On Birthing Dancing Stars: The Need for Bounded Chaos in Information Interaction

While computers causing chaos is acommon social trope, nearly the entirety of the history of computing is dedicated to generating order. Typical interactive information retrieval tasks ask computers to support the traversal and exploration of large, complex information spaces. The implicit assumption is that they are to support users in simplifying the complexity (i.e. in creating order from chaos). But for some types of task, particularly those that involve the creative application or synthesis of knowledge or the creation of new knowledge, this assumption may be incorrect. It is increasingly evident that perfect order—and the systems we create with it—support highly-structured information tasks well, but provide poor support for less-structured tasks.We need digital information environments that help create a little more chaos from order to spark creative thinking and knowledge creation. This paper argues for the need for information systems that offerwhat we term ‘bounded chaos’, and offers research directions that may support the creation of such interface

Understanding Indigenous People’s Information Practices and Internet Use: A Ngarrindjeri Perspective

Little is known about indigenous people’s interactions with the Internet as well as their attitudes, values, and skills in using the Internet and information and communication technologies to retain their knowledge. We present the preliminary results of the research undertaken with Ngarrindjeri people living from the Lower Murray River Lakes and the Coorong areas in South Australia, and then review the implications of these findings for designing interventions. Twenty-one Ngarrindjeri volunteers participated in the questionnaires, interviews and field observation. The results show that, following family members, the Internet was considered to be the second most important source for obtaining various sorts of information. Though having types of hesitation and cultural cautions, the indigenous participants embraced the Internet and online resources with great enthusiasm. The findings suggest that it is critical to adapt Internet technology to incorporate indigenous cultures including their information and social practices when we design and deliver information products and services for indigenous people

Overview of pedal cyclist traffic casualties in South Australia

Characteristics of pedal cycle crashes (as reported to the police) in South Australia, and how they have changed over the period 1981-2004, are examined. The paper describes both the present situation (2001-2004) and how it has changed since 1981; both child and adult casualties; both the numbers of casualties and the proportions seriously injured; and both factors that are commonly tabulated and some that are relatively unusual. In 1981, pedal cyclist casualties were mostly children and teenagers, but in 2004, pedal cyclist casualties were mostly spread across the age range from 16 to 49. Child pedal cyclist casualties reached a maximum in 1982-1987, and have fallen sharply since. Adult pedal cyclist casualties reached a maximum in 1987-1990, and then fell. Concerning the proportion of casualties seriously injured (i.e., killed or admitted to hospital), in 2001-2004 this proportion among adults (16+) was 12% when the speed limit was 60 km/h or less, and 33% when the speed limit was 70 km/h or higher. Among the four most frequent types of crashes (right angle, side swipe, right turn, and rear end), the proportions of adult casualties seriously injured were 11%, 11%, 16%, and 18%. The proportion was 14% for male drivers of the motor vehicle and 9% for female drivers; it was 17%, 15%, 15%, 14%, 10%, and 11% for motor vehicle driver age groups 16-19, 20-29, 30-39, 40-49, 50-59, and 60-99.T. P. Hutchinson, C. N. Kloeden, and A. D. Lon

Screenfaction : supporting creative remote communication in film scoring

University of Technology, Sydney. Faculty of Engineering and Information Technology.The research in this PhD thesis is concerned with the development of design principles and of computer tools to facilitate remote communication between stakeholders in the film scoring process. Film scoring is a creative, multidisciplinary practice that involves two key parties: filmmakers (film or television directors and producers) and composers. In the position of clients, filmmakers start by hiring a composer and provide an oral or written brief describing how the music should support their vision. Then, musical ideas are discussed and developed through creative collaboration between the two parties until the score is completed and released with the picture to television or theatre. In this context of collaboration between music specialists (composers) and non specialists (filmmakers), certain problems repeatedly emerge primarily due to practitioners not sharing the same musical language. In fact, previous ethnographic records and trade literature have shown that this creative collaboration can face large levels of misunderstanding and frustration, and that little has been done to help practitioners communicate accurately and efficiently. With the advent of the Internet and fast bandwidths facilitating the exchange of heavy media such as video and music, it has also become commonplace for composers to work with filmmakers located in different cities or even countries. Although this situation greatly opens the market and brings new opportunities for collaboration, communication now faces new obstacles. In the absence of face-to-face, challenges can be aggravated as interactions between people are drastically limited. Considering advances in recent technology and related academic endeavours, the research in this PhD concentrates on alleviating communication issues in remote settings through the use of computers. The research methodology was inspired from several domains and approaches, namely Human-Computer Interaction (HCI), Computer-Supported Cooperative Work (CSCW), ethnography in design, evolutionary prototyping, interaction design and goal-directed design. An exploration phase included a longitudinal study with 31 practitioners and a 5-month long case study with 2 practitioners. The exploration identified communication challenges recurrently faced by practitioners while collaborating on film score productions. Based on the observation of habits articulated by practitioners to address the challenges, a set of guidelines for best practice were also developed. For clarity and ease of comprehension, challenges and guidelines were classified into four main levels of concern: organisational, interpretive, emotional and indexical. A design phase comprised of two studies was then conducted to progress towards appropriate solutions for these communication issues. The first study led to the assembly of personas to facilitate the understanding of the main roles involved in the film scoring process. The second study showcased the design of a low-fidelity, paper-based, prototype to assist the remote discussion of music and video artefacts. A high-fidelity version of the prototype, named Screenfaction, was later implemented as an interactive Web-based platform. This version was then evaluated over a four-week period with two practitioners in real-world conditions. Outcomes from the evaluation have stressed a need for establishing a clear scope in creative discussions and for resolving the ambiguity that occurs in remote collaboration. Feedback from participants also revealed the complex nature of the composer-filmmaker relationship and highlighted some interpersonal, technical and coordination issues that should be addressed when designing systems for distant communication

