Evaluating Web and Mobile User Interfaces With Semiotics: An Empirical Study

Computer interface signs, such as navigational links, thumbnails, small images, command buttons, symbols, icons, etc., which serve as communication artifacts between designers/systems and users, constitute an under-researched area. To design and evaluate intuitive interface signs, the Semiotic Interface Sign Design and Evaluation (SIDE) framework was developed. The aim of this study is to test the framework & x2019;s applicability to evaluate web and mobile user interfaces. To that end, two empirical user studies were conducted among a total of 86 practitioners (n1 & x003D; 58, n2 & x003D; 28). The results show that the SIDE framework helps identify unique usability problems, such as the intuitiveness of interface signs in terms of their referential meaning, which would not have been detected with traditional heuristic evaluation methods. The paper increases our understanding of the intuitive nature of interface signs of web and mobile interfaces, and of the practical use of intuitive signs

Conveying interpretations of the past with interactive narratives

This master’s thesis sketches a theory upon which a heuristic for the effective conveyance of scholarly historical interpretation of the past to a non-scholarly audience can be built. For this heuristic to yield methods that do not only respect academic standards of critical inquiry, but simultaneously ensure that thus produced historical knowledge can be imparted to and retained by laymen, the interplay of a range of factors has to be understood first. This thesis builds on and connects theories and concepts from philosophy, psychology, media- and game studies, cognitive sciences, semiotics, and computer science. It takes a stance that emphasizes the capacity of scholars and laymen alike to form informed and critical interpretations of the past under the right circumstances. In order to facilitate these circumstances most effectively, it takes a pragmatic approach which rejects maximizing either of the variables in the triplet verisimilitude, veracity, and verifiability at the expense of the other

Pivoting the player:a methodological toolkit for player character research in offline role-playing games

This thesis introduces an innovative method for the analysis of the player character (PC) in offline computer role-playing games (cRPGs). It derives from the assumption that the character constitutes the focal point of the game, around which all the other elements revolve. This underlying observation became the foundation of the Pivot Player Character Model, the framework illustrating the experience of gameplay as perceived through the PC’s eyes. Although VG characters have been scrutinised from many different perspectives, a uniform methodology has not been formed yet. This study aims to fill that methodological void by systematising the hitherto research and providing a method replicable across the cRPG genre. The proposed methodology builds upon the research of characters performed in video games, fiction, film, and drama. It has been largely inspired by Anne Ubersfeld’s semiological dramatic character research implemented in Reading Theatre I (1999). The developed theoretical model is applied to three selected cRPGs, which form an accurate methodological sample: The Witcher (CD Projekt RED 2007), Fallout 3 (Bethesda Game Studios 2008), and Vampire: The Masquerade – Bloodlines (Troika Games 2004). The choice of the game genre has been incited by the degree of attention it draws to the player character’s persona. No other genre features such a complex character development system as a computer role-playing game. <br/

Moving sounds and sonic moves : exploring interaction quality of embodied music mediation technologies through a user-centered perspective

