With the growing prevalence of online mis/disinformation encountered by children, digital media literacy has become an urgent concern. Existing research emphasizes cognitive models, focusing on individual reasoning and specific quantitative criteria to classify people’s information literacy. However, critics argue that focusing solely on cognitive approach neglects the social, emotional, and cultural contexts that shape how mis/disinformation is created and spread. In this study, we expand beyond the cognitive model by examining socioemotional learning (SEL) and sociocultural (SC) perspectives. To explore how children conceptualize mis/disinformation through these lenses, we conducted 26 co-design workshops with children ages 6–11 over a 2.5-year period. Our findings highlight children’s awareness of emotional responses, peer pressure, financial incentives, and the importance of community support. These insights contribute to HCI by foregrounding the need for design approaches that integrate cognitive, SEL, and SC dimensions. We present an integrated framework to inform how community groups can support children and design recommendations that address the growing sophistication of mis/disinformation.

Artificial intelligence is reshaping creative domains, yet its cocreative processes, especially in group settings with novice users, remain under explored.To bridge this gap, we conducted a case study in a college-level course where nine undergraduate students were tasked with creating three original music tracks using AI tools over 10 weeks.The study spanned the entire creative journey from ideation to releasing these songs on Spotify.Participants leveraged AI for music and lyric production, cover art, and distribution.Our findings highlight how AI transforms creative workflows: accelerating ideation but compressing the traditional preparation stage, and requiring novices to navigate a challenging idea selection and validation phase.We also identified a new "collaging and refinement" stage, where participants creatively combined diverse AI-generated outputs into cohesive works.Furthermore, AI influenced group social dynamics and role division among human creators.Based on these insights, we propose the Human-AI Co-Creation Stage Model and the Human-AI Agency Model, offering new perspectives on collaborative co-creation with AI.

While much of the research in digital games has emphasized hedonic experiences, such as flow, enjoyment, and positive affect, recent years have seen increased interest in eudaimonic gaming experiences, typically mixed-affect and associated with personal meaningfulness and growth. The formation of such experiences in games is theorized to have four constituent elements: motivation, game use, experience, and effects. However, while the first three elements have been relatively well explored in the literature, the effects - and how they may influence positive individual outcomes - have been underexplored thus far. To this end, in this work, we investigate the perceived outcomes of eudaimonic gaming and how different components of the experience influence these effects. We conducted a survey (n = 166) in which respondents recounted meaningful gaming experiences and how they affected their present lives. We used a mixed-methods approach to classify effects and identify significant subcomponents of their formation. We contribute an empirical understanding of how meaningful gaming experiences can lead to positive reflective, learning, social, health, and career effects, extending current theoretical models of eudaimonic gaming experiences and offering implications for how researchers and practitioners might use these findings to promote positive outcomes for players.

The surge in access to and awareness of Generative Artificial Intelligence (GenAI) such as ChatGPT has sparked discussion over the necessary technological literacies and competencies needed to effectively engage with these systems. In this context, we explore AI as a tool that mediates cultural understanding and remediates human values – that are often influenced by biases and inequities. Using participatory design for learning with a group of 13 children (ages 8-13), we engaged in five co-design sessions featuring different modalities for socio-cultural approaches to AI literacy. We found that children were more aware of the cultural mediation aspect of AI when the content of the interaction aligned with their cultural background and context. This underscored the significance of aligning the representation of culture in these GenAI systems with people’s socio-cultural ecosystems in modern technological literacies. We conclude with design principles for a more critical and holistic approach to AI literacy.

The emergence of generative artificial intelligence (GenAI) has ignited discussions surrounding its potential to enhance creative pursuits. However, distinctions between children’s and adult’s creative needs exist, which is important when considering the possibility of GenAI for children’s creative usage. Building upon work in Human-Computer Interaction (HCI), fostering children’s computational thinking skills, this study explores interactions between children (aged 7-13) and GenAI tools through methods of participatory design. We seek to answer two questions: (1) How do children in co-design workshops perceive GenAI tools and their usage for creative works? and (2) How do children navigate the creative process while using GenAI tools? How might these interactions support their confidence in their ability to create? Our findings contribute a model that describes the potential contexts underpinning child-GenAI creative interactions and explores implications of this model for theories of creativity, design, and use of GenAI as a constructionist tool for creative self-efficacy.

