countries on matters such as participation in e-government, e-democracy, the provision of forums for online debate, and so on. A critical issue in all of these cases is one of encouraging engagement across a broad spectrum of potentially interested parties and stakeholders. In this paper, we use an ethnographic study of an online event, designed to encourage debate, to explore some critical issues in how the mechanisms productive of debate have shifted in company with the Web 2.0 phenomenon. By contrasting this with a prior study of how players managed their gameplay in a multiplayer pervasive game, we focus upon how different ways of constructing games and events can have serious implications for their ordinary everyday reportability in routine face-to-face interactions. We conclude that designing for reportability should be an active consideration when designing the resources for online debate and consider some ways in which that might be accomplished.

This work proposes a system for rating shops and for monitoring the cell phone-based emotion responses of customers in a shopping mall environment. To measure customer satisfaction in a shopping environment, a mobile, non-intrusive and comfortable wearable biosensor is used to measure the Electro dermal Activity (EDA) of the shopper. The users' proximity to the store is detected using NFC tags that report to the custom application on the mobile phone. The custom emotion recognition software analyses these streams of data in real-time and associates emotion levels to each event. The aim of this project is to demonstrate the possibility of using pervasive affective computing to explicate consumer behavior towards the stores in shopping malls. By triggering positive emotions through enhancing services and improving advertising campaigns, retailers can trigger positive emotional states, which ultimately contribute to a positive and memorable shopping experience.

This paper presents some initial findings, which form a set of design implications from a study that relates to the increasingly popular activity of people setting up moth traps in private gardens. Moth trapping can either be done by an individual or a small group and involves setting a trap that will safely catch moths overnight. The trap is opened in the morning and the contents identified and recorded. This information is usually reported to the local records centre (LRC). This research is based on a rapid ethnographic study and interviews, which demonstrate a series of intervention points that would augment this branch of citizen science, (also known as crowd-sourced science) where mobile ubiquitous technology could both support the fore-mentioned activity and enhance the user's experience. These points relate to: the identification of species; habitat; flight season; verification; learning; reporting; and associated social information sharing.

introduction Share on Introduction to the Special Issue of "The Turn to The Wild" Guest Editors: Andy Crabtree View Profile , Alan Chamberlain View Profile , Rebecca E. Grinter View Profile , Matt Jones View Profile , Tom Rodden View Profile , Yvonne Rogers View Profile Authors Info & Claims ACM Transactions on Computer-Human InteractionVolume 20Issue 3Article No.: 13pp 1–4https://doi.org/10.1145/2491500.2491501Published:01 July 2013Publication History 80citation1,259DownloadsMetricsTotal Citations80Total Downloads1,259Last 12 Months98Last 6 weeks14 Get Citation AlertsNew Citation Alert added!This alert has been successfully added and will be sent to:You will be notified whenever a record that you have chosen has been cited.To manage your alert preferences, click on the button below.Manage my AlertsNew Citation Alert!Please log in to your account Save to BinderSave to BinderCreate a New BinderNameCancelCreateExport CitationPublisher SiteGet Access

We are starting to see a paradigm shift within the field of HCI. We are witnessing researchers leaving the safety and security of their controlled, lab-based environments and moving their research out into 'the wild'. Their studies are carrying out in-situ development and extended engagement, sampling experiences and working with communities in their homes and on the streets. This research has initially focused upon understanding the impacts that technological intervention has upon our day-to-day life and is leading us to explore the ways in which in-situ design, development and evaluation can be used to understand and explore these technological interventions. Is it the case that lab-based studies, taking people out of their natural environment and designing in the lab without long term user engagement are no longer appropriate to properly understand the impacts of technology in the real world?

Ethnographic studies have played a key part in informing the design and development of a multitude of ubiquitous systems, from control room systems to pervasive games. While other papers have often focused on systems developed for urban contexts, this paper presents the initial findings of a study that focuses on a rural produce market in West Wales as a site for ubiquitous multimedia system-based intervention, digital economic considerations and co-design. The findings relate to the initial ethnographic fieldwork, digital-economic considerations for the site, the evolution of a participatory design strategy for developing a Market Portal and - importantly -- the way that these are informing the design of the ubiquitous technologies relating to the Market Portal.

This paper charts the distinctive challenges of designing mobile experiences for cyclists and presents two studies of mobile cycle-based experiences: one a heritage tour; the other an exploration of a city at dusk involving recording and listening to personal stories. To understand the cyclists' experiences questionnaires, interviews and observations are drawn on to derive eight lessons for designing cycle-based interaction including: cycling proficiency, physicality, impact of the environment, media and hardware design, collaboration, and safety. The conclusion is that design has to respect the distinctive nature of cycling as a mode of transport and needs to carefully interweave moments of interaction with it.