Being guided from one place to another is a pervasive social practice that connects deeply with socially aware robot navigation. We examine how robots come to feature within the organisation of these established and well-worn leading and following practices, practices which are assembled 'in place' by the efforts of individuals and groups that are using robot guides. We deployed mobile robots in a museum context to provide additional information for visitors around multiple sequential exhibits. Our ethnomethodological video-based analysis of interaction centres on how the social organisation of being guided was practically managed by visitors: in initiation of following, doing following, and finding a place to stop. Our study shows how following and being led is more than just a mechanical activity, and describe the implications for socially aware robot navigation in addressing novel technical challenges that a shift in understanding following-leading phenomena presents.

We present the design of the Memory Machine (MeMa), a technology probe that can store, contextualise, and document media to represent memories. We accumulate vast physical and digital possessions throughout our lives, making it difficult to distinguish value in amassed images, albums, videos, mementos, and music. One option we wanted to explore via MeMa was to frame personal memories as a gift, in turn providing a way to revisit, share, and collate personal archives. We deployed MeMa into participants’ homes and tasked them to create a digital gift involving an autobiographical memory. Through qualitative methods we uncovered the experience of twelve gift-givers. We found that the framing as a gift brought meaning to a collection of media, promoting reflection and emotional reminiscence in participants. Our contributions include design implications involving the relationship between emotions, technology, and gifting.

Increasingly, robots are adopted for routine tasks such as cleaning and disinfection of public spaces, raising questions about attitudes and trust of professional cleaners who might in future have robots as teammates, and whether the general public feels reassured when disinfection is carried out by robots. In this paper, we present the results of a mixed-methods user study exploring how trust and reassurance by both professional cleaners and members of the public is affected by the use of a UV-C disinfection robot and information about its performance after disinfecting a simulated classroom. The results show a range of insights for those designing and wishing to deploy UV-C robots: we found that trust and reassurance are affected by information about the UV-C robot’s task performance, with more information coinciding with significantly more agreement to be able to judge that the robot is doing a good job. However, care should be taken when designing information about task performance to avoid misinterpretation. Overall, the results suggest a generally positive picture regarding the use of UV-C disinfecting robots and that cleaning professionals would be happy to have them as their teammates; however, there were also some concerns regarding the effect on less-skilled jobs. Taken together, our results provide considerations to make UV-C robots welcomed by cleaning teams as well as to provide reassurance to space users.

Virtual human technologies are now being widely explored as therapy tools for mental health disorders including depression and anxiety. These technologies leverage the ability of the virtual agents to engage in naturalistic social interactions with a user to elicit behavioural expressions which are indicative of depression and anxiety. Research efforts have focused on optimising the human-like expressive capabilities of the virtual human, but less attention has been given to investigating the effect of virtual human mediation on the expressivity of the user. In addition, it is still not clear what an optimal task is or what task characteristics are likely to sustain long term user engagement. To this end, this paper describes the design and evaluation of virtual human-mediated tasks in a user study of 56 participants. Half the participants complete tasks guided by a virtual human, while the other half are guided by text on screen. Self-reported PHQ9 scores, biosignals and participants' ratings of tasks are collected. Findings show that virtual-human mediation influences behavioural expressiveness and this observation differs for different depression severity levels. It further shows that virtual human mediation improves users' disposition towards tasks.

Creating and utilizing simple links between items and locations in map-based systems has become a mainstream component of modern computing. In this paper, we explore support for "art mapping", an activity that requires consideration of more complex interpretations of spatial relationships as users engage with identifying locations of relevance to artworks. Through a user study of the ArtMaps platform, and an exploratory study with professional artists, we identify diverse interpretations of spatial meaning in relation to art. We find that art mapping highlights potential for more active engagement with art through technology, but challenges existing systems for spatial representation. Through connecting our findings with work on designing for interpretation, and on space and place in HCI, we contribute new understanding of creating engagement through the spatial interpretation of art, and define potential characteristics and uses of holistic "footprints" for artworks.

There has been a massive growth in the number of people who film and upload amateur footage of events to services such as Facebook and Youtube, or even stream live to services such as LiveStream. We present an exploratory study that investigates the potential of these spectators in creating footage en masse; in this case, during a live trial at a local marathon. We deployed a prototype app, RunSpotRun, as a technology probe to see what kinds of footage spectators would produce. We present an analysis of this footage in terms of its coverage, quality, and contents, and also discuss the implications for a) spectators enjoying the race, and b) extracting the stories of individual runners throughout the race. We conclude with a discussion of the challenges that remain for deploying such technology at a larger scale.

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.

A study of an interactive artwork shows how artists engaged the public with scientific climate change data. The artwork visualised live environmental data collected from remote trees, alongside both historical and forecast global CO2 data. Visitors also took part in a mobile sensing experience in a nearby forest. Our study draws on the perspectives of the artists, visitors and a climate scientist to reveal how the work was designed and experienced. We show that the artists adopted a distinct approach that fostered an emotional engagement with data rather than an informative or persuasive one. We chart the performative strategies they used to achieve this including sensory engagement with data, a temporal structure that balanced liveness with slowness, and the juxtaposition of different treatments of the data to enable interpretation and dialogue.