Participatory Design (PD) is a commonly used method in Western cultures with roots in Scandinavia. After the COVID-19 pandemic, many PD practitioners have transitioned to an online space, where researchers and participants from different geographical locations can co-design together. Yet, we do not fully understand how different cultures collide, mix and blend in the online co-design space. By understanding how one’s culture influences the participation of a child, researchers can better structure sessions to elicit diverse input. This study examines a case study of researchers and participants from South Korea and the United States co-designing together. Close analysis of video recordings, analytic memos, and parent/child interview data demonstrates the ways in which children participated in design sessions. Facilitators paid special attention to various cultural sensitivities. Applying the theory of cultural awareness from public health literature, we offer implications on how scholars who are not fully embedded in the culture where co-design happens can understand other cultural norms and in response, create spaces in which co-design can occur successfully despite different cultural norms. Our findings show how different parts of the ecological systems from ideology, education systems, and ethnicity all influence children’s participation in sessions.

Abstract This study uses a sociocultural perspective, which views literacy as embedded in people's daily practices and shaped by social contexts, to explore how a misinformation escape room can support learning about misinformation. While the sociocultural perspective has a rich theoretical foundation, it has rarely been used to examine, much less evaluate, information and media literacy interventions. In this paper, we posit that the topic of misinformation makes a strong case for using the sociocultural model and explore a misinformation escape room through this lens. We present findings of a nationwide study of an online misinformation escape room with post‐game debrief discussion conducted at 10 public libraries that hosted 53 game sessions involving 211 players. The mixed methods study finds the game and accompanying debrief supported players in reflecting upon social media platform infrastructures, the psychological and emotional dimensions of misinformation, and how their personal behaviors intersect with online misinformation. We discuss how the sociocultural perspective can enrich our understanding of the role played by certain attributes of the game—narrative, debrief, and collaboration—thereby providing insights for the design of media and information literacy interventions.

Tilt, characterized by heightened frustration, is a prevalent issue in esports, significantly impacting team dynamics and player well-being. Traditional Human-Computer Interaction (HCI) solutions often focus on individual strategies, overlooking the team-based nature of esports. This study introduces 'TILTED', a tabletop game co-designed with youth esports players, aimed at fostering open communication and empathy to collectively manage tilt. Findings from four user testing sessions with collegiate esports teams reveal that team-based interventions like 'TILTED' can enhance team cohesion and provide effective strategies for emotional regulation. The game facilitates understanding and empathy among teammates for managing emotions and maintaining a positive team atmosphere. Our research underscores the importance of resetting strategies and shared mental models in helping to mitigate tilt and offers design implications for future team-based interventions to enhance team dynamics and tilt management strategies as a team.

The overlaying of physical spaces with digital information produces hybrid spaces, redefining people’s experience of social interactions. Location-based games (LBGs) with social components are a good case. Yet, the impact LBGs have on sociability remains under-researched. In April 2020, the new in-person/remote raiding format in the LBG Pokémon GO provided a lens to explore people’s social interactions in hybrid spaces. We interviewed 41 Pokémon GO players to understand how players coordinate and collaborate for in-person/remote raids and other social patterns. Our findings demonstrate that new social dynamics occurred: participants’ social interactions highly rely on external social media groups bridging cyberspace and the physical world. In such external social media groups, spontaneously formed leadership roles and mentor-mentee relationships demonstrate autonomy among players in the hybrid space. However, we observed that the interoperability issue challenges people’s experience. Overall, this work sheds light on the social interactions in LBGs as hybrid spaces.

Location-based augmented reality games are becoming increasingly popular, which causes a variety of tensions among players as well as between players and non-players. Subsequently, numerous ethical issues and challenges in designing and playing these games emerged. We conducted an online survey and analyzed 2,023 responses to better understand users’ participation in various game actions in location-based augmented reality games, and their perspectives on how ethical the actions are and for what reasons. We provide descriptive statistics showing people’s participation in these actions and analyze users’ expressed reasons as to why they think these actions are ethical or not. We use the theoretical lens of three ethical traditions–consequentialism, deontology, and virtue ethics–in our analysis, showing the dominance of consequentialism and deontology in people’s ethical judgment related to playing the game, and discuss implications and future consideration for game design.

