The rise of big data and smart sensing, with the promise of more educated and informed decisions, has fuelled a shift towards more data-driven decision-making in local and national government. However, we are observing a disconnect between the people who are affected by these decisions and their access to tools and resources to collect data in order to provide the needed evidence for change. To truly democratise this process and for citizens to become active prosumers of data, new mechanisms of citizen data production are needed. In this paper we report on a two-year ethnographic and iterative co-design process with the local community. This work encompassed the design, development and deployment of SenseMyStreet (SeMS), a bespoke sensor commissioning toolkit that enables citizens and community groups to use and commission a city's scientific-grade environmental monitors, determining where they will be located on their streets and collecting data to evidence hyper-local issues. Unlike prior research, which creates alternative data sources to contest city data, our toolkit helps integrate citizen commissioned data into the city datasets used by citizens and decision-makers. Reflecting on the design process and evaluating the ways people engaged with the digital tools of the toolkit, we highlight how commissioning can be configured to promote equity in the smart city, empower citizens to take ownership of issues and facilitate the creation of community networks that utilise the data for local benefit.

This paper discusses how characteristics of experience-centred and collaborative design can be translated to larger scales. We describe Metro Futures, a region-wide public consultation on the design of new light rail trains, where we followed an experience-centred co-design approach supported by digital media and tools to develop findings with a core group of 20 ?co-researchers' and ~4000 public participants. The paper discusses how the characteristics of a focus on experience, and collaborative design exploration were achieved with co-researchers and, at scale, through online and face-to-face interactions using various digital media and tools. Whilst not at the depth of smaller scales, there are opportunities to retain characteristics of experience-centred co-design at scale to produce findings that can usefully inform ensuing design work, and avoid the averaging of public contributions often evident in large scale public consultations.

Traditional crafting methods such as stitching, embroidering, dyeing and machine sewing can be enhanced to create novel techniques for embedding shape-changing and colour-changing actuation into soft fabrics. In this paper, we show how embedding Shape-Memory Alloy (SMA) wire, copper wire and thermochromic thread into needles and bobbins, we were able to successfully machine sew interactive morphological capabilities into textiles. We describe the results of extensive design experiments, which detail how differing actuations can be achieved through a matrix of parameters that directly influence a fabric's deformational behaviours. To demonstrate the usefulness of our 10 techniques, we then introduce and discuss an interactive artefact we produced, using a subset of these techniques. We contribute such new techniques for creating soft-interfaces, imbued with actuation through tactile and self-morphing capabilities without motors or LEDs. We draw insights from this on the potential of the proposed techniques for crafting interactive artefacts.

Human Computer Interaction has developed great interest in the Maker Movement. Previous work has explored it from various perspectives, focusing either on its potentials or issues. As these are however only fragmented portrayals, this paper aims to take a broader perspective and interconnect some of the fragments. We conducted a qualitative study in the context of two Maker Faires to gain a better understanding of the complex dynamics that makers operate in. We captured the voices of different stakeholders and explored how their respective agendas relate to each other. The findings illustrate how the event is co-created at the nexus of different technological, social and economic interests while leaving space for diverse practices. The paper contributes a first focused analysis of Maker Faire, probes it as a site for research and discusses how holistic perspectives on the Maker Movement could create new research opportunities.

Recent HCI research has investigated how digital technologies might enable citizens to identify and express matters of civic concern. We extend this work by describing JourneyCam, a smartphone-based system that enables powered wheelchair users to capture video and sensor data about their experiences of mobility. Thirteen participants used JourneyCam to document journeys, after which the data they collected was used to support discussions around their experiences. Our findings highlight how the system facilitated the articulation of complex embodied experiences, and how the collected data might have particular value in surfacing these experiences to help inform urban design and policymaking. Participants valued the ways in which JourneyCam's moving image and sensor data made hard-to-express sensations apparent, as well as how it enabled them to surface previously unrecognised issues. We conclude by highlighting future opportunities for how such tools might enable citizens to inform and influence civic governance.

HCI has a tradition of engaging in democratic practices and contributing to public service innovation. Working with complex socio-political realities presents significant challenges for HCI researchers, which are amplified by the current democratic and economic crisis. In this article, we present insights from a longitudinal study where we worked with multiple stakeholders in the context of an austerity-driven transformation of public parks service in a city in the North East of England. Over the course of 20 months, we developed a participatory socio-technical process designed to create collaborative spaces between communities and institutions to re-envision and re-shape the city's public parks service. The study contributes to HCI research concerned with developing tools and processes that aim at connecting across the boundaries between communities and institutions. Our process and the resulting analysis expose the practical complexities of transformation and co-creation processes and the troubles that come with opening spaces for wider participation within highly contested and political settings. We provide an orientation for HCI design research aspiring to contribute to social innovation and democratic practices in troubled times.

Actuating, dynamic materials offer substantial potential to enhance interior designs but there are currently few examples of how they might be utilized or impact user experiences. As part of a design-led exploration, we have prototyped (Wizard-of-Oz) an actuating, dining table runner (ActuEater1), and then developed a fully-interactive fabric version that both changes shape and colour (ActuEater2). Four in-situ deployments of 'ActuEaters' in different dinner settings and subsequent 'design crits' showed insights into how people perceive, interpret and interact with such slow-technology in interesting (and often unexpected) ways. The results of our 'ActuEating' studies provide evidence for how an actuating artefact can be simultaneously a resource for social engagement and an interactive decorative. In response, we explore design opportunities for situating novel interactive materials in everyday settings, taking the leap into a new generation of interactive spaces, and critically considering new aesthetic possibilities.

Charities are subject to stringent transparency and accountability requirements from government and funders to ensure that they are conducting work and spending money appropriately. Charities are increasingly important to civic life and have unique characteristics as organisations. This provides a rich space in which HCI research may learn from and affect both held notions of transparency and accountability, and the relationships between these organisations and their stakeholders. We conducted ethnographic fieldwork and workshops over a seven month period at a charity. We aimed to understand how the transparency obligations of a charity manifest through work and how the workers of a charity reason about transparency and accountability as an everyday practice. Our findings highlight how organisations engage in presenting different accounts of their work; how workers view their legal transparency obligations in contrast with their accountability to their everyday community; and how their labour does not translate well to outcome measures or metrics. We discuss implications for the design of future systems that support organisations to produce accounts of their work as part of everyday practice.support organisations to produce accounts of their work as part of everyday practice.

