Dimensions of situatedness for digital public displays

Public displays are often strongly situated signs deeply embedded in their physical, social, and cultural setting. Understanding how the display is coupled with on-going situations, its level of situatedness, provides a key element for the interpretation of the displays themselves but is also an element for the interpretation of place, its situated practices, and its social context. Most digital displays, however, do not achieve the same sense of situatedness that seems so natural in their nondigital counterparts. This paper investigates people’s perception of situatedness when considering the connection between public displays and their context. We have collected over 300 photos of displays and conducted a set of analysis tasks involving focus groups and structured interviews with 15 participants. The contribution is a consolidated list of situatedness dimensions that should provide a valuable resource for reasoning about situatedness in digital displays and informing the design and development of display systems

Place-centred interaction design: situated participation and co-creation in places of heritage

This paper argues that the design of interactive installations for museums and other heritage sites should be concerned with understanding, supporting and augmenting visitors 19 lived experiences in context, thus their ability to actively participate in an exhibition. We use the concept of 18place 19 to refer to the physical environment as it is invested by the qualities of human experience, and to placemaking as the active process of connecting and relating to locations that become meaningful in our lives. We will discuss some of the limitations of existing heritage technologies in considering aspects of active place experience, and will argue how a place-sensitive approach can lead to successful interaction design whereby people establish meaningful and active connections at personal, cultural, social and physical levels to the places of heritage they experience

Tag clouds for situated interaction and place profiling

Tag clouds have become very popular as visual representations of the main topics in document sets or as navigation tools that can provide quick access to resources related with specific topics. However, their ability to represent the information environment associated with any meaningful reality in a way that is collectively visible, actionable and easily understood may also be very relevant, even when the reality being represented is no longer a set of documents or resources, but a stream of interactions occurring within a particular ubiquitous computing environment. In this paper, we explore the use of tag clouds within the context of situated displays and services. We hypothesise that such tag clouds may have a role as dynamic representations of place and also as interaction controls, supporting the same comprehension and navigation functions of classical tag clouds. We describe two case studies in which this concept of situated tag cloud has been experimented in real-world settings. The case studies demonstrate two different applications of the tag cloud concept as the basis for place description and situated interaction. The results obtained from the case studies suggest that situated tag clouds can indeed provide valuable representations of place and situations and can also support simple interaction models, allowing people to reason about the system behaviour and how it is being influenced by new interactions.Fernando Ribeiro was supported by a Portuguese Foundation for Science and Technology scholarship (SFRH/BD/31292/2006). The research leading to these results has received funding from FCT under the Carnegie Mellon - Portugal agreement: Wesp (Web Security and Privacy (Grant CMU-PT/SE/028/2008)

Dramatistic User Experience Design: The Usability Testing of an e-Government System in A Non-Western Setting

This dissertation investigates rhetorical situatedness as a factor that culturally designates users’ motives in adopting a new technology. The application of Kenneth Burke’s dramatism extends the discussion about the situation where an interaction takes place to include acting and meaning-making in Non-Western settings as contextual and situated. This expansion is essential to reinforce the understanding of how cultural contexts impact users’ motives, specifically users from Non-Western settings, to adopt a technology. The traditional Human-Computer Interaction (HCI) research stresses mechanical and technical aspects between a user (agent) and a technology device (agency) in order to reduce user errors. This approach isolates the rhetorical situation of interaction in a computer interface, thus eliding the cultural situatedness by regarding the situation as something fixed, such as in a laboratory. Adding a cultural context provides a fuller picture of this interaction. Using a civic records online system called e-Lampid, which is administered by Surabaya City Government in Indonesia as a case study, I discover five elements of situatedness that contribute significantly to weave acting and meaning-making into a culturally informed interaction. User motives are shaped by internal and external situations that are collective, local, and both onsite and off. Dramatism is a tool for analysis and production that prioritizes cultural awareness. Dramatistic User Experience (UX) design offers analytical, comprehensive, and systematic perspectives on the design process. Dramatistic UX integrates three different approaches: usability testing, rhetorical awareness of situations, and needs analysis. The synergy of dramatism, user experience, and design thinking provides a holistic approach to construct a rhetorically grounded and culturally contingent user experience design

Augmented reality and mobile learning: the state of the art

In this paper, we examine the state of the art in augmented reality (AR) for mobile learning. Previous work in the field of mobile learning has included AR as a component of a wider toolkit for mobile learning but, to date, little has been done that discusses the phenomenon in detail or that examines its potential for learning, in a balanced fashion that identifies both positive and negative aspects of AR. We seek to provide a working definition of AR and examine how it is embedded within situated learning in outdoor settings. We also attempt to classify AR according to several key aspects (device/technology; mode of interaction; type of media involved; personal or shared experiences; if the experience is portable or static; and the learning activities/outcomes). We discuss the technical and pedagogical challenges presented by AR before looking at ways in which AR can be used for learning. Lastly, the paper looks ahead to what AR technologies may be on the horizon in the near future

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research

The Translocal Event and the Polyrhythmic Diagram

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

Messy creativity

The main problem we encounter when we try to analyse linguistic creativity is the fact that both language and creativity are ultimately ‘messy’, and most of the tools we linguists have at our disposal are designed to detect orderly patterns rather than to confront messiness. As a result of this, many previous studies of linguistic creativity have focused more on the surface intricacies of creative language rather than the messy underbelly of contradictions, con- tingency, and indeterminacy that these papers attempt to confront. When I speak of the ‘messiness’ of linguistic creativity, it is not my intention to rehearse romantic notions of the creative artist as someone who is able to ‘create order out of chaos’ (which is, after all, more about ‘neatness’ than it is about ‘messiness’), nor to explore more everyday observations about ‘creative people’ leading ‘messy lives’ (Roiphe, 2012) or having ‘messy desks’ (Vohs, 2013). Rather, I would like to highlight the ‘noisy’, ‘dislocated’, even ‘unintelligible’ quality of some linguistic creativity, and the way it sometimes brings chaos out of order rather than the other way around