Abstract: We present a number of videos taken at sports bars in Stockholm. They display the ways in which people interact with each other at the same time as they orient to the TV screens. Our intent is to unpack the detail collaboration, and the experiences of TV spectators in a public setting in order to influence the design of future TV broadcast systems.

Abstract: This paper discusses our view on sociable media and applications in which social connectedness is not limited to (re)connecting with (distant) lovers, friends and family and maintaining long-term relationships, but also encompasses casual connections to nearby `strangers'. Based on experiences at the Mobile Life Center, we discuss various aspects that need to be taken into account in design and evaluation of social connectedness applications. We argue against an overly quantitative approach to evaluation of social and affective aspects of media, services or `things' that facilitate social connectedness. We aim for a meaningful comparison between applications and their social-affective effects, without foregoing neither negative consequences of increased social awareness, nor the unique, wondrous experiences that might have never occurred without them.

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Abstract: As work, leisure and social activities blend together, and amateur and professional practices becomes harder to distinguish, we need to explore the role of technology that works to support people in this rich range of everyday experiences. Incorporating fun, playful elements in the workplace is essential for enhancing creativity and making work activities more socially and emotionally meaningful practices in which to participate.

Abstract: In this paper we explore the production of streaming media that involves live and recorded content. To examine this, we report on how the production practices and process are conducted through an empirical study of the production of live television, involving the use of live and non-live media under highly time critical conditions. In explaining how this process is managed both as an individual and collective activity, we develop the concept of temporal hybridy to explain the properties of these kinds of production system and show how temporally separated media are used, understood and coordinated. Our analysis is examined in the light of recent developments in computing technology and we present some design implications to support amateur video production.

Abstract: Designing interactive systems that have illusive interaction qualities, such as suppleness or pliability, is challenging. In several design projects aiming for bodily and emotional interaction, we have aimed to find concepts, methods or processes that can capture the essence of the sought experience and steer the design process in a successful and efficient direction. Our attempts include using e.g. Laban-analysis of emotionally-oriented movement, video-cards from ethnographic studies of users in movement, or simply explicitly naming and defining the sought interaction quality. Our experiences point to the importance of moving from low-fi prototyping to high-fi – no matter which artefact is used to keep the design team on track. Repeatedly exposing unfinished prototypes not only to prospective end-users, but also to the whole design team has been another important part of our process. Finally, a deeper, theoretical and design-oriented understanding of emotional and bodily interaction is badly needed.

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Abstract: A great number of educational and edutainment projects have already used video games to teach topics such as physics, math, language, etc., using traditional game or computer controls. Recently, however, commercial games have shifted to incorporate gestures and body motion, as exemplified by a variety of games where the player is required to actually perform real-world physical movements to control the game. This includes an array of dancing games, where the player follow a sequence of instructions by dancing on a sensor mat (e.g. Dance Dance Revolution); sports games, where the player performs movements mimicking those required in real games of bowling, boxing, tennis, etc. (e.g. Wii Sports); and music games, where the player acts out pieces of music by playing on replicas of real instruments (e.g. Guitar Hero, Rock Band). This new focus on physicality in video games has had several benefits, both by making the games more socially engaging for a co-located group of players, and by introducing a degree of physicality to an activity that was previously considered unhealthy and inactive. In this project, we are using the popular Wii game controller, aka Wiimote, manufactured by Nintendo. However, rather than using the Wiimote as a direct controller for the player's on-screen avatar, as in most popular games, we want to apply the technology to let students explore phenomena related to physics and natural sciences. Thus, by leveraging the sensory capabilities of game controllers that youths already enjoy outside of school, we can introduce physical exploration as a means to engage in learning about phenomena from natural science. Key concepts of physics – work, energy, force, potential energy, kinetic energy, momentum – may be introduced as aspects of the interactive setting that students are exploring.