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.

DIY-making can be an expensive pastime if makers are relying on ready-made toolkits, specialised materials and off-shelf components. Many prefabricated commercial kits seek to lower the learning barrier of making and to help beginners to successfully take their first steps in engineering. However, as soon as the novices become a little more advanced, these toolkits often do not fit the specific requirements of personal maker projects anymore. We introduce the idea of a Schnittmuster (or a meta-toolkit) as a novel approach to toolkit design that seeks to address these creativity-limiting factors as well as practical entrance hurdles. To demonstrate the adaptive power of the Schnittmuster concept, we discuss an exemplar in the context of capacitive touch sensing (FlexE-Touch). Implemented under the constraints of materials, user skill sets and making environments, we illustrate how the Schnittmuster facilitated four cheap and flexible toolkit instantiations for crafting custom touch sensor electrodes.

Solidarity organizations in Europe are committed to building a more socially just society through a better configuration of democracy, politics and economy. In this paper, we describe our efforts to contribute to the socio-political designed innovation of solidarity movements through the establishment of a research lab embedded in, and operating within, the solidarity economy. We describe three cases that span the polarities of everyday and expert design, and contribute to the scaling out of social innovations. We use these cases to exemplify the strategies and tactics that emerge from the ongoing negotiation of 'infrastructuring' work with solidarity organizations. Finally, we discuss how guerilla infrastructuring, designing coalitions, and spanning design polarities can contribute to HCI and design for social innovation more generally.

Rich metadata is becoming a key part of the broadcast production pipeline. This information can be used to deliver compelling new consumption experiences which are personalized, location-aware, interactive and multi-screen. However, media producers are struggling to generate the metadata required for such experiences, using inefficient post-production solutions which are limited in how much of the original context they can capture. In response, we present Media of Things (MoT), a tool for on-location media productions. MoT enables practical and flexible generation of sensor based point-of-capture metadata. We demonstrate how embedded ubiquitous sensing technologies such as the Internet of Things can be leveraged to produce context rich, time sequenced metadata in a production studio. We reflect on how this workflow can be integrated within the constraints of broadcast production and the possibilities that emerge from access to rich data at the beginning of the production lifecycle to produce well described media for reconfigurable consumption.

There is a growing public, political, and academic discourse around the idea that data has the potential to empower citizens. In particular, evidence-based policymaking is at the centre of national and regional planning processes. At the same time a shift towards Localism in planning means that while citizens and civic groups are centrally involved in decision-making about their communities, they lack the skills, resources and access to data that might inform their decision-making. There is a need to establish new ways of supporting deliberation and decision-making in local planning. We report a study that explores the role of data in the complex processes involved in consultation events and the broader collaborative processes surrounding them. In doing so we highlight the need for the integration of dialogic forms of participation with other locally produced data, and for this to be shared in ways that position data as a resource for action.

The value of data in supporting citizen participation in processes of place-making and community building is widely recognised. While the open data movement now permits citizens to acquire governmental data relating to their communities, little to no effort is made to ensure that these datasets are accessible and interpretable by non-professionals. Through a series of community engagements spanning an 18-month period, we co-designed Data:In Place, an open source web tool which supports citizens in accessing, interpreting and making sense of open data. Leveraging visual map-based querying, citizens can access official statistics about their community, interrogate the data, and map their own data sources to create data visualisations. Reflecting on the participatory design process and the designed technology, we provide a framing to make open data work for civic advocacy.

Recent HCI research has highlighted the potential afforded by maker technologies for supporting new forms of DIY Assistive Technology (DIY-AT) for people with disabilities. Furthermore, the popular discourse surrounding both the maker movement and disability is one of democratisation and empowerment. Despite this, critics argue that maker movement membership lacks diversity and that within DIY-AT, it is seldom the people with disabilities who are creating such designs. We conducted a qualitative study that explored how people with disabilities experience the empowering potential of making. We analysed online videos by makers with disabilities and conducted fieldwork at two makerspaces. These informed the design of DIY-Abilities, a series of workshops for people with disabilities in which participants could learn different maker technologies and complete their own maker project. Through analysis of participants' narratives we contribute a new perspective on the specific social and material capacities of accessible maker initiatives.

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.

In this paper, we present "Care and Connect", a mobile application created through the App Movement platform that aims to identify and rate public places (e.g., parks, shops, cafes) on their 'dementia-friendliness' - their suitability for people with dementia and their carers. Care and Connect saw significant support in its early stages on the online platform, yet failed to engage participants in its design phase and deployment. To unpick this, we contribute an account of its initial use in the community, and then describe findings from research engagements with carers and people with dementia. These workshops used Care and Connect to structure discussions of participants' own experiences of dementia-friendliness, and uncovered themes of 1) trust, 2) exclusion versus inclusion, 3) duration and quality of time, and 4) empathy becoming action. Using this evidence, we advance an account of online community commissioning as a process which needs to understand not only the general issues ongoing in communities facing significant life challenges, but also the particularity of community members' experiences.

Personal informatics practices are increasingly common, with a range of consumer technologies available to support, largely individual, interactions with data (e.g., performance measurement and activity/health monitoring). In this paper, we explore the concept of social sensemaking. In contrast to high-level statistics, we posit that social networking and reciprocal sharing of fine-grained self-tracker data can provide valuable context for individuals in making sense of their data. We present the design of an online platform called Citizense Makers (CM), which facilitates group sharing, annotating and discussion of self-tracker data. In a field trial of CM, we explore design issues around willingness to share data reciprocally; the importance of familiarity between individuals; and understandings of common activities in contextualising one's own data.

This paper identifies a body of HCI research wherein the researchers take part in digitally mediated creative experiences alongside participants. We present our definition and rationale for "self-situated performance research" based on theories in both the HCI and performance literatures. We then analyse four case studies of this type of work, ranging from overtly "performative" staged events to locative audio and public making.

