Autistic livestreamers use platforms like Twitch for social connection, self-expression, and community, but these spaces also impose ongoing social and emotional demands. Prior work has documented these experiences, but less is known about what autistic creators themselves envision for the tools and platforms they use. We address this gap through a Research through Design (RtD) co-design study with three autistic Twitch streamers, using speculative artefacts as discussion prompts to explore how participants reasoned about potential livestreaming technologies. Across three co-design activities, we identify three overarching tensions shaping autistic streaming practice: Expression versus Misinterpretation and Harm; Public Participation versus Control and Moderation; and Sustainable Practice versus Finite Energy. Our co-designers surfaced constraints, trade-offs, boundaries, and hesitations toward automation, and concerns about managing viewer expectations. This work contributes an account of co-design as a reflective practice with autistic livestreamers, showing how speculative artefacts can surface values, limits, and design reasoning around livestreaming technology.

We explore how centering counter-narratives and counter-memories as data practices through the creation of data portraits offers a framework for ethical engagement with data in the context of understanding and representing feminicide in Mexico. We report findings from an interactive, co-design workshop on “missing” feminicide data in Mexico, in which participants created physical data portraits – visual and material representations of individual lives lost – to challenge the invisibility of feminicide, reclaim presence, and process grief. Using a constructivist grounded theoretical approach as our analytic method, we identify the role of embodied and affective dimensions of data work involved in the creation of counter-memories and counter-narratives using data physicalization. Our work illustrates how data education can be oriented toward centering activist practices that foreground the embodied and affective work of creating counter-memories – a resonant perspective, in which data, as well as, learning with and about data, centers emotional, embodied, and culturally situated ways of knowing through centering transnational feminist solidarities.

We examine online art challenges and their role in encouraging creative practice within online creative communities. While social media platforms often prioritize performance and visibility over unpolished creative work, online art challenge communities persist as community-driven practices that provide structure and connection. Through a qualitative analysis of 17 semi-structured interviews with artists, we explore the motivations, tensions, and practices that shape participation in online art challenge communities. We establish a design space for online art challenges and highlight the value of its different dimensions. Our findings show the importance of supporting sustainable creative practice, as well as the tensions artists face when sharing on large social media platforms. Based on these insights, we identify design directions to better support sustainable creative practice in online art challenges and similar creative communities.

In this work, we compare the designs of two fashion-tech garments that communicate the anxiety felt when walking alone. While the two garments share a common vision, they are designed to be worn in two radically different settings and to communicate to different audiences: one directly communicates an empathetic experience to its wearer; the other a model wears at a runway show and must share its story to a general audience. We used Research Through Design (RtD) methods to design both fashion-tech garments. Then, we recorded and analyzed the design process for both garments via an annotated portfolio to compare how the audience and setting influenced the design approach and the final wearable. In this paper, we describe both fashion-tech designs and a comparison of their respective annotated portfolios. Our analysis highlights how wearable technology must respond to context to continue communicating its story to its intended audience.

We present perspectives from 10 autistic Twitch streamers regarding their experiences as livestreamers and how autism uniquely colors their experiences. Livestreaming offers a social online experience distinct from in-person, face-to-face communication, where autistic people tend to encounter challenges. Our reflexive thematic analysis of interviews with 10 participants showcases autistic livestreamers’ perspectives in their own words. Our findings center on the importance of having streamers establishing connections with other, sharing autistic identities, controlling a space for social interaction, personal growth, and accessibility challenges. In our discussion, we highlight the crucial value of having a medium for autistic representation, as well as design opportunities for streaming platforms to onboard autistic livestreamers and to facilitate livestreamers communication with their audience.

Fashion is driven by a narrative, i.e. a story or idea that the designer wants to convey to the audience. Fashion-tech now adds another dimension to this narrative through dynamically changing aspects of the garments. Many factors of presentation in a runway show affect how fashion-tech garments communicate a story to the audience. In this pictorial, we review a set of twenty-eight storytelling fashion-tech garments. We identify, catalogue, and categorize the factors designers used to convey stories to the audience from the runway. The design space consists of three levels: (1) the artifact-level, (2) the viewer-level, and (3) the context-level. The design space addresses how designers show their story through fashion-tech garments and how audience members see and know those messages. Our work contributes a list of considerations that fashion-tech designers must address early in their design process to effectively convey their story during a runway show presentation.

