Digital technologies play an increasingly prominent role in memorialisation, but their use at cemeteries has been criticised for lack of sensitivity. Designers of digital cemetery technologies (cemtech) face a high risk of causing offence or failing to attract users due to social norms of memorial sites. To map this area of design and its pitfalls, we first developed a typology of cemtech through a review of examples from around the world. We then evaluated social acceptance of various types of cemtech through a survey of 1,053 Australian residents. Younger people were more accepting of cemtech than older people. Acceptance was highest for cemtech with three characteristics: familiarity, intimacy of user group and peacefulness. Through a reflexive thematic analysis, we identified four attitudinal dichotomies that explain divergent reactions to cemtech: Expands/Impedes, Public/Private, Lively/Restful and Pragmatic/Affective. We conclude with a discussion of how this work can assist designers of public memorialisation technologies.

Inspired by the increasing prevalence of digital voice assistants, we demonstrate the feasibility of using voice interfaces to deploy and complete crowd tasks. We have developed Crowd Tasker, a novel system that delivers crowd tasks through a digital voice assistant. In a lab study, we validate our proof-of-concept and show that crowd task performance through a voice assistant is comparable to that of a web interface for voice-compatible and voice-based crowd tasks for native English speakers. We also report on a field study where participants used our system in their homes. We find that crowdsourcing through voice can provide greater flexibility to crowd workers by allowing them to work in brief sessions, enabling multi-tasking, and reducing the time and effort required to initiate tasks. We conclude by proposing a set of design guidelines for the creation of crowd tasks for voice and the development of future voice-based crowdsourcing systems.

Voice control is an increasingly common feature of digital games, but the experience of playing with voice control is often hampered by feelings of embarrassment and dissonance. Past research has recognised these tensions, but has not offered a general model of how they arise and how players respond to them. In this study, we use Erving Goffman's frame analysis, as adapted to the study of games by Conway and Trevillian, to understand the social experience of playing games by voice. Based on 24 interviews with participants who played voice-controlled games in a social setting, we put forward a frame analytic model of gameplay as a social event, along with seven themes that describe how voice interaction enhances or disrupts the player experience. Our results demonstrate the utility of frame analysis for understanding social dissonance in voice interaction gameplay, and point to practical considerations for designers to improve engagement with voice-controlled games.

In competitive co-located gameplay, players use their opponents' gaze to make predictions about their plans while simultaneously managing their own gaze to avoid giving away their plans. This socially competitive dimension is lacking in most online games, where players are out of sight of each other. We conducted a lab study using a strategic online game; finding that (1) players are better at discerning their opponent's plans when shown a live visualisation of the opponent's gaze, and (2) players who are aware that their gaze is tracked will manipulate their gaze to keep their intentions hidden. We describe the strategies that players employed, to various degrees of success, to deceive their opponent through their gaze behaviour. This gaze-based deception adds an effortful and challenging aspect to the competition. Lastly, we discuss the various implications of our findings and its applicability for future game design.