This paper considers how parents use the social media platform Instagram to facilitate the capture, curation and sharing of 'family snapshots'. Our work draws upon established cross-disciplinary literature relating to film photography and the composition of family albums in order to establish whether social media has changed the way parents visually present their families. We conducted a qualitative visual analysis of a sample of 4,000 photographs collected from Instagram using hashtags relating to children and parenting. We show that the style and composition of snapshots featuring children remains fundamentally unchanged and continues to be dominated by rather bland and idealised images of the happy family and the cute child. In addition, we find that the frequent taking and sharing of photographs via Instagram has inevitably resulted in a more mundane visual catalogue of daily life. We note a tension in the desire to use social media as a means to evidence good parenting, while trying to effectively manage the social identity of the child and finally, we note the reluctance of parents to use their own snapshots to portray family tension or disharmony, but their willingness to use externally generated content for this purpose.

MOOCs by their design are able to reach several thousands of participants with very few instructors creating, delivering and facilitating the content. Participants interact with each other usually with text based asynchronous discussion forums built into the MOOC platform. The purpose of this research is to explore the role of social presence in facilitating peer support among a large community of learners.

This paper investigates the playful photo taking behaviour of teenagers during group visits to two touristic public events (an airshow and a guided tour of a museum). These studies provide the feedback for the iterative development of a smartphone based anonymous image annotation and sharing application. The resulting implications for the design of such photo systems are examined, specifically the appropriateness of opportunistic upload for social media. Playfulness in photography has many implications regarding wider social behaviours. Comic annotations provide the ability to create humorous reinterpretations of photos, and the presence of humour and in-jokes affect the makeup of the audience with whom a group would like to share. It is counter-productive that an application encouraging such limiting behaviours may conflict with the open nature of touristic events. In addition, the shared images have an ephemeral quality and are therefore of transient value (compared to more tangible souvenirs), and their production through the application can ultimately distract from the experience of the visit itself.

There is an identified need for objective, reliable, and scalable methods of measuring and recording sleep. Such methods must be designed for easy integration into people's lives in order to support both sleep therapy and everyday personal informatics. This paper describes the design and evaluation of a mobile phone application to record sleep, the design of which has substantive foundation in clinical sleep research. Two user studies were carried out which demonstrate that the application produces valid measurements of sleep quality and high levels of usability, whilst not seriously disturbing sleep or the sleep environment. These findings suggest that the app is suitable for both everyday sleep monitoring in a personal informatics context, and for integration into sleep interventions.

Automics is a photo-souvenir service which utilises mobile devices to support the capture, sharing and annotation of digital images amongst groups of visitors to theme parks. The prototype service mixes individual and group photo-capture with existing in-park, on-ride photo services, to allow users to create printed photo-stories. Herein we discuss initial fieldwork in theme parks that grounded the design of Automics, our development of the service prototype, and its real-world evaluation with theme park visitors. We relate our findings on user experience of the service to a literature on mobile photoware, finding implications for the design of souvenir services.

Emerging robotic technologies are enabling the control of individual seats on rollercoasters and other thrill rides. We explore the potential of breathing as an effective and engaging way of driving this. Observations and interviews from trials of an enhanced bucking bronco ride show that breath-control is fun, challenging and intelligible, and reveal riders-x tactics as they battled the machine. We conclude that breath control is feasible and appropriate for controlling rides, unpack its important characteristics, and consider how it might be built into future ride systems. We argue that the combination of voluntary and involuntary factors in breathing is especially appealing for controlling rides as it balances game-like elements of skill and learning against the thrill of surrendering control to the machine.

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.

We introduce a location--based game called Feeding Yoshi that provides an example of seamful design, in which key characteristics of its underlying technologies-the coverage and security characteristics of WiFi-are exposed as a core element of gameplay. Feeding Yoshi is also a long--term, wide--area game, being played over a week between three different cities during an initial user study. The study, drawing on participant diaries and interviews, supported by observation and analysis of system logs, reveals players' reactions to the game. We see the different ways in which they embedded play into the patterns of their daily lives, augmenting existing practices and creating new ones, and observe the impact of varying location on both the ease and feel of play. We identify potential design extensions to Feeding Yoshi and conclude that seamful design provides a route to creating engaging experiences that are well adapted to their underlying technologies.

We study a collaborative location-based game in which groups of 'lions' hunt together on a virtual savannah that is overlaid on an open playing field. The game implements a straight-forward approach to location-based triggering in which players must be in the same spatial locale in order to share information and act together. Comparison of video recordings of physical play with system recordings of game events reveals subtle and complex interactions between highly dynamic player behavior and the underlying technology. While players exhibit a fluid approach to group formation, the system embodies a more rigid view, leading to difficulties with sharing context and coordinating actions, most notably when groups of players span virtual locale boundaries or initiate actions while on the move. We propose techniques for extending locales to support more flexible grouping and also discuss the broader implications of our findings for location-based applications in general.