1. A key tenet to this paper’s contribution is the assertion that while there are many specialized terminologies relating to more-than-human design – terms including but not limited to posthumanism...

Video-recording remote interviews can sometimes be necessary or desirable, such as in news broadcasting or documentary-making. However, remote interviews are not currently well-supported by digital tools. Unresolved questions about best practices and the kinds of support needed to facilitate remote interviews have become increasingly relevant since the Covid-19 pandemic. To reflect on these questions and explore the design space for systems to support high quality, remote video-recorded interviews, we conducted an exploratory Research through Design study, drawing on professional media-making techniques, novel interviewing methods and a bespoke intervention: The Interview Box. We provide a detailed summary of our design process and, reflecting on both the successes and failures of our interventions, construct two contributions: technical insights relating to the practical challenges of designing and implementing a remote video interview system, and general insights into the broader interaction design challenges of designing for remote video-recorded interviews.

Virtual Reality nonfiction (VRNF) is an emerging form of immersive media experience created for consumption using panoramic "Virtual Reality" headsets. VRNF promises nonfiction content producers the potential to create new ways for audiences to experience "the real"; allowing viewers to transition from passive spectators to active participants. Our current project is exploring VRNF through a series of ethnographic and experimental studies. In order to document the content available, we embarked on an analysis of VR documentaries produced to date. In this paper, we present an analysis of a representative sample of 150 VRNF titles released between 2012-2018. We identify and quantify 64 characteristics of the medium over this period, discuss how producers are exploiting the affordances of VR, and shed light on new audience roles. Our findings provide insight into the current state of the art in VRNF and provide a digital resource for other researchers in this area.

This study examined whether the high level of immersion provided by HMDs encourages participants to synchronise their attention during viewing. 39 participants watched the 360° documentary “Clouds Over Sidra” using either a HMD or via a flat screen tablet display. We found that the HMD group showed significantly greater overall ISC did the tablet group and that this effect was strongest during transition between scenes.

What is ‘open design’ and who gets to say what it is? In the emerging body of literature on open design, there is a clear alignment to the values and practices of free culture and open source software and hardware. Yet this same literature includes multiple, sometimes even contradictory strands of technology practice and research. These different perspectives can be traced back to free culture advocates from the 1970s to the 1990s who formulated the ideal of the internet as inherently empowering, democratizing, and countercultural. However, more recent approaches include feminist and critical interventions into hacking and making as well as corporate strategies of “open innovation” that bring end-users and consumers into the design process. What remains today seems to fall into two schools of thought. On one hand, we have the celebratory endorsements of ‘openness’ as applied to technology and design. On the other hand, we have a continuous and expanding critique of these very ideals and questions, where that critique identifies persisting forms of racial, gender, age, and class-based exclusions, and questions about the relationship between open design, labor and power remain largely unanswered.

While user participation is central to HCI, co-inquiry takes this further by having participants direct and control research from conceptualisation to completion. We describe a co-inquiry, conducted over 16 months with a Parkinson's support group. We explored how the participation of members might be enabled across multiple stages of a research project, from the generation of research questions to the development of a prototype. Participants directed the research into developing alternative modes of information provision, resulting in 'Parkinson's Radio' -- a collectivist health information service produced and edited by members of the support group. We reflect on how we supported participation at different stages of the project and the successes and challenges faced by the team. We contribute insights into the design of collectivist health technologies for this group, and discuss opportunities and tensions for conducting co-inquiry in HCI research.

Anaphylaxis is a life-threatening allergic reaction which is rapid in onset. Adolescents living with anaphylaxis risk often lack the knowledge and skills required to safely manage their condition or talk to friends about it. We designed an educational intervention comprising group discussion around videos of simulated anaphylaxis scenarios and a mobile application containing video-based branching anaphylaxis narratives. We trialed the intervention with 36 nut allergic adolescents. At 1-year follow-up participants had improved adrenaline auto-injector skills and carriage, disease- and age-specific Quality of Life and confidence in anaphylaxis management. At 3-year follow-up adrenaline carriage improved further and confidence remained higher. Participants expressed how the education session was a turning point in taking control of their allergy and how the app facilitated sharing about anaphylaxis with others. We contribute insights regarding design of mobile self-care and peer-support applications for health in adolescence, and discuss strengths and limitations of video-based mobile health interventions.

Recent innovations in online, social and interactive media have led to the emergence of new forms of documentary, such as interactive documentaries ('i-Docs'), with qualities that lend themselves to more open and inclusive production structures. Still, little is known about the experience of making and/or participating-in these kinds of documentary. Our two-year in-the-wild study engaged a large community-of-interest in the production of an i-Doc to explore the ethically-desirable yet challenging aim of enabling multiple subjects to have agency and control over their representation in a documentary. Our study reveals insights into the experiences of participating in an i-Doc and highlights key sociotechnical challenges. We argue that new sociotechnical infrastructure is needed, that frames both "executory" and "structural" forms of participation as symbiotic elements of a co-design process.

Although many common tools of media making such as video cameras have become more accessible in recent years, many remain inaccessible. Cinematography, lighting and sound-recording equipment for example can be prohibitively expensive to obtain, complex to configure, and/or require specialist knowledge to operate effectively. These barriers can prevent non-professionals who want to produce high-quality media from being able to. Cinehack is an ongoing project to research ways to overcome these barriers. In this paper, we specifically report on Cinehack: Cape Town, a participatory media making project. By co-producing hip hop videos within a community for whom media making is often a "means-to-an-end", we were able gain insights into the kinds of support needed to enable high quality media making by non-professionals. Specifically, we highlight ways to meet users' needs by embracing informal codes of practice via experimental making and peer-support.