The financial crisis and austerity politics in Europe has had a devastating impact on public services, social security and vulnerable populations. Greek civil society responded quickly by establishing solidarity structures aimed at helping vulnerable citizens to meet their basic needs and empower them to co-create an anti-austerity movement. While digital technology and social media played an important role in the initiation of the movement, it has a negligible role in the movement's on-going practices. Through embedded work with several solidarity structures in Greece, we have begun to understand the "solidarity economy" (SE) as an experiment in direct democracy and self-organization. Working with a range of solidarity structures we are developing a vision for a "Solidarity HCI" committed to designing to support personal, social and institutional transformation through processes of agonistic pluralism and contestation, where the aims and objectives of the SE are continuously re-formulated and put into practice.

In their article “The Meaning of Interactivity—Some Proposals for Definitions and Measures” (2017), Janlert and Stolterman work toward a systematic analysis of the notion of increasing interactivit...

In this paper, we reflect upon the ethical dilemmas faced during our research exploring the potential of Google Glass as a self-care technology for people with Parkinson's. Our project involved two stages of research: an initial study that explored the overall acceptability and responses of people with Parkinson's to the technology; and a follow-up study that examined participants’ experiences of the technology in more depth through further trials and a series of co-design activities. While our first trials were successful, leading to publication and subsequent local and national publicity, our follow-up trials were hampered by technical problems that were often out of our control. We highlight how participants’ heightened expectations prior to the second trial, as a result of public discourse around the project, were difficult to meet. This led to our participants articulating their frustrations, feelings of lowered self-confidence, and in some cases a reduced sense of self-worth. We reflect on how the decisions and actions taken during the project led to these dilemmas, and how these relate to contemporary challenges in human-computer interaction research where there is increased focus on in the wild studies of technology use and a pressure to publicly disseminate the findings of research. In doing so, we offer an open and honest account of how a set of ethical dilemmas emerged while conducting technology field trials with a potentially vulnerable group, and offer guidance to future researchers finding themselves in similar circumstances. We conducted ‘in the wild’ deployments of Google Glass with people with Parkinson's. There were several ethical implications of conducting this type of research, wherein the technology in question was still being developed and updated by its commercial manufacturer. Prior publicity about our project caused participants to formulate overly positive preconceptions around the technology. We reflect in detail on some of the decisions and actions taken during the project, and discuss strategies for researchers to take into account in future studies that might help anticipate, avoid and negotiate ethical dilemmas in the future.

With the increased relevance of digital technologies in civil life comes the challenge of how to design research for citizen engagement. Drawing from three reflexive case studies presenting socially engaged arts (SEA) projects, we describe how, as artists, collaborators and researchers, we engaged in socially inclusive community-based projects. We argue that our roles required us to be both flexible and to adopt critical openness in practices of collaborative social facilitation. We conclude with insights to inform community-based research and enable nurturing and inclusive engagement in research design for the exploration of near-future digital technologies.

Music listening practices are changing. Mobile, networked devices now offer rich opportunities not just for personal music consumption but also for personally broadcasting music and for sharing digital meta-data concerning tastes, preferences and general listening habits. However, experiences of music listening and sharing on the move and how this has been impacted by developments in mobile technology remain under-explored. In this paper we present an empirical study of the sociality of mobile music experiences, "in the wild", using a new location-based mobile music-sharing application (Pocketsong), designed as a technology probe. We report users' experiences of Pocketsong (distilled from interviews), and critically examine the affordances of mobile music applications, the sociality of sharing and "co-listening", and the relationships between digitally-mediated mobile music consumption and self-expression. Based upon this we reflect upon the interaction design challenges of developing mobile music technologies that work in digitally-mediated social spaces.

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.

Much of the academic and commercial work which seeks to innovate around technology has been dismissed as "solutionist" because it solves problems that don't exist or ignores the complexity of personal, political and environmental issues. This paper traces the "solutionism" critique to its origins in city planning and highlights the original concern with imaging and representation in the design process. It is increasingly cheap and easy to create compelling and seductive images of concept designs, which sell solutions and presume problems. We consider a range of strategies, which explicitly reject the search for "solutions". These include design fiction and critical design but also less well-known techniques, which aim for unuseless, questionable and silly designs. We present two examples of "magic machine" workshops where participants are encouraged to reject realistic premises for possible technological interventions and create absurd propositions from lo-fi materials. We argue that such practices may help researchers resist the impulse towards solutionism and suggest that attention to representation during the ideation process is a key strategy for this.

We present insights from an extended engagement and design intervention at an urban regeneration site in SE Lon-don. We describe the process of designing a walking trail and system for recording and playing back place-specific stories for those living and working on the housing estate, and show how this is set within a wider context of urban renewal, social/affordable housing and "community building". Like prior work, the research reveals the frictions that arise in participatory engagements with heterogeneous actors. Here we illustrate how material interventions can re-arrange existing spatial configurations, making productive the plurality of accounts intrinsic in community life. Through this, we provide an orientation to HCI and design interventions that are concerned with civic engagement and participation in processes of making places.

Interactive Voice Response (IVR) platforms have been widely deployed in resource-limited settings. These systems tend to afford asynchronous push interactions, and within the context of health, provide medication reminders, descriptions of symptoms and tips on self-management. Here, we present the development of an IVR system for resource-limited settings that enables real-time, synchronous interaction. Inspired by community radio, and calls for health systems that are truly local, we developed "Sehat ki Vaani". Sehat ki Vaani is a real-time IVR platform that enables hosting and participation in radio chat shows on community-led topics. We deployed Sehat ki Vaani with two communities in North India on topics related to the management of Type 2 diabetes and maternal health. Our deployments highlight the potential for synchronous IVR systems to offer community connection and localised sharing of experience, while also highlighting the complexity of producing, hosting and participating in radio shows in real time through IVR. We discuss the relative strengths and weaknesses of synchronous IVR systems, and highlight lessons learnt for interaction design in this area.