Abstract: Popular practices with non-digital artefacts were explored in order to reveal qualities for design of interaction that allow for full body experiences, and engagement of a rich array of our senses and bodily capabilities for being-in and moving-in the world. For successful design of movement-based and bodily interaction, we have identified the importance of allowing users to connect their experiences with the artefact to the surrounding physical and social world.

Abstract: In the future, everyday life in traffic will be intricately meshed with city life. Today, motorways, city streets etc. are places where we spend a considerable amount of time, and where a large number of everyday encounters between people occur. Any road user’s journey coincides with hundreds or even thousands of other people’s paths. We unpack the details of the practical achievements involved in socially engaging with these persons at high speed. In general, these encounters are brief and the interaction is slight. The recent emergence of mobile technologies provide us with new possibilities to support drivers and passengers beyond just helping them to reach their destination. We suggest that new applications could enhance social interaction in traffic and make life on the road more interesting and meaningful. We provide examples of some innovative applications such as car stereos that share music among drivers; digital games that interact with the landscape passing by outside the car windows, or with passengers in surrounding cars; message systems that allow drivers to help each other and web applications that allow motorcyclists to socialize on the road.

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Abstract: A new type of social media, which display live broadcasts from mobile devices, are becoming increasingly popular. We provide a qualitative content analysis of a sample from four such services, which specifically focus on the topics conveyed; camera work and coordination, in order to investigate the possibilities and problems in this new social media. Although the services are already used by many members, the study reveals an immature application area. People struggle with finding interesting topics to broadcast, and managing the camera in a way that present it in a broadcastable way. But there are also examples of topics such as artistic performances and tours, as well as ways to conduct live transitions and coordination, that point to a more medium specific way of using these services. The results implicate, that providing the opportunity to broadcast live video is not enough, and that there is now a need to design for amateurs appropriation of camera handling techniques.

Abstract: The video capabilities of mobile telephones, combined with their access to with high bandwidth data networks, mean that consumer devices now allow amateur camera operators to broadcast live content. Yet viewing live images does not always provide viewers with an understanding of events as they occur, and instant replay is often used in professional multi-camera productions to augment the live visual images–something that no consumer video broadcast technology currently supports. To understand how amateur producers might use instant replay in the future, we have examined the ways in which professional productions combine real-time and recorded media. This paper therefore examines the professional practices around video technologies to enable the archival, search and broadcast of visual content to show how live and non-live footage are combined. A detailed interaction analysis demonstrates that this work is dependent on the coordinated practices of multiple participants, and how they practically achieve this to search for topically useful recorded visual material to augment the ongoing live action, display its relevance to the live situation and segue transitions between live and replay visuals.

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Abstract: The mobile ecosystem is constantly changing. The roles of each actor are uncertain and the question how each actor cooperates with each other is of interest of researchers both in academia and industry. In this paper we examine the mobile ecosystem from a business perspective. We used five mobile companies as case studies, which were investigated through interviews and questionnaire surveys. The companies covered different roles in the ecosystem, including network operator, device manufacturer, and application developer. With our empirical data as a starting point, we analyze the revenue streams of different actors in the ecosystem. The results will contribute to an understanding of the business models and dependencies that characterize actors in the current mobile ecosystem.

Abstract: When designing Affective Health, a mobile stress management tool using biosensors, we gradually understood how severely limited inferences can be when we move from laboratory situations to everyday usage. We also came to understand the strong connection between our subjectively perceived resources for dealing with stress and healing. Therefore, rather than employing a diagnose-and-treat design model, we propose that designers empower users to make their own reflections and interpretations of their own bio-sensor data. We show how this can be done through encouraging reflection, alternative interpretations and active appropriation of biosensor data – avoiding a reductionist, sometime erroneous, mediation of automatic interpretation from bodily data to emotion models or, in this case, stress diagnosis.