The changing nature of risk

http://www.ergonomics.org.au/downloads/EA_Journals/EA_March_June_08.pdfInternational audienceThe crucial change that took place in the 19th century was that accidents became associated with the technological systems that people designed, built, and used as part of work, in the name of progress and civilisation. Suddenly, accidents happened not only because the people involved, today referred to as people at the sharp end, did something wrong or because of an act of nature, but also because a human-made system failed. Furthermore, the failures were no longer simple, such as a scaffolding falling down or a wheel axle breaking. The failures were complex, in the sense that they usually defied the immediate understanding of the people at the sharp end. In short, their knowledge and competence was about how to do their work, and not about how the technology worked or functioned. Before this change happened, people could take reasonable precautions against accidents at work because they understood the tools and artefacts they used sufficiently well. After this change had happened, that was no longer the case

Guidelines for digital storytelling for Arab children

Children are getting more exposed to various technologies in teaching-learning. Various types of teaching-learning have been designed, including interactive digital storytelling. In Malaysia, local children have been clear about story-based learning materials. However, the situation is a little bit different with Arab children. Because the number of Arab children migrating into Malaysia is increasing, for following their parents who are studying at higher levels, they have to also make themselves familiar with the local scenario. In accordance, this study is initiates, to identify their acceptance towards story-based learning materials, or specifically interactive digital storytelling. Hence, this study reacts proactively, by approaching Arab children asking for their feedback on whether they have any desire for interactive digital storytelling. Through a series of interviews, this study found that they have a strong desire and tendency. Then, the following objectives have been stated: (1) to determine the components for the interactive digital storytelling for Arab children, (2) to design and develop a prototype of the interactive digital storytelling, and (3) to observe on how the Arab children experience the interactive digital storytelling. User-centered design (UCD) approach has been gone through in ensuring that the objectives are achieved. The process of determining the components for the interactive digital storytelling was carried out by directly involving Arab children and their teachers from three preschools in Changlun and Sintok. It was similar with the efforts in determining the contents, and interface design until the prototype development. Having the prototype ready, user testing was carried out to explore the way Arab children experience the prototype. All the processes involved various techniques through observation, interviews, and noting. Specifically, the user testing involved qualitative and empirical data. Qualitative data were gathered through observation, meanwhile the empirical data were gathered using Computer System Usability Questionnaire (CSUQ) tool. In the end, having data processed, the findings show that Arab children are highly satisfied with the prototype. Scientifically, the developed prototype is a mirror of the obtained guidelines, obtained through the UCD seminars. Hence, the positive acceptance on the prototype reflects positive acceptance on the guidelines, as the main contribution of this study. Besides the guidelines as the main contribution of this study, the developed prototype is also a wonderful contribution to the Arab children and their teacher. They will be using it as part of their teaching and learning material

GazeLockPatterns: Comparing Authentication Using Gaze and Touch for Entering Lock Patterns

In this work, we present a comparison between Android’s lock patterns for mobile devices (TouchLockPatterns) and an implementation of lock patterns that uses gaze input (GazeLockPatterns). We report on results of a between subjects study (N=40) to show that for the same layout of authentication interface, people employ comparable strategies for pattern composition. We discuss the pros and cons of adapting lock patterns to gaze-based user interfaces. We conclude by opportunities for future work, such as using data collected during authentication for calibrating eye trackers