The continued development of smart cities is a recurring feature of urban living and does not appear to be slowing down. Today, our lives are both mediated and monitored by a range of digital techn...

Since its creation, the Location-Based Game (LBG), Pokémon GO , has been embraced by a community of fans across the world. Due to its recency, the impact of COVID-19 on the community of Pokémon GO players is underexplored. We address how COVID-19 has impacted the players of Pokémon GO by building upon existing work focusing on player gratifications and impacts in Pokémon GO . Through semi-structured interviews, we provide a snapshot of the state of LBG play during unprecedented times. These player interviews demonstrate (1) the importance of in-person socialization to LBG, (2) additional ways players use the game as a coping mechanism, and (3) how intentionality mediates player perceptions of people-place relationships. Furthermore, we explore how Niantic influenced these behaviors through changes to how players interact with points of interest and engage with elder game mechanics such as raiding.

The video game Animal Crossing: New Horizons (AC:NH) launched during the COVID-19 pandemic and families turned to it as a game to play together during isolation. This interview study of 27 families considered how families used AC:NH for Joint Media Engagement (JME), where family members engage with media content together, interacting with each other and bringing additional meaning to the experience. We find that the design of AC:NH well facilitates Takeuchi and Stevens's six conditions for productive JME. Furthermore, we identify and discuss additional conditions that contribute to productive JME: variety and flexibility in play styles that amplify mutual engagement, support for disentrained play that enables new forms of "joint" engagement, and scaffolding for affective interactions. This is followed by an exploration of how the COVID-19 pandemic affected JME. We conclude with design implications for building games to support productive JME for families through design for persistent shared spaces, flexible in-game progress, and social life simulation.

Music sharing is a common social activity that people have long engaged in, from gifting mixtapes to sharing music links. Our practices around sharing music have shifted markedly with the advent of streaming music platforms and social media, and it has remained an important part of our social fabric. Yet there is a dearth of research on how people share music today, and our understanding of attitudes and practices of sharing music across cultures is even more lacking. To understand how people across cultures engage in music sharing, we have conducted interviews with 32 participants from two cultures: South Korea and United States. Through qualitative analysis, we found largely three reasons why people share music, types of music shared, strategy factors considered when sharing music, outcomes achieved, and challenges people experience when sharing music. We present a framework of music sharing that visualizes these components of the music sharing process. From these results, we identify similarities and differences that emerged. We derive design implications for music sharing platforms including providing varied avenues for feedback on shared music, motivating users to share more, and helping users to better manage shared music.

Co-designing with children in an online environment is increasingly important due to external factors, such as the COVID-19 pandemic, and the diversification and inclusion of youth participants. Many prior studies about co-design with youth focus on co-located or asynchronous online sessions. However, conducting synchronous online co-design sessions adds layers of complexity and uncertainty to collaboration. This paper introduces a model explicating factors to consider when co-designing with children synchronously in an online space. We examined ten consecutive intergenerational participatory design sessions online where children (ages 7-11) and adults designed new technologies. Along with highlighting unexpected moments and interactions, we use theories of improvisation to guide our understanding of dynamic situations that are out of the control of researchers. This work contributes to improving theoretical understanding of improvisation as a method of inquiry for co-designing with youth, and offers practical suggestions for suitable online co-design techniques and implementation.

Music fans strategically support their artists. Their collective efforts can extend to social causes as well: In 2020 for example, ARMY—the fandom of the music group BTS—successfully organized the #MatchAMillion campaign to raise over one million USD to support Black Lives Matter. To better understand factors of fandoms’ collaborative success for arguably unrelated social goals, we conducted a survey focusing on ARMYs’ perceptions of their fandom and their social effort. Most ARMYs viewed the fandom as a community, loosely structured with pillar accounts. They reported trust in each other as well as high team composition, which mediated the relationship between their neutral psychological safety and high efficacy. Respondents attributed their success in #MatchAMillion to shared values, good teamwork, and established infrastructure. Our findings elucidate contextual factors that contribute to ARMY’s collaborative success and highlight themes that may be applied to studying other fandoms and their collaborative efforts.