This research project deals with the user-experience related to embodied music mediation technologies. More specifically, adoption and policy problems surrounding new media (art) are considered, which arise from the usability issues that to date pervade new interfaces for musical expression. Since the emergence of new wireless mediators and control devices for musical expression, there is an explicit aspiration of the creative industries and various research centers to embed such technologies into different areas of the cultural industries. The number of applications and their uses have exponentially increased over the last decade. Conversely, many of the applications to date still suffer from severe usability problems, which not only hinder the adoption by the cultural sector, but also make culture participants take a rather cautious, hesitant, or even downright negative stance towards these technologies. Therefore, this thesis takes a vantage point that is in part sociological in nature, yet has a link to cultural studies as well. It combines this with a musicological frame of reference to which it introduces empirical user-oriented approaches, predominantly taken from the field of human-computer-interaction studies. This interdisciplinary strategy is adopted to cope with the complex nature of digital embodied music controlling technologies. Within the Flanders cultural (and creative) industries, opportunities of systems affiliated with embodied interaction are created and examined. This constitutes an epistemological jigsaw that looks into 1) “which stakeholders require what various levels of involvement, what interactive means and what artistic possibilities?”, 2) “the way in which artistic aspirations, cultural prerequisites and operational necessities of (prospective) users can be defined?”, 3) “how functional, artistic and aesthetic requirements can be accommodated?”, and 4) “how quality of use and quality of experience can be achieved, quantified, evaluated and, eventually, improved?”. Within this multi-facetted problem, the eventual aim is to assess the applicability of the foresaid technology, both from a theoretically and empirically sound basis, and to facilitate widening and enhancing the adoption of said technologies. Methodologically, this is achieved by 1) applied experimentation, 2) interview techniques, 3) self-reporting and survey research, 4) usability evaluation of existing devices, and 5) human-computer interaction methods applied – and attuned – to the specific case of embodied music mediation technologies. Within that scope, concepts related to usability, flow, presence, goal assessment and game enjoyment are scrutinized and applied, and both task- and experience-oriented heuristics and metrics are developed and tested. In the first part, covering three chapters, the general context of the thesis is given. In the first chapter, an introduction to the topic is offered and the current problems are enumerated. In the second chapter, a broader theoretical background is presented of the concepts that underpin the project, namely 1) the paradigm of embodiment and its connection to musicology, 2) a state of the arts concerning new interfaces for musical expression, 3) an introduction into HCI-usability and its application domain in systematic musicology, 4) an insight into user-centered digital design procedures, and 5) the challenges brought about by e-culture and digitization for the cultural-creative industries. In the third chapter, the state of the arts concerning the available methodologies related to the thesis’ endeavor is discussed, a set of literature-based design guidelines are enumerated and from this a conceptual model is deduced which is gradually presented throughout the thesis, and fully deployed in the “SoundField”-project (as described in Chapter 9). The following chapters, contained in the second part of the thesis, give a quasi-chronological overview of how methodological concepts have been applied throughout the empirical case studies, aimed specifically at the exploration of the various aspects of the complex status quaestionis. In the fourth chapter, a series of application-based tests, predominantly revolving around interface evaluation, illustrate the complex relation between gestural interfaces and meaningful musical expression, advocating a more user-centered development approach to be adopted. In the fifth chapter, a multi-purpose questionnaire dubbed “What Moves You” is discussed, which aimed at creating a survey of the (prospective) end-users of embodied music mediation technologies. Therefore, it primarily focused on cultural background, musical profile and preferences, views on embodied interaction, literacy of and attitudes towards new technology and participation in digital culture. In the sixth chapter, the ethnographical studies that accompanied the exhibition of two interactive art pieces, entitled "Heart as an Ocean" & "Lament", are discussed. In these studies, the use of interview and questionnaire methodologies together with the presentation and reception of interactive art pieces, are probed. In the seventh chapter, the development of the collaboratively controlled music-game “Sync-In-Team” is presented, in which interface evaluation, presence, game enjoyment and goal assessment are the pivotal topics. In the eighth chapter, two usability studies are considered, that were conducted on prototype systems/interfaces, namely a heuristic evaluation of the “Virtual String” and a usability metrics evaluation on the “Multi-Level Sonification Tool”. The findings of these two studies in conjunction with the exploratory studies performed in association with the interactive art pieces, finally gave rise to the “SoundField”-project, which is recounted in full throughout the ninth chapter. The integrated participatory design and evaluation method, presented in the conceptual model is fully applied over the course of the “SoundField”-project, in which technological opportunities and ecological validity and applicability are investigated through user-informed development of numerous use cases. The third and last part of the thesis renders the final conclusions of this research project. The tenth chapter sets out with an epilogue in which a brief overview is given on how the state of the arts has evolved since the end of the project (as the research ended in 2012, but the research field has obviously moved on), and attempts to consolidate the implications of the research studies with some of the realities of the Flemish cultural-creative industries. Chapter eleven continues by discussing the strengths and weaknesses of the conceptual model throughout the various stages of the project. Also, it comprises the evaluation of the hypotheses, how the assumptions that were made held up, and how the research questions eventually could be assessed. Finally, the twelfth and last chapter concludes with the most important findings of the project. Also, it discusses some of the implications on cultural production, artistic research policy and offers an outlook on future research beyond the scope of the “SoundField” project