Abstract: Designing for a supple interaction, involving users bodily and emotionally into a ‘dance’ with a system is a challenging task. Any break-ups in interaction become fatal to the sensual, fluent, bodily and social experience sought. A user-centered, iterative design cycle is therefore required. But getting to know the affordances of the digital material used to build the application plays an equally important role in the design process. The ‘feel’ of the digital material properties sometimes even determines what the design should be. We describe three situations in which the properties and affordances of sensor network technologies guided our design process of FriendSense – a system for expressing friendship and emotional closeness through movement. We show how the sensor node look and feel, choice of sensors, limitations of the radio signal strength and coverage, as well as iterative prototyping to properly exploit the software/algorithmic possibilities guided our design processing for suppleness.

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Abstract: We contribute to the discussion on fashion-ology of mobile innovation by looking into the practical production system within this industry. By analyzing how mobile phones are produced as aesthetic objects through a qualitative content analysis of insiders, we attempt to clarify a relatively more independent aesthetic-creating system, that is, the fashion-ology of mobile technology. We learn how much the industry insiders see the mobile design and production is related to fashion and how the work process goes on through the interviews.

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Abstract: Players of video games often find themselves at a set location, in a room or a game hall, playing alone, with family or friends, even both, or maybe with strangers over the Internet. The game becomes intense when the player reaches a crucial moment or event. Such moments might be when the player has reached a new level, received a new piece of equipment, found the last hidden key or is about to kill the last “boss” in the game to win a war. The emotional state of the player changes as the game proceeds, where excitement can be closely followed by frustration or surprise. Studying players of such games has become easier when new technology give us the opportunity to study them closely. By the use of biosensors, cameras and close observations, observers can collect a rich amount of quantitative and qualitative data. But the complexity increases when the players are players of a pervasive game. Pervasive games are games that expand socially, spatially and temporally. They are lived experiences, where players might experience the more (or less) intense moments in the game when they e.g. find themselves in a dark alley chasing a fictional character in the streets of Sheffield (UK), on a bike recording memories and thoughts in a “hidden” location outside central London (UK) or running around downtown, trying to map places of interference on the Internet in Düsseldorf (Germany). The players are more or less on the loose, which minimizes the chances to carry out close observations. In this thesis I will report on a design project focusing on finding new concepts in capturing different aspects of the game experiences. By focusing on game play experience, I have chosen to go beyond the traditional usability evaluation methods used in present CHI practice and focus on representations for different aspects of the game experience. I will describe the design rationale and process in choosing concepts as well as presenting the resulting design proposals for two hand-held tools for self-reporting. The designs for the tools will be based on findings from a conducted user study, where representations for game play experiences will be tested by potential users. At the end of this thesis I will discuss the results from my design process as well as lessons learnt from the project.

Abstract: The frontiers of gaming is constantly moved forward and the pervasive game Backseat Playground, developed at Interactive Institute is no exception. The game experience is created while driving along the road, the story adapts to the outside environment and according to the player’s interactions with the game world. To create such an adaptive game world requires a great amount of story content, and to make this process manageable a tool was requested by the developer team at Interactive Institute. The main challenge of designing such a tool is to visualize and structure the special information needed in this kind of game. This thesis investigates the scope of the game Backseat Playground and establishes the requirements for a possible editor. The thesis also dives into two theoretical parts with close connections to this field: Interactive narratives and content creation for prevasive game environments. The creation process of this prototype has involved tasks such as interviews and script creation to schetches and flow charts and the result is, besides an extentensive pre-study also a semi-functional prototype for demonstrational purposes implemented in Flash CS3, actionscript 3.0. This report describes the complete workflow and the final result of this thesis.

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Abstract: This project explores the social possibilities of mobile technology in transitional spaces such as public transport. Based on a cultural probes study of Stockholm subway commuters, we designed a location-based friend finder that displays only people in the same train as the user. We aim at reaching a critical mass of users and therefore decided to make the system compatible with as many phones as possible, thus it was designed as a simple web application. An initial informal study pointed out consequences of certain design decisions on the user experience and highlighted social tensions created by presence awareness.