We interviewed 10 autistic livestreamers to understand their motivations for livestreaming on Twitch. Our participants explained that streaming helped them fulfill social desires by: supporting them in making meaningful social connections with others; giving them a safe space to practice social skills like “small talk”; and empowering them to be autistic role models and to share their true selves. This work offers an early report on how autistic individuals leverage livestreaming as a beneficial social platform while struggling with audience expectations.

Algorithmic Rituals is a facilitated art experience in which visitors create collaborative movement-based “rituals” to reflect on their technology use habits. After generating a series of movements, attendees incorporate rules for how to relate their movements to those of other attendees, which allows patterns and feedback loops to form. The goal of the experience is to provide an embodied way for attendees to explore technosocial issues around algorithmic decision making and habitual technology use and discuss them in an open, facilitated context. The embodied aspects of movement creation provide a dedicated space for reflection and relation to others. The embodied approach exemplified by Algorithmic Rituals is particularly relevant to questions of bridging embodied methods of thinking about technology with the public in the context of the COVID-19 Pandemic.

People are typically involved in different activities while eating, particularly when eating alone, such as watching television or playing games on their phones. Previous research in Human-Food Interaction (HFI) has primarily focused on studying people’s motivation and analyzing of the media content watched while eating. However, their impact on human behavioral and cognitive processes, particularly flavor perception and its attributes, remains underexplored. We present a user study to investigate the influence of six types of videos, including mukbang – a new food video genre, on flavor perceptions (taste sensations, liking, and emotions) while eating plain white rice. Our findings revealed that participants perceived positive emotional changes and reported significant differences in their augmented taste sensations (e.g., spicy and salty) with different food-based videos. Our findings provided insights into using our approach to promote digital commensality and healthier eating (digital augmentation without altering the food), highlighting the scope for future research.

Many instructors in computing and HCI disciplines use hands-on activities for teaching and training new skills. Beyond simply teaching hands-on skills like sketching and programming, instructors also use these activities so students can acquire tacit skills. Yet, current video-conferencing technologies may not effectively support hands-on activities in online teaching contexts. To develop an understanding of the inadequacies of current video-conferencing technologies for hands-on activities, we conducted 15 interviews with university-level instructors who had quickly pivoted their use of hands-on activities to an online context during the early part of the COVID-19 pandemic. Based on our analysis, we uncovered four pedagogical goals that instructors have when using hands-on activities online and how instructors were unable to adequately address them due to the technological limitations of current video-conferencing tools. Our work provides empirical data about the challenges that many instructors experienced, and in so doing, the pedagogical goals we identify provide new requirements for video-conferencing systems to better support hands-on activities.

We explore how the lens of fictional superpowers can help characterize how visualizations empower people and provide inspiration for new visualization systems. Researchers and practitioners often tout visualizations' ability to "make the invisible visible" and to "enhance cognitive abilities." Meanwhile superhero comics and other modern fiction often depict characters with similarly fantastic abilities that allow them to see and interpret the world in ways that transcend traditional human perception. We investigate the intersection of these domains, and show how the language of superpowers can be used to characterize existing visualization systems and suggest opportunities for new and empowering ones. We introduce two frameworks: The first characterizes seven underlying mechanisms that form the basis for a variety of visual superpowers portrayed in fiction. The second identifies seven ways in which visualization tools and interfaces can instill a sense of empowerment in the people who use them. Building on these observations, we illustrate a diverse set of "visualization superpowers" and highlight opportunities for the visualization community to create new systems and interactions that empower new experiences with data Material and illustrations are available under CC-BY 4.0 at osf.io/8yhfz.

In the near future, mixed traffic consisting of manual and autonomous vehicles (AVs) will be common. Questions surrounding how vulnerable road users such as pedestrians in wheelchairs (PWs) will make crossing decisions in these new situations are underexplored. We conducted a remote co-design study with one of the researchers of this work who has the lived experience as a powered wheelchair user and applied inclusive design practices. This allowed us to identify and reflect on interface design ideas that can help PWs make safe crossing decisions at intersections. Through an iterative five-week study, we implemented interfaces that can be placed on the vehicle, on the wheelchair, and on the street infrastructure and evaluated them during the co-design sessions using a VR simulator testbed. Informed by our findings, we discuss design insights for implementing inclusive interfaces to improve interactions between autonomous vehicles and vulnerable road users.

