Affect-adaptive video games are increasingly concerned with changing game material based on the emotional states of player to best elicit the optimal experience. However, conceptual uncertainties and unreliable methodologies make this process currently difficult and results inconclusive. Here we present a methodological approach to explicitly test mapping assumptions between in-game variables, player input, and subjective experience to build affect-adaptive video games. In Experiment 1, 161 participants played through a newly developed 2D action arcade game. Their data was used to identify associations between game input, presented material, and affective valence. Results made it possible to identify two potential pathways for emotion adaptation which were implemented and evaluated in Experiment 2 (N = 158) against a non-adaptive version of the same game. The player-based emotional adaptation showed a significant increase in self-reported valence compared to the control condition, providing evidence for the utility of the process.

Participatory Video (PV) is emerging as a rich and valuable method for monitoring and evaluating (M & E) projects in the International Development sector. Although shown to be useful for engaging communities within short-term monitoring exercises or promotion, PV in these contexts presents significant complexity and logistical challenges for sustained uptake by Development organizations. In this paper, we present Our Story, a digitally mediated work flow iteratively designed and deployed on initiatives in Indonesia and Namibia. Developed in collaboration with the International Federation of Red Cross and Red Crescent (IFRC), it supports end-to-end PV production in the field, and was specifically developed to make PV a more sustainable tool for monitoring. We discuss and evaluate Our Story, reporting on how by lowering skills barriers for facilitators and leveraging consumer technology, PV can be delivered at scale.

Viking VR is a Virtual Reality exhibit through which viewers can experience the sights and sounds of a 9th Century Viking encampment. Created as part of a major museum exhibition, the experience was developed by an interdisciplinary team consisting of artists, archaeologists, curators and researchers. In this paper, approaches to the design of authentic, informative and compelling VR experiences for Cultural Heritage contexts are discussed. We also explore issues surrounding interaction design for the long-term deployment of VR experiences in museums and discuss the challenges of VR authoring workflows for interdisciplinary teams.

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.

Crowdsourced video is now a viable tool with which broadcasters and communities alike can produce authentic, high quality video content. However, the literacy, language, skills and tools to produce a documentary through commissioning content are currently difficult to acquire. We explore opening up the documentary film commissioning process to community contributors by developing a framework which instructs, guides and informs non-professional contributors in capturing the content required for making videos. Through the results of an in-the-wild deployment we discuss how our framework scaffolds content creation, the capture of high quality footage and coordination amongst teams of contributors. We then discuss how this can inform community media creation in the future.

The emergence of participatory, on-demand and interactive media is changing the media production landscape. Producing interactive media is often more complex than creating traditional linear films, resulting in increased pressure for production teams. In this paper we explore what implications this has for cast and crew who participate in the production of such new media. We explore how collaborative technologies can support creative practitioners, within these challenging settings. We present TryFilm, a collaborative editing system, designed by the authors and deployed during an interactive film shoot by a small film company featuring a cast of early career actors.

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.

Parkinson's is a complex and multifaceted condition with a myriad of symptoms, thus, designing for and with this user group requires careful consideration. We reflect upon two studies, employing different design methodologies, relating to the design of rehabilitative exergames in Parkinson's. The first explored the concept of designing 'for' People with Parkinson's (PwP) and focused on specifications outlined by clinical stakeholders. The second used a designing 'with' approach and modified a pre-established participatory design method for use with PwP. We call attention to the importance of carrying out design work with PwP and contribute; an empathic understanding of living with Parkinson's, a set of recommendations for how to design with PwP and a set of wider considerations for developing rehabilitative exergames for PwP.

Bootlegger is a system for creating multi-camera films of live music events using mobile devices. Using readily available technology and a synthesis of film-making conventions, the system coordinates music fans at live shows into an improvised film crew, suggesting shots, collating footage and generating rich metadata in real time. Bootlegger is part of a research project exploring adapting professional media workflows to amateur contexts in order to lower the bar to entry for media production. By enabling concert-goers to contribute to high-quality concert films, the system leverages mobile phone 'bootlegging' practices to support emerging musicians.

Time Telescope is a site-specific digital art installation which allows viewers to explore an area of the city of NewcastleGateshead at various points in history. The installation formed part of a project in which a participatory interaction design process was used to engage young people with the heritage of their local area. The telescope itself and the project through which it was designed is discussed in relation to the goals of the project and its impact upon the young participants.

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.

The use of digital technologies is increasingly proposed in health and social care to address the aging population phenomenon but, in practice, the designers of these technologies are ill equipped to design for older people. We suggest participatory design as an approach to improving the quality of design for older people but, based on previous work and our own experiences, identify four central issues that participatory design approaches need to address. We describe an approach to early engagement in design with older people that address each of these issues and some of our experiences applying the approach in a variety of different design projects. We conclude by discussing some of the issues that have been highlighted when attempting apply this approach in different design contexts and the issues that have been raised when working with partners who are less committed to the idea of engaging with older adults in participatory design.

Design and digital technologies to support a sense of self and human relationships for people living with dementia are both urgently needed. We present an enquiry into design for dementia facilitated by a public art commission for an adult mental health unit in a hospital in the UK. The interactive art piece was informed by the notion of personhood in dementia that foregrounds the person's social being and interpersonal relationships as sites where self is maintained and constructed. How clients, clients' family members and staff used the piece is reported and insights related to the notions of home, intimacy, possessions and self are presented. The art piece served as window on both dementia and the institution leading to a number of insights and implications for design.

We present the development of a socially acceptable cueing device for drooling in Parkinson's disease (PD). Sialorrhea, or drooling, is a significant problem associated with PD and has a strong negative emotional impact on those who experience it. Previous studies have shown the potential for managing drooling by using a cueing device. However, the devices used in these studies were deemed unacceptable by their users due to factors such as hearing impairment and social embarrassment. We conducted exploratory scoping work and high fidelity iterative prototyping with people with PD to get their input on the design of a cueing aid and this has given us an insight into challenges that confront users with PD and limit device usability and acceptability. The key finding from working with people with PD was the need for the device to be socially acceptable.

We present an experience-based approach to designing a collaborative interactive performance, humanaquarium. Our research explores public interaction with digital technology through the practice-based inquiry of an inter-disciplinary team of interaction designers and musicians. We present a method of designing experience from within, literally situating ourselves within the performance/use space and assuming the roles both of performers and of designers as we develop and refine the humanaquarium project over the course of a year's worth of public performances.