Filimowicz / Tzankova New Directions in Third Wave Human-Computer Interaction: Volume 2 - Methodologies

1. Auflage 2018
ISBN: 978-3-319-73374-6
Verlag: Springer Nature Switzerland
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 283 Seiten

Reihe: Human-Computer Interaction Series

This is the first extensive compilation documenting contemporary third wave HCI, covering key methodological developments at the leading edge of human-computer interactions. Now in its second decade as a major current of HCI research, the third wave integrates insights from the humanities and social sciences to emphasize human dimensions beyond workplace efficiency or cognitive capacities. Where the earliest HCI work has been strongly based on the concept of human-machine coupling, which expanded to workplace collaboration as computers came into mainstream professional use, today HCI can connect to almost any human experience because there are new applications for every aspect of daily life.Volume 2 - Methodologies covers methodological approaches grounded in autoethnography, empathy-based design, crowdsourcing, psychometrics, user engagement, speculative design, somatics, embodied cognition, peripheral practices and transdisciplinarity.


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.

Autoren/Hrsg.

Filimowicz, Michael

Tzankova, Veronika

Inhaltsverzeichnis

1;Contents;6
2;Contributors;8
3;About the Editors;10
4;Chapter 1: Introduction: New Directions in Third Wave HCI;11
4.1;1.1 Waves, Paradigms, and Cultures;11
4.2;1.2 Are the Waves ‘Paradigms?’;13
4.3;1.3 Theoretic Integration;15
4.4;1.4 Trading Zones and Interactional Expertise;17
4.5;References;19
5;Chapter 2: Steampunk, Survivalism and Sex Toys: An Exploration of How and Why HCI Studies Peripheral Practices;21
5.1;2.1 Introduction;21
5.2;2.2 Making Waves in HCI;22
5.3;2.3 What Do We Mean by “Peripheral Practices”?;22
5.4;2.4 “Design for” vs “Learn from”;25
5.5;2.5 Case Studies of Peripheral Practices Research in HCI;25
5.5.1;2.5.1 Steampunks;25
5.5.2;2.5.2 Bookbinding & Restoration;26
5.5.3;2.5.3 Sex Toy Design;26
5.5.4;2.5.4 Survivalists and Preppers;27
5.6;2.6 Why We Study Peripheral Practices;27
5.6.1;2.6.1 Diversity of Relationships with Technology;28
5.6.2;2.6.2 Testbed for Unusual Design Strategies;28
5.6.3;2.6.3 Defamiliarization;29
5.7;2.7 Ethical Considerations and Challenges;29
5.8;2.8 Conclusion;31
5.9;References;31
6;Chapter 3: Autoethnography in Human-Computer Interaction: Theory and Practice;35
6.1;3.1 Introduction;35
6.2;3.2 Autoethnography in Anthropology;36
6.2.1;3.2.1 The Realistic Style;38
6.2.2;3.2.2 The Impressionistic Style;38
6.2.3;3.2.3 The Confessional Style;39
6.2.4;3.2.4 The Autoethnographic Style;39
6.3;3.3 Autoethnography and Reflexivity;40
6.4;3.4 Autoethnography in Human-Computer Interaction;42
6.4.1;3.4.1 Autoethnography as a “Quick” Method;42
6.4.2;3.4.2 Autoethnography as a “Reflexive” Method;44
6.5;3.5 Autoethnography and Design in Practice;45
6.5.1;3.5.1 Setting;46
6.5.2;3.5.2 Notes from the Field;46
6.6;3.6 Conclusion;48
6.7;References;48
7;Chapter 4: Empathy-Based Design Approaches;53
7.1;4.1 Introduction;53
7.2;4.2 Empathy in Theory;54
7.2.1;4.2.1 Historical Overview;54
7.2.2;4.2.2 Current Models, Definitions and Pitfalls;55
7.3;4.3 Empathy in Dialogue;58
7.3.1;4.3.1 Humanistic Psychology;58
7.3.2;4.3.2 Listening with Care;58
7.4;4.4 Empathy in Design Research;59
7.4.1;4.4.1 A Framework for Empathy in Design;60
7.4.2;4.4.2 User-Sensitive Inclusive Design (USID);61
7.4.3;4.4.3 Empathy-Oriented Participatory Design;62
7.4.4;4.4.4 Empathy-Oriented Co-Design;63