Empathy tools are experiences designed to evoke empathetic responses by placing the user in another’s lived and felt experience. The problem is that designers do not have a common vocabulary to describe empathy tool experiences; consequently, it is difficult to compare/contrast empathy tool designs or to think about their efficacy. To address this problem, we analyzed 26 publications on empathy tools to develop a descriptive framework for designers of empathy tools. Based on our analysis, we found that empathy tools can be described along three dimensions: (i) the amount of agency the tool allows, (ii) the user’s perspective while using the tool, and (iii) the type of sensations that are experienced. We show that this framework can be used to describe a wide variety of empathy tools and provide recommendations for empathy tool designers, as well as techniques for measuring the efficacy of an empathy tool experience.

Abstract Physical representations of data offer physical and spatial ways of looking at, navigating, and interacting with data. While digital fabrication has facilitated the creation of objects with data‐driven geometry, rendering data as a physically fabricated object is still a daunting leap for many physicalization designers. Rendering in the scope of this research refers to the back‐and‐forth process from digital design to digital fabrication and its specific challenges. We developed a corpus of example data physicalizations from research literature and physicalization practice. This survey then unpacks the “rendering” phase of the extended InfoVis pipeline in greater detail through these examples, with the aim of identifying ways that researchers, artists, and industry practitioners “render” physicalizations using digital design and fabrication tools.

We present a mixed-methods study of viewers on their practices and motivations around watching mukbang — video streams of people eating large quantities of food. Viewers' experiences provide insight on future technologies for multisensorial video streams and technology-supported commensality (eating with others). We surveyed 104 viewers and interviewed 15 of them about their attitudes and reflections on their mukbang viewing habits, their physiological aspects of watching someone eat, and their perceived social relationship with mukbangers. Based on our findings, we propose design implications for remote commensality, and for synchronized multisensorial video streaming content.

Autonomous vehicles (AVs) will redefine interactions between road users. Presently, cyclists and drivers communicate through implicit cues (vehicle motion) and explicit but imprecise signals (hand gestures, horns). Future AVs could consistently communicate awareness and intent and other feedback to cyclists based on their sensor data. We present an exploration of AV-cyclist interaction, starting with preliminary design studies which informed the implementation of an immersive VR AV-cyclist simulator, and the design and evaluation of a number of AV-cyclist interfaces. Our findings suggest that AV-cyclist interfaces can improve rider confidence in lane merging scenarios. We contribute an AV-cyclist immersive simulator, insights on trade-offs of various aspects of AV-cyclist interaction design including modalities, location, and complexity, and positive results suggesting improved rider confidence due to AV-cyclist interaction. While we are encouraged by the potential positive impact AV-cyclist interfaces can have on cyclist culture, we also emphasize the risks over-reliance can pose to cyclists.

We were approached by a group of healthcare providers who are involved in the care of chronic patients looking for potential technologies to facilitate the process of reviewing patient-generated data during clinical visits. Aiming at understanding the healthcare providers' attitudes towards reviewing patient-generated data, we (1) conducted a focus group with a mixed group of healthcare providers. Next, to gain the patients' perspectives, we (2) interviewed eight chronic patients, collected a sample of their data and designed a series of visualizations representing patient data we collected. Last, we (3) sought feedback on the visualization designs from healthcare providers who requested this exploration. We found four factors shaping patient-generated data: data & context, patient's motivation, patient's time commitment, and patient's support circle. Informed by the results of our studies, we discussed the importance of designing patient-generated visualizations for individuals by considering both patient and healthcare provider rather than designing with the purpose of generalization and provided guidelines for designing future patient-generated data visualizations.

We built a chatbot system–Audience Bot–that simulates an audience for novice live streamers to engage with while streaming. New live streamers on platforms like Twitch are expected to perform and talk to themselves, even while no one is watching. We ran an observational lab study on how Audience Bot assists novice live streamers as they acclimate to multitasking–simultaneously playing a video game while performing for a (simulated) audience.

Astral is a prototyping tool for authoring mobile and smart object interactive behaviours. It mirrors selected display contents of desktop applications onto mobile devices (smartphones and smartwatches), and streams/remaps mobile sensor data to desktop input events (mouse or keyboard) to manipulate selected desktop contents. This allows designers to use familiar desktop applications (e.g. PowerPoint, AfterEffects) to prototype rich interactive behaviours. Astral combines and integrates display mirroring, sensor streaming and input remapping, where designers can exploit familiar desktop applications to prototype, explore and fine-tune dynamic interactive behaviours. With Astral, designers can visually author rules to test real-time behaviours while interactions take place, as well as after the interaction has occurred. We demonstrate Astral's applicability, workflow and expressiveness within the interaction design process through both new examples and replication of prior approaches that illustrate how various familiar desktop applications are leveraged and repurposed.