This paper describes the challenges and lessons learned in the experience-centered design (ECD) of the Spheres of Wellbeing, a technology to promote the mental health and wellbeing of a group of women, suffering from significant mental health problems and living in a medium secure hospital unit. First, we describe how our relationship with mental health professionals at the hospital and the aspirations for person-centric care that we shared with them enabled us, in the design of the Spheres, to innovate outside traditional healthcare procedures. We then provide insights into the challenges presented by the particular care culture and existing services and practices in the secure hospital unit that were revealed through our technology deployment. In discussing these challenges, our design enquiry opens up a space to make sense of experience living with complex mental health conditions in highly constrained contexts within which the deployment of the Spheres becomes an opportunity to think about wellbeing in similar contexts.

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.

Cross-cultural learning has gained increased interest and importance within school curricula in recent years. Schools are using technology to accumulate resources for cross-cultural learning, which has predominantly been pre-prepared videos, documentaries, photos and textual information available online. In this paper we describe the engagement with video technology on mobile smartphones by three migrant families who were tasked with developing cross-cultural resources over the course of six weeks. The resources developed were then used as a learning resource in a classroom and feedback was taken from the teacher. Our study has established that mobile phones particularly smartphones are an accessible, evocative and affordable avenue to aid in the development of cross-cultural resources alongside building stronger parental engagement in schools. The study contributes an expansion of knowledge in research areas that seek to use video technology on mobile phones to build cross-cultural resources for learning and strengthen home-school and school-home communication.

This paper describes three interactive artefacts created for a children's exhibition intended to encourage creativity and allow educational opportunities to emerge naturally through playful exploration. We describe five sensibilities that were used to inform our designs: considering artefacts as resources and scaffolds for imaginative engagement, rewarding extended investment, facilitating requisite unpredictability, encouraging an imaginative orientation to participation, and permitting multiple loci for interaction. Based on observation of how our interactives were used by the public, we discuss how our approach facilitated "open interactions" in a manner that was sensitive to the museum context, favoured a mix of materialities, and manifested a subtle mix of participation and designer autonomy.

We present a method for the situated discovery and articulation of issues at the intersection between the politics of place making and city planning. We describe the construction and use of designed tools, such as historical political archives; counterfactual maps; and cards to invite situated dialogue between the social and institutional practices and mechanisms that produce our cities. Grounded in an account of the political as vernacular and embodied, our analysis advance understandings on the politics of design, and on the complex interrelationship between places and political spaces. We outline how HCI can adopt methods and develop sensitivities to support democratic practices and publics envisioning their urban futures.

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 explore how digital technology might support the documentation of experiences of participatory arts engagement. During a fourteen session workshop series, we worked with artists, project managers, support workers and participants to explore the integration of digital media capture and presentation technologies into participatory arts workshops, and the implications that this would have for the experiences and practices of key stakeholders involved. We contribute insight into the social and practical challenges faced when using digital technology to create documentation of participatory arts. Our findings highlight the importance of situating documentation, sense making and re-telling of experiences in sensitive contexts such as participatory arts within the practices of skilled interpreters that are mindful of the complexities involved.

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.

Much of the knowing employed in skilled craft practice is difficult to communicate solely through written or verbal description. Consequently, the reflection and development of a craft practice in this manner may miss important nuances of practitioners' skills and experiences. We created digital technologies to sonify (using audio to perceptualize data) a group of craft practitioners' gestures to explore how we can aid their reflection in and on their craft, and consequently develop it. Over a number of workshops, the design of these sonifications were iterated based on how the practitioners responded to them. We found that direct sonification of gesture (sounds generated directly from motion sensor data) helped practitioners understand and reflect upon their own and each other's practice, encouraged discussion and enabled modification of craft technique.

Health and care providers are increasingly looking to online and peer-to-peer services to supplement existing channels of assistive living technology (ALTs) provision and assessment. We describe the findings from 12 co-design workshops with 28 people from the UK representing a range of older people with and without health conditions, users of ALT and carers for people using such devices. The workshops were conducted to explore issues related to finding reliable information about ALT with the goal of gathering requirements for the design of a peer-to-peer knowledge sharing platform. Our analysis highlights how a current reliance on peers and informal networks relates to a desire to establish the authenticity and relatability of another person's experience to one's own circumstances. This connects to a perceived mistrust in information where provenance and authenticity is not clear. We use these to critique the wisdom of taking an e-marketplace and recommendation service approach to ALT provision and assessment, and offer alternatives based on our findings.

Ageing has become a significant area of interest in Human-Computer Interaction (HCI) in recent years. In this article we provide a critical analysis of 30 years of ageing research published across the ACM Special Interest Group on Computer-Human Interaction (SIGCHI) community. Discourse analysis of the content of 644 archival papers highlights how ageing is typically framed as a “problem” that can be managed by technology. We highlight how ageing is typically defined through an emphasis on the economic and societal impact of health and care needs of older people, concerns around socialisation as people age, and declines in abilities and associated reductions in performance when using technology. We draw from research within the fields of social and critical gerontology to highlight how these discourses in SIGCHI literature represent common stereotypes around old age that have also prevailed in the wider literature in gerontology. We conclude by proposing strategies for future research at the intersection of ageing and HCI.

The term Do It Yourself Assistive Technology (DIY-AT) refers to the creation and adaptation of AT by non-professionals, including people with disabilities and their families, friends and caregivers. Previous research has argued that the development of technologies and services that enable people to make their own DIY-AT will lead to the rapid and low cost development of assistive devices that are tailored to meet the complex needs of individual people with disabilities. We present the results of a qualitative study that explored challenges related to the process of making DIY-AT for children with disabilities. A series of eleven semi-structured interviews with a broad range of stakeholders involved in the current use, provision and adaptation of AT for children with disabilities revealed a number of challenges relating to the prevalence and scope of ongoing DIY-AT practice, barriers to participation, and the challenges faced by makers and users of DIY-AT.

We present the findings of an empirical design study exploring how situating digital fabrication within a souvenir-making activity can enrich an audience's encounter with cultural events and engage visitors in discussion and reflection upon their experiences. During an incremental accumulative design process, in collaboration with an arts organisation, we developed a series of fabrication activities that offered visitors the opportunity to create their own personalised souvenirs based on their experience of a cultural event. By analyzing visitors' trajectories of engagement with the event we explore three key findings: activity embedded digital fabrication engages new audiences, encourages conversation and reflection, and presents organisations with new and more playful ways to gain insights into audience experiences.

