New Directions in Third Wave Human-Computer Interaction: Volume 2 - Methodologies (eBook)

Michael Filimowicz is Senior Lecturer in the School of Interactive Arts and Technology (SIAT) at Simon Fraser University. He develops new forms of general purpose multimodal and audiovisual display technology, exploring novel product lines across different application contexts including gaming, immersive exhibitions, process control, command and control, telepresence and simulation-based training.  Veronika Tzankova is a PhD candidate in SIAT, having previously gained her MA in the same program. Her Masters research was in the areas of interactive technologies within contexts of social appropriation and democratic inclusiveness. Her current doctoral work is in the area of embodied cognition approaches to interaction design, with a focus on contact sports.

Contents 6
Contributors 8
About the Editors 10
Chapter 1: Introduction: New Directions in Third Wave HCI 11
1.1 Waves, Paradigms, and Cultures 11
1.2 Are the Waves ‘Paradigms?’ 13
1.3 Theoretic Integration 15
1.4 Trading Zones and Interactional Expertise 17
References 19
Chapter 2: Steampunk, Survivalism and Sex Toys: An Exploration of How and Why HCI Studies Peripheral Practices 21
2.1 Introduction 21
2.2 Making Waves in HCI 22
2.3 What Do We Mean by “Peripheral Practices”? 22
2.4 “Design for” vs “Learn from” 25
2.5 Case Studies of Peripheral Practices Research in HCI 25
2.5.1 Steampunks 25
2.5.2 Bookbinding & Restoration
2.5.3 Sex Toy Design 26
2.5.4 Survivalists and Preppers 27
2.6 Why We Study Peripheral Practices 27
2.6.1 Diversity of Relationships with Technology 28
2.6.2 Testbed for Unusual Design Strategies 28
2.6.3 Defamiliarization 29
2.7 Ethical Considerations and Challenges 29
2.8 Conclusion 31
References 31
Chapter 3: Autoethnography in Human-Computer Interaction: Theory and Practice 35
3.1 Introduction 35
3.2 Autoethnography in Anthropology 36
3.2.1 The Realistic Style 38
3.2.2 The Impressionistic Style 38
3.2.3 The Confessional Style 39
3.2.4 The Autoethnographic Style 39
3.3 Autoethnography and Reflexivity 40
3.4 Autoethnography in Human-Computer Interaction 42
3.4.1 Autoethnography as a “Quick” Method 42
3.4.2 Autoethnography as a “Reflexive” Method 44
3.5 Autoethnography and Design in Practice 45
3.5.1 Setting 46
3.5.2 Notes from the Field 46
3.6 Conclusion 48
References 48
Chapter 4: Empathy-Based Design Approaches 53
4.1 Introduction 53
4.2 Empathy in Theory 54
4.2.1 Historical Overview 54
4.2.2 Current Models, Definitions and Pitfalls 55
4.3 Empathy in Dialogue 58
4.3.1 Humanistic Psychology 58
4.3.2 Listening with Care 58
4.4 Empathy in Design Research 59
4.4.1 A Framework for Empathy in Design 60
4.4.2 User-Sensitive Inclusive Design (USID) 61
4.4.3 Empathy-Oriented Participatory Design 62
4.4.4 Empathy-Oriented Co-Design 63
4.4.5 Empathic Product Design 64
4.4.6 An Overview of Methods 65
4.5 Challenges and Considerations for Empathic Design 65
4.6 Conclusion 67
References 67
Chapter 5: Measuring Experiences 71
5.1 Introduction 71
5.2 Questionnaires for User Experience 74
5.2.1 Uncertainty in Games 75
5.3 Grounding the Concept 76
5.4 Generating Items 77
5.5 Participants 79
5.6 Factor Analysis 81
5.7 Analysing Data 83
5.8 Limitations and Opportunities 86
References 88
Chapter 6: A Holistic Approach to Measuring User Engagement 91
6.1 Introduction 91
6.2 An Overview of User Engagement Methodological Approaches 93
6.3 Defining User Engagement 94
6.4 An Interpretive Framework for Studying User Engagement 95
6.4.1 User Engagement As Process and Product of Interaction 96
6.4.2 User Engagement As Affective, Behavioral and Cognitive 98
6.4.3 User Engagement As Depth of User Investment 101
6.5 The Context of User Engagement 102
6.6 A Unifying Framework for Evaluating User Engagement 105
6.7 Further Considerations in the Evaluation of User Engagement 106
6.7.1 The Role of Individual and Collective Measures in the Study of User Engagement 106
6.7.2 The “Goodness” of a Particular Method 107
6.7.3 Room of Multiple Perspectives and Approaches 108
6.8 Conclusion 109
References 110
Chapter 7: Influencing and Measuring Behaviour in Crowdsourced Activities 113
7.1 Introduction 113
7.2 Types of Crowdsourcing 114
7.2.1 Volunteer-Based Citizen Science 114
7.2.2 Paid Crowdworking 115
7.3 Comparative Studies of Crowdsourcing 115
7.4 Designing Empirical Studies for Crowdsourcing Platforms 118
7.4.1 Choosing a Platform 118
7.4.2 Recruiting Participants 120
7.4.3 Designing for Real Participants 122
7.5 Collecting Data Using Crowdsourcing Platforms 123
7.5.1 Building and Continuing Engagement 123