Pen-based input is often treated as auxiliary to mobile devices. We posit that cross-device interactions can inspire and extend the design space of pen-based interactions into new, expressive directions. We realize this through WatchPen, a smartwatch mounted on a passive, capacitive stylus that: (1) senses the usage context and leverages it for expression (e.g., changing colour), (2) contains tools and parameters within the display, and (3) acts as an on-demand output. As a result, it provides users with a dynamic relationship between inputs and outputs, awareness of current tool selection and parameters, and increased expressive match (e.g., added ability to mimic physical tools, showing clipboard contents). We discuss and reflect upon a series of interaction techniques that demonstrate WatchPen within a drawing application. We highlight the expressive power of leveraging multiple sensing and output capabilities across both the watch-augmented stylus and the tablet surface.

WatchPen illustrates how cross-device interactions can inspire and extend the design space of pen-based interactions into new, expressive directions. We demonstrate WatchPen, a smartwatch mounted on a passive, capacitive stylus that: (1) senses the usage context and leverages it for expression (e.g., changing colour), (2) contains tools and parameters within the display, and (3) acts as an on-demand output. As a result, it provides users with a dynamic relationship between inputs and outputs, awareness of current tool selection and parameters, and increased expressive match (e.g., added ability to mimic physical tools, showing clipboard contents). Our demonstration includes a series of interaction techniques within a drawing application.

While improvised theatre (improv) is often performed on a bare stage, improvisers sometimes incorporate physical props to inspire new directions for a scene and to enrich their performance. A tech booth can improvise light and sound technical elements, but coordinating with improvisers' actions on-stage is challenging. Our goal is to inform the design of an augmented prop that lets improvisers tangibly control light and sound technical elements while performing. We interviewed five professional improvisers about their use of physical props in improv, and their expectations of a possible augmented prop that controls technical theatre elements. We propose a set of guidelines for the design of an augmented prop that fits with the existing world of unpredictable improvised performance.

Providing data visualization authoring tools for the general public remains an ongoing challenge. Inspired by block-printing, we explore how visualization stamps as a physical visualization authoring tool could leverage both visual freedom and ease of repetition. We conducted a workshop with two groups---visualization experts and non-experts---where participants authored visualizations on paper using hand-carved stamps made from potatoes and sponges. The low-fidelity medium freed participants to test new stamp patterns and accept mistakes. From the created visualizations, we observed several unique traits and uses of block-printing tools for visualization authoring, including: modularity of patterns, annotation guides, creation of multiple patterns from one stamp, and various techniques to apply data onto paper. We discuss the issues around expressivity and effectiveness of block-printed stamps in visualization authoring, and identify implications for the design and assembly of primitives in potential visualization stamp kits, as well as applications for future use in non-digital environments.

In improvisational theatre (improv), actors perform unscripted scenes together, collectively creating a narrative. Audience suggestions introduce randomness and build audience engagement, but can be challenging to mediate at scale. We present Robot Improv Puppet Theatre (RIPT), which includes a performance robot (Pokey) who performs gestures and dialogue in short-form improv scenes based on audience input from a mobile interface. We evaluated RIPT in several initial informal performances, and in a rehearsal with seven professional improvisers. The improvisers noted how audience prompts can have a big impact on the scene - highlighting the delicate balance between ambiguity and constraints in improv. The open structure of RIPT performances allows for multiple interpretations of how to perform with Pokey, including one-on-one conversations or multi-performer scenes. While Pokey lacks key qualities of a good improviser, improvisers found his serendipitous dialogue and gestures particularly rewarding.

Based on an analysis of 49 popular contemporary video games, we develop a descriptive framework of visual interaction cues in video games. These cues are used to inform players what can be interacted with, where to look, and where to go within the game world. These cues vary along three dimensions: the purpose of the cue, the visual design of the cue, and the circumstances under which the cue is shown. We demonstrate that this framework can also be used to describe interaction cues for augmented reality applications. Beyond this, we show how the framework can be used to generatively derive new design ideas for visual interaction cues in augmented reality experiences.