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.

In this paper we present insights from an empirical analysis of data from an emergent social movement primarily located on a Facebook page to contribute understanding of the conduct of everyday politics in social media and through this open up research agendas for HCI. The analysis focuses on how interactions and contributions facilitated the emergence of a collective with political will. We lay out an exploration of the intrinsic relationship between cultural memories, cultural expression and everyday politics and show how diverging voices co-constructed dynamic collectives capable of political action. We look at how interactions through the Facebook page challenge traditional ways for conceiving politics and the political. We outline possible research agendas in the field of everyday politics, which are sensitive to the everyday acts of resistance enclosed in the ordinary.

While theatre has been used in HCI as a tool for engaging participants in design processes, the specific benefits of using live theatre over other communicative mediums, remains underexplored. In this paper we introduce Experience Design Theatre (EDT) as an approach to undertaking experience-centered design with multiple parties in the early stages of design. EDT was motivated by a need to involve several diverse groups of people in the design of a digitally coordinated care service - NetCarers. We used live theatre as a way to engage small groups of participants in dialogues around the design of NetCarers, to qualify their contributions in a refined performance, and to communicate their concerns and aspirations to domain experts. We highlight key benefits to using live theatre in experience-centered design and offer insights for researchers undertaking similar work in the future.

We detail the design of the Department of Hidden Stories (DoHS), a mobile-based game to support playful digital storytelling among primary school children in public libraries. Through a process of iterative design in collaboration with library staff and children's writers we designed DoHS to support the potential for playful storytelling through interactions with books. A deployment of DoHS with two classes of 8 to 10 years olds as part of their regular library visits revealed insights related to how to balance the expectations of a child-at-play and the requirement to further develop their creative reading and writing skills. Based on our experiences we recommend that designers create playful digitally based activities that encourage children to explore libraries and experience new interactions with physical books.

The joint study of computer security, privacy and human-computer interaction (HCI) over the last two decades has shaped a research agenda focused upon usable privacy & security. However, in HCI research more generally there has long been an awareness of the need to understand and design for user experience, in recognition of the complex and multi-faceted role that technology now plays in our lives. In this paper we add to the growing discussion by introducing the notion of experience-centered privacy and security. We argue that in order to engage users of technology around issues related to experiences of privacy and security, research methods are required that may be outside of the normal repertoire of methods that we typically call upon. We describe three projects that developed non-typical research methods to reveal experiential insights into user interactions with privacy and security-related technologies. We conclude by proposing a research agenda that begins to illustrate how the discourse and methods of experience-centered design might serve to provide valuable alternative perspectives on new and enduring user-facing privacy and security problems.

StoryCrate [2] is a collaborative editing tool developed to drive creative workflow within a location based television production environment. The system was deployed in a real-world context, using professional production staff to produce a short film. In this paper we present an exploration into this deployment using interviews, observations and accounts from the crew. We provide an in-depth analysis of the study and the impact of StoryCrate on the crew's workflow. By providing a narrative of the deployment we describe how it was appropriated in-the-wild, and discuss considerations for designing tools to aid creative professionals in similarly hierarchical domains.

As research increasingly turns to work 'in the wild' to design and evaluate technologies under real-world conditions, little consideration has been given to what happens when research ends. In many cases, users are heavily involved in the design process and encouraged to integrate the resulting technologies into their lives before they are withdrawn, while in some cases technologies are being left in place after research concludes. Often, little is done to assess the impact and legacy of these deployments. In this paper, we return to two examples in which we designed technologies with the involvement of communities and examine what steps were taken to ensure their long-term viability and what happened following the departure of researchers. From these examples, we provide guidelines for planning and executing technology handovers when conducting research with communities.

The paper reflects on three approaches to the dissemination and display of digital art. \'1c"s[edition]\'1d" is a novel, web-based service that offers limited editions of "\'1cdigital prints"\'1d. Analysis of user comments suggests that the metaphor of a \'1c"limited digital edition"\'1d raises issues and to some extent is resisted. The second approach is the Flickr Brushes Gallery, where digital painters post images and comment on one another's work. Analysis of comment boards indicates that the shared art and comments are a form of gift exchange. Finally, the paper discusses a field study in which artists exhibited their work as it develops over time in digital frames and also in an immersive digital projection room. Analysis of field notes and interviews indicate that the digital frame approach was unsuccessful because of aesthetic and environmental concerns. The immersive projection suggested that more experiential approaches may be more interesting. It is argued that there is an inherent resistance in digital media to previous models of art commoditization. None of the approaches discussed here resolve the dilemma but rather indicate the scope and complexity of the issues.

This paper explores how technology could support the re-building of lives after domestic violence. We worked in the context of a women's centre where women are accessing support after leaving abusive relationships. The paper contributes a feminist participatory arts action research approach to studying photo-sharing practices and helps to frame an understanding of the ongoing tensions in the construction of self with others that the women experience. We argue that the affirmation of new bonds, control in sharing the process of 'moving on', and supporting discursive negotiations of privacy are important considerations for design focused on interpersonal social processes around the use of digital technology.

We explore whether idiographic design, a category of interaction design that focuses upon responding to detailed personal accounts of individuals' practices, can be used to support interaction designers in responding to the complex and multifaceted design space posed by live performance. We describe and reflect upon the application of an idiographic approach during the design of Waves, an interface for live VJ performance. This approach involved a close and dialogical engagement with the practices and experiences of an individual live performer, during a series of semi-structured interviews and then the discussion and iteration of an evolving prototypical design. Reflection on the experience of applying this approach highlights idiographic design as a practical means to support interaction designers in proposing innovative designs that respond sensitively to the kinds of subtle and complex issues that underpin people's lived and felt experiences of live performance and, potentially, many other domains.