7.4.5;4.4.5 Empathic Product Design;64
7.4.6;4.4.6 An Overview of Methods;65
7.5;4.5 Challenges and Considerations for Empathic Design;65
7.6;4.6 Conclusion;67
7.7;References;67
8;Chapter 5: Measuring Experiences;71
8.1;5.1 Introduction;71
8.2;5.2 Questionnaires for User Experience;74
8.2.1;5.2.1 Uncertainty in Games;75
8.3;5.3 Grounding the Concept;76
8.4;5.4 Generating Items;77
8.5;5.5 Participants;79
8.6;5.6 Factor Analysis;81
8.7;5.7 Analysing Data;83
8.8;5.8 Limitations and Opportunities;86
8.9;References;88
9;Chapter 6: A Holistic Approach to Measuring User Engagement;91
9.1;6.1 Introduction;91
9.2;6.2 An Overview of User Engagement Methodological Approaches;93
9.3;6.3 Defining User Engagement;94
9.4;6.4 An Interpretive Framework for Studying User Engagement;95
9.4.1;6.4.1 User Engagement As Process and Product of Interaction;96
9.4.2;6.4.2 User Engagement As Affective, Behavioral and Cognitive;98
9.4.3;6.4.3 User Engagement As Depth of User Investment;101
9.5;6.5 The Context of User Engagement;102
9.6;6.6 A Unifying Framework for Evaluating User Engagement;105
9.7;6.7 Further Considerations in the Evaluation of User Engagement;106
9.7.1;6.7.1 The Role of Individual and Collective Measures in the Study of User Engagement;106
9.7.2;6.7.2 The “Goodness” of a Particular Method;107
9.7.3;6.7.3 Room of Multiple Perspectives and Approaches;108
9.8;6.8 Conclusion;109
9.9;References;110
10;Chapter 7: Influencing and Measuring Behaviour in Crowdsourced Activities;113
10.1;7.1 Introduction;113
10.2;7.2 Types of Crowdsourcing;114
10.2.1;7.2.1 Volunteer-Based Citizen Science;114
10.2.2;7.2.2 Paid Crowdworking;115
10.3;7.3 Comparative Studies of Crowdsourcing;115
10.4;7.4 Designing Empirical Studies for Crowdsourcing Platforms;118
10.4.1;7.4.1 Choosing a Platform;118
10.4.2;7.4.2 Recruiting Participants;120
10.4.3;7.4.3 Designing for Real Participants;122
10.5;7.5 Collecting Data Using Crowdsourcing Platforms;123
10.5.1;7.5.1 Building and Continuing Engagement;123
10.5.2;7.5.2 Ethical Data Collection;124
10.5.3;7.5.3 Payment and Non-monetary Remuneration;126
10.6;7.6 Ensuring Quality Data;127
10.6.1;7.6.1 Attention Checks;128
10.6.2;7.6.2 Participant Preselection;130
10.6.3;7.6.3 Analysing Data from Crowdsourcing Platforms;131
10.6.4;7.6.4 Summary;132
10.7;7.7 Conclusion;133
10.8;References;134
11;Chapter 8: Design Research: Methodological Innovation Through Messiness;141
11.1;8.1 Design Research;141
11.2;8.2 The Messiness of Design Research;143
11.2.1;8.2.1 Messiness and Structure;145
11.2.2;8.2.2 Expertise;146
11.2.3;8.2.3 Sense-Making and Meaning-Making;146
11.3;8.3 Examples of Methodologies and Approaches Used in Design Research;147
11.3.1;8.3.1 Research for Design Methods;148
11.3.2;8.3.2 Action Research and Design;154
11.3.2.1;8.3.2.1 Participatory Action Research and Participatory Design;154
11.3.2.2;8.3.2.2 Participatory Action Research and Design Research;156
11.3.2.3;8.3.2.3 Action Research and ‘Messiness’;156
11.3.3;8.3.3 Co-design/Participatory Design;157
11.4;8.4 Discussion and Conclusion;161
11.5;References;162
12;Chapter 9: Problematic Milieus: Individuating Speculative Designs;165
12.1;9.1 What Is Speculative Design;165
12.2;9.2 Technical Individuation and Futural Functions;168
12.3;9.3 Examples;171
12.3.1;9.3.1 The Red String of Fate;171
12.3.2;9.3.2 Happy Life;173
12.3.3;9.3.3 Uninvited Guests;175
12.3.4;9.3.4 Crafted Logic;176
12.3.5;9.3.5 Parasitic Products;178
12.4;9.4 Prototyping Problematic Provocations;179
12.5;9.5 Conclusion;181
12.6;References;182
13;Chapter 10: Speculative Design in HCI: From Corporate Imaginations to Critical Orientations;184