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Abstract: Passengers pay attention to the landscape as they move through the environment. We suggest a new type of applications, which adds to that experience. It consider their motion and velocity, which make the time available for interaction with individual geographical objects very limited, at the same time as they cannot control it. Applications, in this case a game, could utilize audio and gesture interfaces, as well as digital maps to provide for experiences that are sequentially mapped onto the landscape. An initial user feed back trial made visible interactional and experiential challenges in passengering.

Abstract: To be added

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Abstract: The Alternate Reality Game genre inspires a mode of play in which the participants choose to act as if the game world was real. Jane McGonigal has argued that one of the most attractive features of an ARG is the ‘Pinnochio’ effect: at the same time that the players deeply long to believe in them, it is in reality impossible to believe in them for real. In this article, we study “Sanningen om Marika”, a game production where fact and fiction was blurred in a way that made some participants believe that the production was reality rather than fiction, whereas other participants found the production deeply engaging. We discuss the different participant interpretations of the production and how it affected the players´ mode of engagement. We also outline some of the design choices that caused the effect.

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Abstract: This paper aims to illustrate how robotic artefacts and applications may be described from a perspective of human action and experience. This is done by presenting an interaction model based on four ways that interactive artefacts may work as resources for human action. In contrast to data-centric models, this model includes socially and contextually oriented actions performed around the artefact, as well as actions related to the computational system running on the machine. A goal with the framework is to provide a concrete reference for designers, focusing on the experiential dimensions of the products that they develop.

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Abstract: This paper concerns the design of physical languages for controlling and programming robotic consumer products. For this purpose we explore basic theories of semiotics represented in the two separate fields of comics and fashion, and how these could be used as resources in the development of new physical languages. Based on these theories, the design concept of actDresses is defined, and supplemented by three example scenarios of how the concept can be used for controlling, programming, and predicting the behaviour of robotic systems.

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Abstract: This thesis contributes with insights into how aspects of the surrounding physical and social context can be exploited in the design of mobile media applications for playful use. In this work, context refers to aspects of the immediate surroundings – outside of the device – that can be identified and measured by sensors; for instance environmental aspects like sound, and social aspects like co-located people. Two extensive case studies explore the interplay between users, mobile media, and aspects of context in different ways, and how it can invite playful use. The first case study, Context Photography, uses sensor-based information about the immediate physical surroundings to affect images in real time in a novel digital camera application for everyday creativity. The second, Push!Music, makes it possible to share music both manually and autonomously between co-located people, based on so-called media context, for spontaneous music sharing.

The insights gained from the designs, prototypes, and user studies, point at the value of combining explicit and implicit interaction – essentially, the expected and unexpected – to open for playful use. The explicit interaction encouraged users to be active, exploratory, and creative. The implicit interaction let users embrace and exploit dynamic qualities of the surroundings, contributing to making the systems fun, exciting, magical, ‘live’, and real. This combination was facilitated through our approach to context, where sensor-based information was mostly open in use and interpretation, ambiguous, visible, and possible to override for users, and through giving the systems a degree of agency and autonomy. A key insight is that the combination of explicit and implicit interaction allowed both control and a sense of magic in the interaction with the mobile media applications, which together seems to encourage play and playfulness.

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Abstract: See link above.