Music shapes our social lives. While previous research has provided a foundational understanding of the social affordances surrounding people's interactions with music, there is a need to update this understanding in light of recent key developments in our digital technological landscape. This paper describes a qualitative study of people's social activities and practices around music in households. It extends previous research by revealing the impact key technologies have on how, where, when, and with who people's interactions surrounding music occur. It also reveals people's creative attempts to design their musical experiences with others through reconfiguring and connecting to various digital technologies and digital platforms in order to pursue more opportunities for communicating, sharing, bonding, and celebrating lives with others.

In the field of mental health care technologies, very limited attention has been given to the design of interventions for individuals who undergo treatment for severe mental health problems in intense care contexts. Exploring novel designs to engage vulnerable psychiatric patients in therapeutic skills practice and expanding on the potential of technology to promote mental health, the paper introduces the design concept of the Spheres of Wellbeing. A set of interactive artifacts is developed specifically for women with a dual diagnosis of a Learning Disability and Borderline Personality Disorder, living in the medium secure services of a forensic hospital in the UK. The women present a difficult to treat group due to extremely challenging behaviors and a fundamental lack of motivation to engage in therapy. The Spheres are designed to assist the women in practices of mindfulness, to help them tolerate emotional distress and to strengthen their sense of self, all of which are vital components of their specialist treatment Dialectical Behavioral Therapy (DBT). The Spheres are intended to supplement the therapy of the women and to contribute to our understanding of designing technology to enhance mental wellbeing and quality of life more generally.

The term 'participation' is traditionally used in HCI to describe the involvement of users and stakeholders in design processes, with a pretext of distributing control to participants to shape their technological future. In this paper we ask whether these values can hold up in practice, particularly as participation takes on new meanings and incorporates new perspectives. We argue that much HCI research leans towards configuring participation. In exploring this claim we explore three questions that we consider important for understanding how HCI configures participation; Who initiates, directs and benefits from user participation in design? In what forms does user participation occur? How is control shared with users in design? In answering these questions we consider the conceptual, ethical and pragmatic problems this raises for current participatory HCI research. Finally, we offer directions for future work explicitly dealing with the configuration of participation.

HCI researchers working in publically funded institutions are increasingly encouraged to engage the public in their research. Mass media is often seen as an effective medium with which to communicate research to large parts of the population. We present an account of three HCI projects that have used engagements with mass media in order to communicate research to the public. We describe the motivations for working with mass media and the mechanics of writing press releases. A grounded theory analysis of online public responses to the projects in the mass media leads us to identify a number of concerns about how research is portrayed by news outlets and thus interpreted by the public. Tensions about technologies and wider societal issues were revealed that might normally be hidden when using traditional user-centred methods. We critically reflect on the efficacy of using the mass media in research and provide guidance for HCI researchers wishing to engage in dialogues with the public in the future.

Probes have been adopted with great enthusiasm in both Design and HCI. The heterogeneity with which they have been used in practice reflects how the method has proved elusive for many. Originators and commentators of probes have discussed misinterpretations of the method, highlighting the lack of accounts that describe in detail the design of probes and their use with participants. This paper discusses our particular use of Design Probes as directed craft objects that are both tools for design and tools for exploration across a number of projects, spanning a decade, centered on self-identity and personal significance. In offering an example of what a framework for probe design and use might look like, we attempt to address the identified lacuna, providing a synthetic account of probe design and use over an extended period and conceptualizing the relationship between the properties of probes and their use in design projects.

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.

This workshop brings together a cross-disciplinary community of researchers and practitioners interested in participative practice and interactive systems design. The workshop addresses growing fascination with participation across interaction design, community informatics, the arts, science and social science, and asks workshop participants to reflect on the ethics and efficacy of the tools and methods used in these diverse practices. The aim of the workshop will be to map out a critical framework exploring the qualities of participation from multiple disciplines. The workshop outcomes will outline how cross-disciplinary perspectives on participation can contribute to participatory and user-centred interaction design.

Creating film content for broadcast is a high pressure and complex activity involving multiple experts and highly specialized equipment. Production teams are under continuous pressure to produce ever more creative and groundbreaking content while reducing the budgets and human resources required. While technologies are being developed for digitizing and streamlining sections of the production workflow, a gap remains between creative decisions made on location, and those made during digital editing and post-production. We describe a prototype tangible, tabletop interface to be deployed on a film shoot, which uses a storyboard as a shared data representation to drive team creativity. We define creativity in terms of team production, discuss our implementation and describe a deployment in which the prototype was used by a professional production team during a film shoot. Finally we describe a number of interesting interactions that were observed and consider the implications of our design decisions on the creative process of film making and the benefits of tangible, tabletop collaborative interactive displays in live film production.

Viewpoint is a public voting device developed to allow residents in a disadvantaged community to make their voices heard through a simple, lightweight interaction. This was intended to open a new channel of communication within the community and increase community members' perception of their own efficacy. Local elected officials and community groups were able to post questions on devices located in public spaces, where residents could vote for one of two responses. Question authors were subsequently required to post a response indicating any actions to be taken. Following a two-month trial, we present our experiences and contribute guidelines for the design of public democracy tools and dimensions impacting their effectiveness, including credibility, efficacy and format.

We present the use of plastic fuse beads as a prototyping approach in physical computing and as a material in electronic circuitry. We introduce the properties of this craft and material, and describe a collaborative experiment with a group of teenagers, in which this approach was tested as a participatory project. This open-format workshop demonstrated the feasibility, affordances and youth-friendliness of using this craft and material for simple DIY physical computing projects and for the tangible learning of basic principles of interaction design.

The Photostroller is a device designed for use by residents of a care home for older people. It shows a continuous slideshow of photographs retrieved from the Flickr™ image website using a set of six predefined categories modified by a tuneable degree of 'semantic drift'. In this paper, we describe the design process that led to the Photostroller, and summarise observations made during a deployment in the care home that has lasted over two months at the time of writing. We suggest that the Photostroller balances constraint with openness, and control with drift, to provide an effective resource for the ludic engagement of a diverse group of older people with each other and the world outside their home.

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.

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.