13.1;10.1 Introduction;184
13.2;10.2 Speculative Design As Critical Practice;186
13.3;10.3 Moving Toward Third Wave Concerns;189
13.4;10.4 Speculative Design As Corporate Practice;191
13.4.1;10.4.1 Blurring the Boundary Between “Speculative” and “Practical”;192
13.5;10.5 Corporate Concept Videos;194
13.5.1;10.5.1 Concept Videos As Corporate Prototyping;197
13.5.2;10.5.2 Critically Re-imagining Concept Videos;198
13.6;10.6 Scenario Planning;200
13.6.1;10.6.1 Scenario Planning in the HCI Toolkit;201
13.6.2;10.6.2 Critically Re-engaging Scenario Planning;202
13.7;10.7 Speculative Design as Legitimating Practice;204
13.7.1;10.7.1 “speculative design” and “Speculative Design”;205
13.7.2;10.7.2 Moving Forward: Doing the Work of Critically Oriented Speculative Design;206
13.8;10.8 Conclusion;208
13.9;References;209
14;Chapter 11: Designing from Embodied Knowing: Practice-­Based Research at the Intersection Between Embodied Interaction and Somatics;212
14.1;11.1 Introduction;213
14.2;11.2 Background;214
14.2.1;11.2.1 The Embodied Turn;214
14.2.2;11.2.2 Enactivism;214
14.2.3;11.2.3 Embodied Aesthetics;215
14.2.4;11.2.4 Embodied Interaction;216
14.2.5;11.2.5 Somaesthetics;217
14.2.6;11.2.6 Lived Somaesthetic Reflection;218
14.2.7;11.2.7 Fleshing Out Embodied Interaction;218
14.3;11.3 Somatic Practices;220
14.3.1;11.3.1 First-Person Methodologies to Cultivate Embodiment;220
14.3.2;11.3.2 The Alexander Technique;220
14.3.3;11.3.3 Material for the Spine;222
14.3.4;11.3.4 Mind-Body Pragmatism;223
14.4;11.4 Somatic Challenges;224
14.5;11.5 Somatic Strategies;226
14.6;11.6 Multiple Perspectives to Navigate the Soma;227
14.7;11.7 Design Methodology: Moving and Making Strange;228
14.8;11.8 Design Methodology: Radically Interdisciplinary Dialogues;229
14.9;11.9 Case Study: Designing with Breath – exhale;231
14.10;11.10 Designing for Kinaesthetic Awareness;233
14.10.1;11.10.1 Case Study: still, moving;233
14.10.2;11.10.2 Somatic Details Matter;234
14.10.3;11.10.3 The Practice of the System;235
14.11;11.11 Conclusion;236
14.12;References;237
15;Chapter 12: Sound, Ecological Affordances and Embodied Mappings in Auditory Display;240
15.1;12.1 Sound and Its Affordances for HCI: Auditory Display, Sonic Interaction Design and Mapping;240
15.1.1;12.1.1 Auditory Display and Sonification;241
15.1.2;12.1.2 An ‘Embodied Turn’ in Musical HCI and Auditory Display;242
15.1.3;12.1.3 Embodied Cognition and Sonic Information Design;244
15.2;12.2 An Embodied Cognition Primer for HCI Researchers;245
15.2.1;12.2.1 Embodied Cognition: Historical Roots;245
15.2.2;12.2.2 Embodied Cognition: Conceptual and Philosophical Underpinnings;246
15.2.3;12.2.3 Embodied Metaphors and Meaning–Making Faculties;247
15.3;12.3 Embodied Sonic Meaning Making for Sonic Information Design: Current Models and Potential Applications;249
15.3.1;12.3.1 Applications of Embodied Cognition Theory in HCI and Auditory Display;250
15.3.2;12.3.2 Environmental Models of Sound: Gestalt Psychology, Auditory Scene Analysis and Ecological Psychoacoustics;251
15.3.3;12.3.3 Embodied Cognition and Cognitive Musicology;253
15.3.4;12.3.4 Auditory Imagery and Gestural–Sonorous Objects in Sound Environments and in Music;254
15.3.5;12.3.5 Embodied Cognition and Solutions to the Mapping Problem in Auditory Display;258
15.4;12.4 Conclusion: HCI, Sonification, Multi-modal Aspects Grounded by Embodied Cognitive Frameworks;260
15.5;References;261
16;Chapter 13: The Methodological Pivot;268
16.1;13.1 Sketching Transdiscursive Material Practice;268
16.2;13.2 Critique of Reflective Practice;272
16.3;13.3 The Methodological Pivot;276
16.4;References;282