7.5.2 Ethical Data Collection 124
7.5.3 Payment and Non-monetary Remuneration 126
7.6 Ensuring Quality Data 127
7.6.1 Attention Checks 128
7.6.2 Participant Preselection 130
7.6.3 Analysing Data from Crowdsourcing Platforms 131
7.6.4 Summary 132
7.7 Conclusion 133
References 134
Chapter 8: Design Research: Methodological Innovation Through Messiness 141
8.1 Design Research 141
8.2 The Messiness of Design Research 143
8.2.1 Messiness and Structure 145
8.2.2 Expertise 146
8.2.3 Sense-Making and Meaning-Making 146
8.3 Examples of Methodologies and Approaches Used in Design Research 147
8.3.1 Research for Design Methods 148
8.3.2 Action Research and Design 154
8.3.2.1 Participatory Action Research and Participatory Design 154
8.3.2.2 Participatory Action Research and Design Research 156
8.3.2.3 Action Research and ‘Messiness’ 156
8.3.3 Co-design/Participatory Design 157
8.4 Discussion and Conclusion 161
References 162
Chapter 9: Problematic Milieus: Individuating Speculative Designs 165
9.1 What Is Speculative Design 165
9.2 Technical Individuation and Futural Functions 168
9.3 Examples 171
9.3.1 The Red String of Fate 171
9.3.2 Happy Life 173
9.3.3 Uninvited Guests 175
9.3.4 Crafted Logic 176
9.3.5 Parasitic Products 178
9.4 Prototyping Problematic Provocations 179
9.5 Conclusion 181
References 182
Chapter 10: Speculative Design in HCI: From Corporate Imaginations to Critical Orientations 184
10.1 Introduction 184
10.2 Speculative Design As Critical Practice 186
10.3 Moving Toward Third Wave Concerns 189
10.4 Speculative Design As Corporate Practice 191
10.4.1 Blurring the Boundary Between “Speculative” and “Practical” 192
10.5 Corporate Concept Videos 194
10.5.1 Concept Videos As Corporate Prototyping 197
10.5.2 Critically Re-imagining Concept Videos 198
10.6 Scenario Planning 200
10.6.1 Scenario Planning in the HCI Toolkit 201
10.6.2 Critically Re-engaging Scenario Planning 202
10.7 Speculative Design as Legitimating Practice 204
10.7.1 “speculative design” and “Speculative Design” 205
10.7.2 Moving Forward: Doing the Work of Critically Oriented Speculative Design 206
10.8 Conclusion 208
References 209
Chapter 11: Designing from Embodied Knowing: Practice-­Based Research at the Intersection Between Embodied Interaction and Somatics 212
11.1 Introduction 213
11.2 Background 214
11.2.1 The Embodied Turn 214
11.2.2 Enactivism 214
11.2.3 Embodied Aesthetics 215
11.2.4 Embodied Interaction 216
11.2.5 Somaesthetics 217
11.2.6 Lived Somaesthetic Reflection 218
11.2.7 Fleshing Out Embodied Interaction 218
11.3 Somatic Practices 220
11.3.1 First-Person Methodologies to Cultivate Embodiment 220
11.3.2 The Alexander Technique 220
11.3.3 Material for the Spine 222
11.3.4 Mind-Body Pragmatism 223
11.4 Somatic Challenges 224
11.5 Somatic Strategies 226
11.6 Multiple Perspectives to Navigate the Soma 227
11.7 Design Methodology: Moving and Making Strange 228
11.8 Design Methodology: Radically Interdisciplinary Dialogues 229
11.9 Case Study: Designing with Breath – exhale 231
11.10 Designing for Kinaesthetic Awareness 233
11.10.1 Case Study: still, moving 233
11.10.2 Somatic Details Matter 234
11.10.3 The Practice of the System 235
11.11 Conclusion 236
References 237
Chapter 12: Sound, Ecological Affordances and Embodied Mappings in Auditory Display 240
12.1 Sound and Its Affordances for HCI: Auditory Display, Sonic Interaction Design and Mapping 240
12.1.1 Auditory Display and Sonification 241
12.1.2 An ‘Embodied Turn’ in Musical HCI and Auditory Display 242
12.1.3 Embodied Cognition and Sonic Information Design 244
12.2 An Embodied Cognition Primer for HCI Researchers 245
12.2.1 Embodied Cognition: Historical Roots 245
12.2.2 Embodied Cognition: Conceptual and Philosophical Underpinnings 246
12.2.3 Embodied Metaphors and Meaning–Making Faculties 247
12.3 Embodied Sonic Meaning Making for Sonic Information Design: Current Models and Potential Applications 249
12.3.1 Applications of Embodied Cognition Theory in HCI and Auditory Display 250
12.3.2 Environmental Models of Sound: Gestalt Psychology, Auditory Scene Analysis and Ecological Psychoacoustics 251
12.3.3 Embodied Cognition and Cognitive Musicology 253
12.3.4 Auditory Imagery and Gestural–Sonorous Objects in Sound Environments and in Music 254
12.3.5 Embodied Cognition and Solutions to the Mapping Problem in Auditory Display 258
12.4 Conclusion: HCI, Sonification, Multi-modal Aspects Grounded by Embodied Cognitive Frameworks 260
References 261
Chapter 13: The Methodological Pivot 268
13.1 Sketching Transdiscursive Material Practice 268
13.2 Critique of Reflective Practice 272
13.3 The Methodological Pivot 276
References 282