Understanding, promoting, and teaching media literacy is an important societal challenge. STEM educators are increasingly looking to incorporate 21st century skills such as media literacy into core subject education. In this paper we investigate how undergraduate Computer Science (CS) students can learn media literacy as a by-product of collaborative video tutorial production. The paper presents a study of 34 third-year CS undergraduates who, as part of their learning, were each asked to produce three video tutorials on Raspberry Pi programming, using a collaborative video production tool for mobile phones (Bootlegger). We provide results of both quantitative and qualitative analysis of the production process and resulting video tutorials, and conclude that the student cohort demonstrated a clear development of media literacy skills. The paper's contribution is twofold. First, we add to the understanding of how the use of mobile collaborative video production technology by non-professionals can help them learn to create meaningful media messages with little scaffolding. Second, we present an alternative pedagogical approach that can help CS students acquire 21st century skills such as media literacy.

This paper presents an ethnographic study exploring the role of props and music in dementia care in order to engage participants and inform design. Our findings extend current understandings of participation to reveal that a more nuanced view of participation is required when designing in the dementia context. Our work suggests that participation in music sessions for people with dementia is about touch and intimacy, connection via movement, shifting roles, materiality and using props to disengage. We discuss these themes, their implications for Experience-Centered Design and offer a set of future directions in designing for and with people with dementia that underpin the participation of people with dementia in a meaningful and enriching way.

We conducted a study to explore the values and qualities of 'grassroots documentaries', framed around the production of two parallel documentary films with a London-based opera company. A team of professional filmmakers produced one film and the other was an exploratory form of grassroots documentary. We studied the different production activities through observations, interviews and a reflective workshop at the end of the study and evaluated the resulting films. Our analysis reveals critical insights that could inform the next generation of technological systems to support user-generated video content (UGVC) production, particularly in collaborative contexts such as grassroots communities.

We present Cinejack, a system for directing narrative video through live musical performance. Cinejack interprets high-level musical content from live instruments and translates it into cinematographic actions such as edits, framings and simulated camera movements. We describe Cinejack's technical development in terms of a novel and highly pragmatic approach to interface design, where the affordances of users' own musical instruments are used as controllers through an interpretive interaction scheme.

Writers and practitioners in dementia care have invoked personhood to offer potential for preserving the agency of people living with dementia. In this context we use personhood to explore how relationships bring agentive potential to experience-centered design through a co-creative, design-led inquiry with Gillian, a woman living with dementia, and John her husband. We designed bespoke probes to empathically engage the couple in the design of both jewellery and digital jewellery to support Gillian's personhood. Our design activity addressed the relationships involved in the context of Gillian's family life and the progression of her illness and how they could be mediated technologically. Reminiscence became, through Gillian and John's own hands, acts of sense making and legacy. The process of design became the way of conducting the inquiry and the designed artifacts became ways of posing questions to make sense of our experiences together.

The Break-Time Barometer is a social awareness system, which was developed as part of an exploratory study of the use of situated sensing and displays to promote cohesion in a newly-dispersed workplace. The Break-Time Barometer specifically aims to use an ambient persuasion approach in order to encourage people to join existing breaks, which take place within this community. Drawing upon a privacy-sensitive ubiquitous sensing infrastructure, the system of-fers information about potentially break-related activity in social spaces within this workplace, including alerts when specific events are detected. The system was developed using a user-centered iterative design approach. A qualitative mixed methods evaluation of a full deployment identified a diverse set of reactions to both the system and the design goal, and further elaborated the challenges of designing for social connectedness in this complex workplace context.

There is an increasing desire to remain connected when physically distant and computer-mediated communication (CMC) is one means of satisfying this desire. In particular, there is a growing trend for individuals to use commercially available technology to connect with friends and family in social and leisure settings. Drawing on this trend, performative arts and existing telecommunications research, we identify the social practice of sharing a meal together as ripe for reinterpretation within CMC. We explore the opportunities to design a technology platform that supports remote guests in experiencing togetherness and playfulness within the practices of a traditional dinner party. Through both visual and aural channels as well as remote agency, the dinner guests were able to share a holistic telematic dining experience comparable to a traditional co-presence dinner. Based on the findings, we propose that one must consider the social structure and cultural background of users to inform the design of a technological intervention.

Invisible Design is a technique for generating insights and ideas with workshop participants in the early stages of concept development. It involves the creation of ambiguous films in which characters discuss a technology that is not directly shown. The technique builds on previous work in HCI on scenarios, persona, theatre, film and ambiguity. The Invisible Design approach is illustrated with three examples from unrelated projects; Biometric Daemon, Panini and Smart Money. The paper presents a qualitative analysis of data from a series of workshops where these Invisible Designs were discussed. The analysis outlines responses to the films in terms of; existing problems, concerns with imagined technologies and design speculation. It is argued that Invisible Design can help to create a space for critical and creative dialogue during participatory concept development.

This paper identifies key themes of expressive interaction for VJs. VJs are visual artists who use digital media to express themselves to an audience during a live audio-visual performance. Those designing for the expressive use of technology can gain insight from an articulation of expressive interaction from the perspective of VJ practice. This is developed using a novel qualitative methodology designed to be sensitive to the subtle and tacit nature of expression. We detail our methodology, present the results of its application to a group of VJs and conclude with a discussion of the implications our findings may have for those wishing to design for VJs, or those in related domains that involve expressive interaction with technology.