Collaborative trails in e-learning environments

This deliverable focuses on collaboration within groups of learners, and hence collaborative trails. We begin by reviewing the theoretical background to collaborative learning and looking at the kinds of support that computers can give to groups of learners working collaboratively, and then look more deeply at some of the issues in designing environments to support collaborative learning trails and at tools and techniques, including collaborative filtering, that can be used for analysing collaborative trails. We then review the state-of-the-art in supporting collaborative learning in three different areas – experimental academic systems, systems using mobile technology (which are also generally academic), and commercially available systems. The final part of the deliverable presents three scenarios that show where technology that supports groups working collaboratively and producing collaborative trails may be heading in the near future

From corporeality to virtual reality: theorizing literacy, bodies, and technology in the emerging media of virtual, augmented, and mixed realities

This dissertation explores the relationships between literacy, technology, and bodies in the emerging media of Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR). In response to the recent, rapid emergence of new media forms, questions arise as to how and why we should prepare to compose in new digital media. To interrogate the newness accorded to new media composing, I historicize the literacy practices demanded by new media by examining digital texts, such as video games and software applications, alongside analogous “antiquated” media, such as dioramas and museum exhibits. Comparative textual analysis of analogous digital and non-digital VR, AR, and MR texts reveals new media and “antiquated” media utilize common characteristics of dimensionality, layering, and absence/presence, respectively. The establishment of shared traits demonstrates how media operate on a continuum of mutually held textual practices; despite their distinctive forms, new media texts do not represent either a hierarchical or linear progression of maturing development. Such an understanding aids composing in new VR, AR, and MR media by enabling composers to make fuller use of prior knowledge in a rapidly evolving new media environment, a finding significant both for educators and communicators. As these technologies mature, we will continue to compose both traditional and new forms of texts. As such, we need literacy theory that attends to both the traditional and the new and also is comprehensive enough to encompass future acts of composing in media yet to emerge

Touching is Good: An Eidetic Phenomenology of Interface, Interobjectivity, and Interaction in Nintendo\u27s Animal Crossing: Wild World

Situating video games and the meaningful practice of playing video games for future study by the discipline of communication, this eidetic phenomenology centers the focus of such inquiry at the site of the body. As video game studies have heretofore largely ignored or presupposed a bifurcation between player and video game, a phenomenology is likewise crucial to investigating the lived experience of video gaming as an embodied activity by theoretically eschewing such subject/object distinctions and methodologically generating genuinely new, heuristic spaces for thinking about this phenomenon. In particular, the existential phenomenology of Maurice Merleau-Ponty, which emphasizes the body as necessarily enworlded, offers an insightful conceptualization of the video game player’s intentional and meaningful endeavor. Merleau-Ponty’s latter work specifically details the intricacies of a body’s sense of touch, outlining three specific modalities: “a touching of the sleek and the rough,” a “touching of the things,” and “a veritable touching of the touch.” The notion of touch is also key in portraying the already-imbricated nature of player and video game. Using these modalities as frames for organizing experience, I enact performative playings of the video game Animal Crossing: Wild World by Nintendo. This study proceeds methodologically by way of the three-step phenomenological method outlined by Merleau-Ponty – one that necessarily entails a description, a reduction, and an interpretation. Performative playings generate descriptive data later thematized as capta in order to synthetically produce acta, or an interpretive orientation toward the data/capta relationship. Each of three phenomenological reflections respectively examines one of these modalities. The first reflection (upon “a touching of the sleek and the rough”) explores the ways in which the sensual touch of the player both intersects with a new material technology that facilitates game play (the Nintendo DS video game console) by way of a touch-sensitive interface, and “crisscrosses” with a player’s embodied sense of sight. Framed by the human-technology-world relations outlined by technoscience philosopher Don Ihde, descriptions of these intersections and crisscrosses yield interpretations of a corporeal schema with specific embodied preferences for action in various gamic spaces: a being-in-the-(game)world. The second reflection (upon “a touching of the things”) interrogates my interobjective relations with other enworlded body-objects. While I have a body that interacts with this technology, I also am a body – a material object grounded in the self-same flesh of the world. By way of Vivian Sobchack’s philosophy of interobjectivity, I recognize that I am a passionate video game player, and literally re- cognize my primordial, immanent and embodied abilities as both subjective object and objective subject to interpret my experiences being “touched” by the objects of the game world (whose inhabitance I detailed in the first reflection). The third reflection (upon “a veritable touching of the touch”) uses the first two as an experiential ground to explore the ways in which I and other players “keep in touch” by playing video games. My descriptions of these video gaming experiences indicate the presence of Roman Jakobson’s six elements and correlative functions integral to an understanding of human communication, specifically situating video games for study by the discipline of communication. Playing video games is an interactive practice that synthesizes the analog (both/and) logic of human player-subjects and the digital (either/or) logic of game-objects as they emerge from an undifferentiated, chiasmic interrelationship. Operating from a digital-analog logic allows players to convert contexts of choice into choices of context