The "older old" (people over eighty) are a largely invisible group for those not directly involved in their lives; this project explores the ways that technology might strengthen links between different generations. This paper describes findings from a two-year study of a residential care home and develops the notion of cross-generational engagement through ludic systems which encourage curiosity and playfulness. It outlines innovative ways of engaging the older old through "digital curios" such as Bloom, the Tenori On and Google Earth. The use of these curios was supplemented with portraiture by three local artists, nine school children and the field researcher. The paper describes four technological interventions: "video window", "projected portraiture", "blank canvas", and "soundscape radio". These interventions attempt to reposition "off the shelf technologies to provide a space for cross-generational engagement The notion of inter-passivity (the obverse of interaction) is explored in relation to each intervention.

In this paper we describe the Prayer Companion, a device we developed as a resource for the spiritual activity of a group of cloistered nuns. The device displays a stream of information sourced from RSS news feeds and social networking sites to suggest possible topics for prayers. The nuns have engaged with the device enthusiastically over the first ten months of an ongoing deployment, and, notwithstanding some initial irritation with the balance of content, report that it plays a significant and continuing role in their prayer life. We discuss how we balanced specificity in the design with a degree of openness for interpretation to create a resource that the nuns could both understand and appropriate, describe the importance of materiality to the device's successful adoption, consider its implications as a design for older people, and reflect on the example it provides of how computation may serve spirituality.

For a decade HCI researchers and practitioners have been developing methods, practices and designs 'for the full range of human experience'. On the one hand, a variety of approaches to design, such as aesthetic, affective, and ludic that emphasize particular qualities and contexts of experience and particular approaches to intervening in interactive experience have become focal. On the other, a variety of approaches to understanding users and user experience, based on narrative, biography, and role-play have been developed and deployed. These developments can be viewed in terms of one of the seminal commitments of HCI, 'to know the user'. Empathy has been used as a defining characteristic of designer-user relationships when design is concerned with user experience. In this article, we use 'empathy' to help position some emerging design and user-experience methodologies in terms of dynamically shifting relationships between designers, users, and artefacts.

The aesthetics of human-computer interaction and interaction design are conceptualized in terms of a pragmatic account of human experience. We elaborate this account through a framework for aesthetic experience built around three themes: (1) a holistic approach wherein the person with feelings, emotions, and thoughts is the focus of design; (2) a constructivist stance in which self is seen as continuously engaged and constituted in making sense of experience; and (3) a dialogical ontology in which self, others, and technology are constructed as multiple centers of value. We use this framework to critically reflect on research into the aesthetics of interaction and to suggest sensibilities for designing aesthetic interaction. Finally, a digital jewelery case study is described to demonstrate a design approach that is open to the perspectives presented in the framework and to consider how the framework and sensibilities are reflected in engagement with participants and approach to design.

This paper understands the design of bus information panels as rooted in a landscape of human experience. It turns the mundane activity of waiting at a bus stop into a deeply problematic space of emotion and volition by understanding the dialogic relationship between human and technology. It does this by developing a novel approach to interaction design, which combines a theoretical framework that reveals the rich experience and 'felt life' of technology with an empirical analysis of bus information. By imagining a series of conversation-like dialogues, based in a Conversation Analytic (CA) sensitivity to the achievement of meaning in sequence, it generates a series of experience narratives that provide for a critical analysis of the information presentation. The exercise stands as an example of a form of imagined experiential narrative that might be developed into a method of experience scenarios in future work. We reflect on moves toward what might be called experiential scenarios in the conclusion.

This paper reports the findings from quantitative and qualitative studies of Riot! - a location-sensitive interactive play for voices. The paper begins by introducing Riot!; it then explores the growing literature on theories of experience and goes on to report the findings from three empirical studies of the event: a questionnaire-based survey of 563 participants; 30 semi-structured interviews with groups and individuals; and in-depth ethnographic case studies of four participants. It was clear from the survey that most people had enjoyed Riot! However, the interview data demonstrated that they had also experienced frustration even where overall enjoyment ratings were high. This is explored in relation to perception of the system and goal definition. The ethnographic case studies identify barriers to engagement in terms of individual identity and orientation. A critical theory-based analysis of Riot! further explicates the user experience in terms of literary devices such as characterisation and the development of narrative expectation.The studies identify a number of usability problems such as inconsistency of interaction and non-reversibility that caused frustration. The critical analysis also identifies problems with the script such as the presentation of linear narrative in a non-linear medium. It accounts for widely differing accounts of the experience with reference to the participant's individual orientations or habitus. The paper demonstrates the value of an interdisciplinary approach for exploring the commonality and particularity of user experience.

Pastiche scenarios draw on fiction as a resource to explore the interior ‘felt-life’ aspects of user experience and the complex social and cultural issues raised by technological innovations. This paper sets out an approach for their use, outlining techniques for the location of source material and presenting three case studies of pastiche scenario use. The first case study is an evaluation of the Apple iPod that explores the socio-cultural meanings of the technology. The second case study focuses on the participatory design of Net Neighbours, an online shopping system where volunteers shop as intermediaries for older people who do not have access to computers. The third is an in depth consideration of a conceptual design, the ‘cambadge’ a wearable lightweight web cam which, upon activation broadcasts to police or public websites intended to reduce older people’s fear of crime. This design concept is explored in depth in pastiche scenarios of the Miss Marple stories, A Clockwork Orange and Nineteen Eighty-four that reflect on how the device might be experienced not only by users but also by those it is used against. It is argued that pastiche scenarios are a useful complementary method for designers to reason about user experience as well as the broad social and cultural impacts of new technologies.

In this article we present a new approach to interaction modeling based on the concept of information resources. The approach is inspired by recent distributed cognition (DC) literature but develops a model that applies specifically to human-computer interaction (HCI) modeling. Of course, there are many approaches to modeling HCI, and the motivation of this article is not to offer yet another approach. Rather, our motivation is that the recent developments in DC are so obviously relevant to HCI modeling and design, yet the ideas have lacked visibility in the HCI community. By providing a model whose concepts are rooted in DC concepts, we hope to achieve this visibility. DC research identifies resources for action as central to the interaction between people and technologies, but it stops short of providing a definition of such resources at a level that could be used to analyze interaction. The resources model described in this article defines a limited number of resource types as abstract information structures that can be used to analyze interaction. We demonstrate how these abstract types can be represented differently in an interface. The resources model uses the concept of interaction strategy to describe the way in which different configurations of resources can differently shape users' actions. These 2 components of the resources model (information structures and interaction strategies), through the process of coordination and integration, provide a link among devices, representations, and actions that is not well articulated in the DC literature.