Abstract Game development artifacts resulting from the creation process of video games, such as design documents, style guides, test builds, and marketing materials, provide rich contextual information about how and why the game was created. Better organizing and preserving these materials will not only enrich our understanding of the history of these media but also educate and inspire the next generation of video game creators. This research aims to improve our theoretical understanding of how to organize and represent game development artifacts by examining the various types of artifacts created and their attendant issues and challenges. We adopted a multimethod approach employing an examination of existing collections and 29 interviews with creators, information professionals, and game researchers. From these data, we analyze the current practices, expressed values, and perceived challenges of these stakeholders, produce a taxonomy of game development artifacts, and provide best practices recommendations for describing them.

Mainstream location-based games (LBGs) highlight three foundations-exercise, exploration, and social interaction-which were hugely disrupted by the COVID-19 pandemic. This genre has already had access issues depending on the player's region, identity, ability, and technology, which the pandemic also amplified. Thus, the pandemic provided a unique opportunity to re-imagine the design of LBGs to preserve player benefits while challenging these foundations. We conducted a two-week diary study with 11 LBG players coping with difficult life circumstances, followed by remote co-design sessions. Participants continued to play primarily to maintain community connection while adjusting the mode of socialization, finding meaning through virtual exploration, and support mental health and personal growth. Participants discussed ways to enhance the experience by expanding the range of physical activities during social distancing, reimagining proximity-based social interactions, and exploring via social construction of places while expanding beyond how the three foundations are currently supported in LBGs.

Leveraging existing popular games such as Pokémon GO to promote health can engage people in healthy activities without sacrificing gaming appeal. However, little is known about what potential tensions arise from incorporating new health-related features to already existing and popular games and how to resolve those tensions from players' perspectives. In this paper, we identify design tensions surrounding the appeals of Pokémon GO, perspectives on different health needs, and mobile health technologies. By conducting surveys and design workshops with 20 avid Pokémon GO players, we demonstrate four design tensions: (1) diverse goals and rewards vs. data accuracy, (2) strong bonds between players and characters vs. gaming obsession, (3) collaborative play vs. social anxiety, and (4) connection of in-real-life experiences with the game vs. different individual contexts. We provide design implications to resolve these tensions in Pokémon GO and discuss how to extend our findings to the broader context of health promotion in location-based games.

Abstract Libraries play a central role for youth and digital learning. As libraries transition to learning spaces, youth librarians can engage in aspects of democratic design that empowers youth. Participatory design (PD) is a user‐centered design method that can support librarians in the democratic development of digital learning spaces. However, while PD has been used in libraries, we have little knowledge of how youth librarians can act as codesign partners. We need a conceptual model to understand the role of youth librarians in codesign, and how their experiences are integrated into youth design partnerships. To generate this model, we examine a case study of the evolutionary process of a single librarian and the development of a library system's learning activities through PD. Using the idea of equal design partnerships, we analyzed video recordings and stakeholder interviews on how children (ages 7–11) worked together with a librarian to develop new digital learning activities. Our discussion focuses on the development of a participatory librarian design conceptual model that situates librarians as design partners with youth. The article concludes with recommendations for integrating PD methods into libraries to create digital learning spaces and suggestions for moving forward with this design perspective.

Raiding is a format in digital gaming that requires groups of people to collaborate and/or compete for a common goal. In 2017, the raiding format was introduced in the location-based mobile game Pokémon GO, which offers a mixed reality experience to friends and strangers coordinating for in-person raids. To understand this technology-mediated social phenomenon, we conducted over a year of participant observations, surveys with 510 players, and interviews with 25 players who raid in Pokémon GO. Using the analytical lens of Arrow, McGrath, and Berdahl's theory of small groups as complex systems, we identify global, local, and contextual dynamics in location-based raiding that support and challenge ad-hoc group formation in real life. Based on this empirical and theoretical understanding, we discuss implications to design for transparency, social affordances, and bridging gaps between global and contextual dynamics for increased positive and inclusive community interactions.

The discovery and retrieval of video games in library and information systems is, by and large, dependent on a limited set of descriptive metadata. Noticeably missing from this metadata are classifications of visual style–despite the overwhelmingly visual nature of most video games and the interest in visual style among video game users. One explanation for this paucity is the difficulty in eliciting consistent judgements about visual style, likely due to subjective interpretations of terminology and a lack of demonstrable testing for coinciding judgements. This study presents a taxonomy of video game visual styles constructed from the findings of a 22‐participant cataloging user study of visual styles. A detailed description of the study, and its value and shortcomings, are presented along with reflections about the challenges of cultivating consensus about visual style in video games. The high degree of overall agreement in the user study demonstrates the potential value of a descriptor like visual style and the use of a cataloging study in developing visual style taxonomies. The resulting visual style taxonomy, the methods and analysis described herein may help improve the organization and retrieval of video games and possibly other visual materials like graphic designs, illustrations, and animations.