Remote collaborators working together on physical objects have difficulty building a shared understanding of what each person is talking about. Conventional video chat systems are insufficient for many situations because they present a single view of the object in a flattened image. To understand how this limited perspective affects collaboration, we designed the Remote Manipulator (ReMa), which can reproduce orientation manipulations on a proxy object at a remote site. We conducted two studies with ReMa, with two main findings. First, a shared perspective is more effective and preferred compared to the opposing perspective offered by conventional video chat systems. Second, the physical proxy and video chat complement one another in a combined system: people used the physical proxy to understand objects, and used video chat to perform gestures and confirm remote actions.

Toolkit research plays an important role in the field of HCI, as it can heavily influence both the design and implementation of interactive systems. For publication, the HCI community typically expects toolkit research to include an evaluation component. The problem is that toolkit evaluation is challenging, as it is often unclear what 'evaluating' a toolkit means and what methods are appropriate. To address this problem, we analyzed 68 published toolkit papers. From our analysis, we provide an overview of, reflection on, and discussion of evaluation methods for toolkit contributions. We identify and discuss the value of four toolkit evaluation strategies, including the associated techniques that each employs. We offer a categorization of evaluation strategies for toolkit researchers, along with a discussion of the value, potential limitations, and trade-offs associated with each strategy.

We present an observational study of physical prototype critique that highlights some of the challenges of communicating physical behaviors and materiality at a distance. Geographically distributed open hardware communities often conduct user feedback and peer critique sessions via video conference. However, people have difficulty using current video conferencing tools to demonstrate and critique physical designs. To examine the challenges of remote critique, we conducted an observational lab study in which participants critiqued pairs of physical prototypes (prosthetic hands) for a face-to-face or remote collaborator. In both conditions, participants' material experiences were an important part of their critique, however their attention was divided between interacting with the prototype and finding strategies to communicate `invisible' features. Based on our findings, we propose design implications for remote collaboration tools that support the sharing of material experiences and prototype critique.

Interactive, smart objects-customized to individuals and uses-are central to many movements, such as tangibles, the internet of things (IoT), and ubiquitous computing. Yet, rapid prototyping both the form and function of these custom objects can be problematic, particularly for those with limited electronics or programming experience. Designers often need to embed custom circuitry; program its workings; and create a form factor that not only reflects the desired user experience but can also house the required circuitry and electronics. To mitigate this, we created Pineal, a design tool that lets end-users: (1) modify 3D models to include a smart watch or phone as its heart; (2) specify high-level interactive behaviours through visual programming; and (3) have the phone or watch act out such behaviours as the objects' "smarts". Furthermore, a series of prototypes show how Pineal exploits mobile sensing and output, and automatically generates 3D printed form-factors for rich, interactive, objects.

Do-it-yourself (DIY) inspired activities have gained popularity as a means of creative expression and self-directed learning. However, DIY culture is difficult to implement in places with limited technology infrastructure and traditional learning cultures. Our goal is to understand how learners in such a setting react to DIY activities. We present observations from a physical computing workshop with 12 students (13-15 years old) conducted at a high school in India. We observed unique challenges for these students when tackling DIY activities: a high monetary and psychological cost to exploration, limited independent learning resources, difficulties with finding intellectual courage and assumed technical language proficiency. Our participants, however, overcome some of these challenges by adopting their own local strategies: resilience, nonverbal and verbal learning techniques, and creating documentation and fallback circuit versions. Based on our findings, we discuss a set of lessons learned about makerspaces in a context with socio-technical challenges.

People are increasingly using mobile video to communicate, collaborate, and share experiences while on the go. Yet this presents challenges in adequately sharing camera views with remote users. In this paper, we study the use of semi-autonomous drones for video conferencing, where an outdoor user (using a smartphone) is connected to a desktop user who can explore the environment from the drone's perspective. We describe findings from a study where pairs collaborated to complete shared navigation and search tasks. We illustrate the benefits of providing the desktop user with a view that is elevated, manipulable, and decoupled from the outdoor user. In addition, we articulate how participants overcame challenges in communicating environmental information and navigational cues, negotiated control of the view, and used the drone as a tool for sharing experiences. This provides a new way of thinking about mobile video conferencing where cameras that are decoupled from both users play an integral role in communication, collaboration, and sharing experiences.