The conceptual basis for designing procedures is confused by the problematics of characterizing a relation between procedures and work practices. As they emerge from scientific management theory, procedures connote a means of rationalizing and controlling work. However, interpretations of the use of procedures reveal differences in emphasis on the work required to relate procedures to practice, from comprehending to evaluating appropriateness or reasonableness. These evaluations point to a moral character in this work, which we characterize in terms of workers' concerns. Moreover, as conceptual differences in emphasis such as these can prove intractable, we argue that a more productive approach to resolving the problematics would be to evaluate the usefulness of a sensitivity to concerns in designing procedures. Three brief case studies of the use of procedures in safety-critical settings point to workers making judgments when relating procedures to their practice, including judgments of the value of the procedures they were using. These cases also demonstrated the complexity of concerns that were multiple and interacting and that had spatial and temporal characteristics. A review of approaches to work that inform HCI design suggests that activity-based approaches, which contextualize goals and actions in terms of both origins and personal investment, provide the minimum meaningful context required to accommodate concerns. Finally, we present an analysis of the implementation of medical guidelines in Britain that exemplifies the transformation in thinking required to design practically useful procedures: from models of work that emphasize control to those that emphasize commitment, and from conceptualizations of procedures as rationalizing and controlling to conceptualizations of procedures as educational. This analysis features the sensitivity to concerns in this particular case and draws some suggestive lines from what this case reveals about concerns to the kind of contributions a sensitivity to concerns would make to a contextual design process.

Article Free Access Share on Locating the scene: the particular and the general in contexts for ambulance control Authors: John C. McCarthy Department of Applied Psychology, University College Cork, Cork, Ireland Department of Applied Psychology, University College Cork, Cork, IrelandView Profile , Peter C. Wright Department of Computer Science, University Of York, York YO1 5DD, England Department of Computer Science, University Of York, York YO1 5DD, EnglandView Profile , Patrick Healey Department of Applied Psychology, University College Cork, Cork, Ireland Department of Applied Psychology, University College Cork, Cork, IrelandView Profile , Andrew Dearden Department of Computer Science, University Of York, York YO1 5DD, England Department of Computer Science, University Of York, York YO1 5DD, EnglandView Profile , Michael D. Harrison Department of Computer Science, University Of York, York YO1 5DD, England Department of Computer Science, University Of York, York YO1 5DD, EnglandView Profile Authors Info & Claims GROUP '97: Proceedings of the 1997 ACM International Conference on Supporting Group WorkNovember 1997 Pages 101–110https://doi.org/10.1145/266838.266874Published:16 November 1997Publication History 12citation505DownloadsMetricsTotal Citations12Total Downloads505Last 12 Months14Last 6 weeks3 Get Citation AlertsNew Citation Alert added!This alert has been successfully added and will be sent to:You will be notified whenever a record that you have chosen has been cited.To manage your alert preferences, click on the button below.Manage my AlertsNew Citation Alert!Please log in to your account Save to BinderSave to BinderCreate a New BinderNameCancelCreateExport CitationPublisher SiteeReaderPDF

We put forward an approach to deriving and applying human error tolerance requirements. Such requirements are concerned with the response of a system to errors introduced by human operators. The approach provides a means by which operators' tasks can be described and analysed for likely errors and the impact of these errors on system safety can be explored. The approach, based on previous work by the same authors (P. Wright et al., 1994), uses a software engineering notation to provide the bridge between operator models and systems engineering concerns. The approach is extended to include a more refined understanding of the processes that contribute to human error. The operators' process in achieving goals is understood in terms of structured tasks. With this additional apparatus we are able to capture a more complex set of human error forms.

A structured method is described for the analysis of interactions to identify situations where hidden information may exist and where non-speech sound might be used to overcome the associated problems. Interactions are considered in terms of events, status and modes to find any hidden information. This is then categorised in terms of the feedback needed to present it. An auditory-enhanced scrollbar, based on the method described, was then experimentally tested. Timing and error rates were used along with subjective measures of workload. Results from the experiment show a significant reduction in time to complete one task, a decrease in the mental effort required and an overall preference for the auditory-enhanced scrollbar.

This article is concerned with an analysis of the requirements for text-based on-line conferencing. From a system perspective, text-based on-line conferencing can be viewed as either message passing or data sharing. These complementary views give rise to different design dimensions. For example, the message-passing view is concerned with granularity, channels, message labels, and so on. The data-sharing view is concerned with the access different individuals have to the text: read only, appending, editing, pointing, and so on. A deliberately sparse prototype was built and placed in this design space. This minimal prototype has limited functionality so that the real problems experienced by users can show through. Relevant literature from disciplines such as social psychology, conversational analysis, and linguistics is briefly reviewed in terms of three generic communication tasks: synchronizing communication, maintaining structural coherence, and maintaining referents. An empirical analysis of subjects' use of the sparse prototype was analyzed to establish the relevance of the generic communication tasks to text-based on-line conferencing. Possible forms that support for these tasks might take are discussed.

Dissatisfaction with the traditional model of HCI research borrowed from experimental psychology has lead to a number of interesting new approaches. One is the so-called ‘hermeneutic approach’ based on field research methods. Another is to apply existing theory from cognitive psychology. This paper is mainly concerned with a third discernible approach based around a study of the artifacts or inventions built to facilitate human-computer interaction. The effectiveness of different system features is explained by reference to the user's task. The investigation of ‘observation-invention pairs’ is suggested as a way of providing generalisations about user behaviour consistent with this approach. The observation part is a statement about the behaviour of users with some specified generality. The invention serves to illustrate the observation's implications for design and provides a heuristic for further inventions. The paper relates observation-invention pairs to other analyses of artifacts and concludes that they have a place as general statements of knowledge for HCI design.