Though prior work shows parents worry about screen media experiences displacing physical activity and time outdoors, this research does not account for location-based mobile games like Pokémon GO, which specifically facilitate outdoor activity. To fill this gap in the research, we surveyed and interviewed parents to understand (1) their values and perceptions of this type of gameplay and (2) how they co-play Pokémon GO with their children. Our findings provide empirical evidence that, in addition to appreciating the increased exercise and time outdoors, parents valued how play led to family bonding experiences. Furthermore, some traditional concerns about screen time persisted in this context, and new concerns about safety in real-world environments emerged. Parents mitigated these concerns with rules and gameplay choices, such as maintaining control of the mobile device, to ensure children were safe. This work contributes an empirical understanding of families as co-users of technology and offers a generative lens to study and design for joint media engagement among family members where gameplay differs from normative notions of screen time.

Currently, there is no structured data standard for representing elements commonly found in transmedia fictional worlds. Although there are websites dedicated to individual universes, the information found on these sites separate out the various formats, concentrate on only the bibliographic aspects of the material, and are only searchable with full text. We have created an ontological model that will allow various user groups interested in transmedia to search for and retrieve the information contained in these worlds based upon their structure. We conducted a domain analysis and user studies based on the contents of Harry Potter, Lord of the Rings, the Marvel Universe, and Star Wars in order to build a new model using Ontology Web Language (OWL) and an artificial intelligence‐reasoning engine. This model can infer connections between transmedia properties such as characters, elements of power, items, places, events, and so on. This model will facilitate better search and retrieval of the information contained within these vast story universes for all users interested in them. The result of this project is an OWL ontology reflecting real user needs based upon user research, which is intuitive for users and can be used by artificial intelligence systems.

Music Information Retrieval (MIR) evaluation has traditionally focused on system‐centered approaches where components of MIR systems are evaluated against predefined data sets and golden answers (i.e., ground truth). There are two major limitations of such system‐centered evaluation approaches: (a) The evaluation focuses on subtasks in music information retrieval, but not on entire systems and (b) users and their interactions with MIR systems are largely excluded. This article describes the first implementation of a holistic user‐experience evaluation in MIR, the MIREX Grand Challenge, where complete MIR systems are evaluated, with user experience being the single overarching goal. It is the first time that complete MIR systems have been evaluated with end users in a realistic scenario. We present the design of the evaluation task, the evaluation criteria and a novel evaluation interface, and the data‐collection platform. This is followed by an analysis of the results, reflection on the experience and lessons learned, and plans for future directions.

Recent, rapid changes in technology have resulted in a proliferation of choices for music storage and access. Portable, web‐enabled music devices are widespread, and listeners now enjoy a plethora of options regarding formats, devices, and access methods. Yet in this mobile music environment, listeners' access and management strategies for music collections are poorly understood, because behaviors surrounding the organization and retrieval of music collections have received little formal study. Our current research seeks to enrich our knowledge of people's music listening and collecting behavior through a series of systematic user studies. In this paper we present our findings from interviews involving 20 adult and 20 teen users of commercial cloud music services. Our results contribute to theoretical understandings of users' music information behavior in a time of upheaval in music usage patterns, and more generally, the purposes and meanings users ascribe to personal media collections in cloud‐based systems. The findings suggest improvements to the future design of cloud‐based music services, as well as to any information systems and services designed for personal media collections, benefiting both commercial entities and listeners.

In this article, we describe a conceptual model for video games and interactive media. Existing conceptual models such as the Functional Requirements for Bibliographic Records (FRBR) are not adequate to represent the unique descriptive attributes, levels of variance, and relationships among video games. Previous video game‐specific models tend to focus on the development of video games and their technical aspects. Our model instead attempts to reflect how users such as game players, collectors, and scholars understand video games and the relationships among them. We specifically consider use cases of gamers, with future intentions of using this conceptual model as a foundation for developing a union catalog for various libraries and museums. In the process of developing the model, we encountered many challenges, including conceptual overlap with and divergence from FRBR, entity scoping, complex relationships among entities, and the question of how to model additional content for game expansion. Future work will focus on making this model interoperable with existing ontologies as well as further understanding and description of content and relationships.