The Invention of Good Games: Understanding Learning Design in Commercial Videogames

This work sought to help inform the design of educational digital games by the studying the design of successful commercial videogames. The main thesis question was: How does a commercially and critically successful modern video game support the learning that players must accomplish in order to succeed in the game (i.e. get to the end or win)? This work takes a two-pronged approach to supporting the main argument, which is that the reason we can learn about designing educational games by studying commercial games is that people already learn from games and the best ones are already quite effective at teaching players what they need to learn in order to succeed in the game. The first part of the research establishes a foundation for the argument, namely that accepted pedagogy can be found in existing commercial games. The second part of the work proposes new methods for analysing games that can uncover mechanisms used to support learning in games which can be employed even if those games were not originally designed as educational objects. In order to support the claim that ‘good’ commercial videogames already embody elements of sound pedagogy an explicit connection is made between game design and formally accepted theory and models in teaching and learning. During this phase of the work a significant concern was raised regarding the classification of games as ‘good’, so a new methodology using Borda Counts was devised and tested that combines various disjoint subjective reviews and rankings from disparate sources in non-trivial manner that accounts for relative standings. Complementary to that was a meta-analysis of the criteria used to select games chosen as subjects of study as reported by researchers. Then, several games were chosen using this new ranking method and analysed using another new methodology that was designed for this work, called Instructional Ethology. This is a new methodology for game design deconstruction and analysis that would allows the extraction of information about mechanisms used to support learning. This methodology combines behavioural and structural analysis to examine how commercial games support learning by examining the game itself from the perspective of what the game does. Further, this methodology can be applied to the analysis of any software system and offers a new approach to studying any interactive software. The results of the present study offered new insights into how several highly successful commercial games support players while they learn what they must learn in order to succeed in those games. A new design model was proposed, known as the 'Magic Bullet' that allows designers to visualize the relative proportions of potential learning in a game to assess the potential of a design

Haptic Media Scenes

The aim of this thesis is to apply new media phenomenological and enactive embodied cognition approaches to explain the role of haptic sensitivity and communication in personal computer environments for productivity. Prior theory has given little attention to the role of haptic senses in influencing cognitive processes, and do not frame the richness of haptic communication in interaction design—as haptic interactivity in HCI has historically tended to be designed and analyzed from a perspective on communication as transmissions, sending and receiving haptic signals. The haptic sense may not only mediate contact confirmation and affirmation, but also rich semiotic and affective messages—yet this is a strong contrast between this inherent ability of haptic perception, and current day support for such haptic communication interfaces. I therefore ask: How do the haptic senses (touch and proprioception) impact our cognitive faculty when mediated through digital and sensor technologies? How may these insights be employed in interface design to facilitate rich haptic communication? To answer these questions, I use theoretical close readings that embrace two research fields, new media phenomenology and enactive embodied cognition. The theoretical discussion is supported by neuroscientific evidence, and tested empirically through case studies centered on digital art. I use these insights to develop the concept of the haptic figura, an analytical tool to frame the communicative qualities of haptic media. The concept gauges rich machine- mediated haptic interactivity and communication in systems with a material solution supporting active haptic perception, and the mediation of semiotic and affective messages that are understood and felt. As such the concept may function as a design tool for developers, but also for media critics evaluating haptic media. The tool is used to frame a discussion on opportunities and shortcomings of haptic interfaces for productivity, differentiating between media systems for the hand and the full body. The significance of this investigation is demonstrating that haptic communication is an underutilized element in personal computer environments for productivity and providing an analytical framework for a more nuanced understanding of haptic communication as enabling the mediation of a range of semiotic and affective messages, beyond notification and confirmation interactivity