We are interested in how to create digital tools to support informal sketching and prototyping of physical objects by novices. Achieving this goal first requires a deeper understanding of how non-professional designers generate, explore, and communicate design ideas with traditional tools, i.e., sketches on paper and hands-on prototyping materials. We describe a study framed around two all-day design charrettes where participants perform a complete design process: ideation sketching, concept development and presentation, fabrication planning documentation and collaborative fabrication of hand-crafted prototypes. This structure allows us to control key aspects of the design process while collecting rich data about creative tasks, including sketches on paper, physical models, and videos of collaboration discussions. Participants used a variety of drawing techniques to convey 3D concepts. They also extensively manipulated physical materials, such as paper, foam, and cardboard, both to support concept exploration and communication with design partners. Based on these observations, we propose design guidelines for CAD tools targeted at novice crafters.

We discuss touch-based navigation of 3D visualizations in a combined monoscopic and stereoscopic viewing environment. We identify a set of interaction modes, and a workflow that helps users transition between these modes to improve their interaction experience. In our discussion we analyze, in particular, the control-display space mapping between the different reference frames of the stereoscopic and monoscopic displays. We show how this mapping supports interactive data exploration, but may also lead to conflicts between the stereoscopic and monoscopic views due to users' movement in space; we resolve these problems through synchronization. To support our discussion, we present results from an exploratory observational evaluation with domain experts in fluid mechanics and structural biology. These experts explored domain-specific datasets using variations of a system that embodies the interaction modes and workflows; we report on their interactions and qualitative feedback on the system and its workflow.

Makers participate in remixing culture by drawing inspiration from, combining, and adapting designs for physical objects. To examine how makers remix each others' designs on a community scale, we analyzed metadata from over 175,000 digital designs from Thingiverse, the largest online design community for digital fabrication. Remixed designs on Thingiverse are predominantly generated designs from Customizer a built-in web app for adjusting parametric designs. However, we find that these designs do not elicit subsequent user activity and the authors who generate them tend not to contribute additional content to Thingiverse. Outside of Customizer, influential sources of remixing include complex assemblies and design primitives, as well as non-physical resources posing as physical designs. Building on our findings, we discuss ways in which online maker communities could become more than just design repositories and better support collaborative remixing.

Physical visualizations come in increasingly diverse forms, and are used in domains including art and entertainment, business analytics, and scientific research. However, creating physical visualizations requires laborious craftsmanship and demands expertise in both data visualization and digital fabrication. We present three case studies that illustrate limitations of current visualization fabrication workflows. We then present MakerVis, a prototype tool that integrates the entire process of creating physical visualizations, from data filtering to physical fabrication. Design sessions with three end users demonstrate how tools such as MakerVis can dramatically lower the barriers to producing physical visualizations. Observations and interviews from these sessions highlighted future research areas, including customization support, using material properties to represent data variables, and allowing the reuse of physical data objects in new visualizations.

Human-centered design teams must integrate diverse individual perspectives into a shared understanding during conceptual design. The team's shared knowledge of their users becomes the basis for later design decisions. We conducted a formative study that shows how generic groupware is insufficient to support the transition from individual to collaborative creative work. We developed a set of design guidelines and implemented them in Dazzle, a collaborative shared display system for co-located design team meetings. Dazzle associates the action of showing information on the shared display with granting the rest of the team access to that information: showing is sharing. Dazzle also records a history of shown files. Team members can annotate this log using cross-platform synchronized clients. Teams of novice designers tested Dazzle over two consecutive sessions: the first focused on synthesizing user research, and the second focused on brainstorming. Dazzle was very effective at grounding team conversations about user research, but was used less for sharing information during brainstorming tasks. Items from the shared activity log were used as sources of inspiration and decision criteria during the brainstorming task. Future work includes additional support for active decision-making, and ambient feedback on design activity.

We present GreenHat, an interactive mobile learning application that helps students learn about biodiversity and sustainability issues in their surroundings from experts' points of view, before participating in unfamiliar debates about their familiar surroundings. Using the interactive location-sensitive map and video on a smart phone, GreenHat simulates how experts go about making observations in the field and encourages students to actively observe their environment. We present our design process, our initial prototype, report the results from our preliminary evaluation, and discuss ongoing work.

Media research has shown that people enjoy watching television as a part of socializing in groups. However, many constraints in daily life limit the opportunities for doing so. The Social TV project builds on the increasing integration of television and computer technology to support sociable, computer-mediated group viewing experiences. In this article, we describe the initial results from a series of studies illustrating how people interact in front of a television set. Based on these results, we propose guidelines as well as specific features to inform the design of future “social television” prototypes.