User studies in the music information retrieval (MIR) domain tend to be exploratory and qualitative in nature, involving a small number of users, which makes it difficult to derive broader implications for system design. In order to fill this gap, we conducted a large‐scale user survey questioning various aspects of people's music information needs and behaviors. In particular, we investigated if general music users' needs and behaviors have significantly changed over time by comparing our current survey results with a similar survey conducted in 2004. In this paper, we present the key findings from the survey data and discuss 4 emergent themes—(a) the shift in access and use of personal music collections; (b) the growing need for tools to support collaborative music seeking, listening, and sharing; (c) the importance of “visual” music experiences; and (d) the need for ontologies for providing rich contextual information. We conclude by making specific recommendations for improving the design of MIR systems and services.

The music information retrieval (MIR) community has long understood the role of evaluation as a critical component for successful information retrieval systems. Over the past several years, it has also become evident that user‐centered evaluation based on realistic tasks is essential for creating systems that are commercially marketable. Although user‐oriented research has been increasing, the MIR field is still lacking in holistic, user‐centered approaches to evaluating music services beyond measuring the performance of search or classification algorithms. In light of this need, we conducted a user study exploring how users evaluate their overall experience with existing popular commercial music services, asking about their interactions with the system as well as situational and personal characteristics. In this paper, we present a qualitative heuristic evaluation of commercial music services based on Jakob Nielsen's 10 usability heuristics for user interface design, and also discuss 8 additional criteria that may be used for the holistic evaluation of user experience in MIR systems. Finally, we recommend areas of future user research raised by trends and patterns that surfaced from this user study.

Despite the growing interests in video games as consumer products as well as objects of research, current methods for accessing video games are limited. We present Vizmo as a new way of browsing video games based on their visual style and mood. In order to test the usability and usefulness of Vizmo, we asked 19 video game experts to evaluate their interaction with the tool. The results show that experts perceived Vizmo as a novel and aesthetically pleasing game discovery tool which would be most useful for game research on historical and aesthetic aspects. We discuss five key points for improving the design of Vizmo as well as our future plan for the next iteration of this prototype game browser.

Despite increasing interest in and acknowledgment of the significance of video games, current descriptive practices are not sufficiently robust to support searching, browsing, and other access behaviors from diverse user groups. To address this issue, the Game Metadata Research Group at the University of Washington Information School, in collaboration with the Seattle Interactive Media Museum, worked to create a standardized metadata schema. This metadata schema was empirically evaluated using multiple approaches—collaborative review, schema testing, semi‐structured user interview, and a large‐scale survey. Reviewing and testing the schema revealed issues and challenges in sourcing the metadata for particular elements, determining the level of granularity for data description, and describing digitally distributed games. The findings from user studies suggest that users value various subject and visual metadata, information about how games are related to each other, and data regarding game expansions/alterations such as additional content and networked features. The metadata schema was extensively revised based on the evaluation results, and we present the new element definitions from the revised schema in this article. This work will serve as a platform and catalyst for advances in the design and use of video game metadata.

Abstract Our limited understanding of real‐life queries is an obstacle in developing music information retrieval (MIR) systems that meet the needs of real users. This study aimed, by an empirical investigation of real‐life queries, to contribute to developing a theorized understanding of how users seek music information. This is crucial for informing the design of future MIR systems, especially the selection of potential access points, as well as establishing a set of test queries that reflect real‐life music information‐seeking behavior. Natural language music queries were collected from an online reference Website and coded using content analysis. A taxonomy of user needs expressed and information features used in queries were established by an iterative coding process. This study found that most of the queries analyzed were known‐item searches, and most contained a wide variety of kinds of information, although a few features were used much more heavily than the others. In addition to advancing our understanding of real‐life user queries by establishing an improved taxonomy of needs and features, three recommendations were made for improving the evaluation of MIR systems: (i) incorporating user context in test queries, (ii) employing terms familiar to users in evaluation tasks, and (iii) combining multiple task results.