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Abstract: Involving our corporeal bodies in interaction can create strong affective experiences. Systems that both can be influenced by and influence users corporeally exhibit a use quality we name an affective loop experience. In an affective loop experience, (i) emotions are seen as processes, constructed in the interaction, starting from everyday bodily, cognitive or social experiences; (ii) the system responds in ways that pull the user into the interaction, touching upon end users' physical experiences; and (iii) throughout the interaction the user is an active, meaning-making individual choosing how to express themselves—the interpretation responsibility does not lie with the system. We have built several systems that attempt to create affective loop experiences with more or less successful results. For example, eMoto lets users send text messages between mobile phones, but in addition to text, the messages also have colourful and animated shapes in the background chosen through emotion-gestures with a sensor-enabled stylus pen. Affective Diary is a digital diary with which users can scribble their notes, but it also allows for bodily memorabilia to be recorded from body sensors mapping to users' movement and arousal and placed along a timeline. Users can see patterns in their bodily reactions and relate them to various events going on in their lives. The experiences of building and deploying these systems gave us insights into design requirements for addressing affective loop experiences, such as how to design for turn-taking between user and system, how to create for ‘open’ surfaces in the design that can carry users' own meaning-making processes, how to combine modalities to create for a ‘unity’ of expression, and the importance of mirroring user experience in familiar ways that touch upon their everyday social and corporeal experiences. But a more important lesson gained from deploying the systems is how emotion processes are co-constructed and experienced inseparable from all other aspects of everyday life. Emotion processes are part of our social ways of being in the world; they dye our dreams, hopes and bodily experiences of the world. If we aim to design for affective interaction experiences, we need to place them into this larger picture.

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Abstract: With new technologies such as body sensors, tangible interaction, haptics, interactive cloth, or small computing devices such as mobiles, we can move interaction from the desktop out into the world and onto our bodies. Likewise, with the boom of computer games, domestic digital technology use, and social communication tools, we have to consider designing for non-instrumental goals, beyond task completion. This has been picked up by human-computer interaction researchers in the so-called third wave of HCI. We suggest that learning technologies could use some of the results from the third wave of HCI, placing body and emotion more centrally into the communication and construction of knowledge. Designing for bodily interaction, emotional communication or aesthetics is not trivial. In design work, a designer can only set the stage for certain experience to happen, but in the end, it is the user who co-constructs the experience with or through the interaction. Based on our experiences of designing for bodily and emotional communication, we will posit three postulates that might be helpful in designing for involving interaction: leaving dasiasurfacespsila open for users to appropriate, building for users to recognise themselves socially, emotional or bodily through the interface, and avoiding reductionism.

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Abstract: After a decade of work in our research labs on mobile and ubiquitous technology, often formed by the early visions of ubiquitous computing, with the urge to move interaction from the desktop out into the wild, these technologies have now moved out into the world – into the wild. We are in the middle of a second IT-revolution, caused by the spread of mobile and ubiquitous services, in combination with a broad consumer-oriented market pull. The first IT-revolution, the introduction and deployment of Internet and the World Wide Web during the 1990’s, had a major impact on all parts of our society. As mobile, ubiquitous technology now becomes wide-spread, the design and evaluation of mobile services – i.e. information technology that can be accessed and used in virtually any setting – represents an important business arena for the IT- and telecom industry. Together we have to look for a sustainable web of work, leisure and ubiquitous technology we can call the mobile life. But what impact does this have on HCI research? In particular, what is our role in innovating new services, new technologies, new interaction models and new ways of living with this technology? Obviously, new methods for design and evaluation of interfaces are needed, especially when those interfaces are not always clearly ‘interfaces’ anymore, but blend in with various new materials in our environments or even worn on our bodies. Usage situations are shifting, unstable, mobile settings – interaction in the wild. There is a need for design methods that help structure a multitude of different sources of inspiration and fieldwork, and synthesize it into concrete requirements and service or technology concepts. In our work we have used a variety of such methods, such as ethnography as a basis for design, Laban-notation to analyse body behaviours, novel forms of quick sketching of mobile service interaction, cultural probes to understand emotional processes in people’s everyday lives, bodystorming for situating ideas in the real world, and the experience clip method for user self-evaluation to evaluate mobile services in their realistic setting. We have also developed our own methods, such as e.g. user-driven innovation - studying extreme or specialised user groups and then innovating services for other user groups based on those experiences But we also see trends that will turn these ways of approaching innovation upside down. Producers and consumers blend together in what we name Mobile 2.0-services, creating content dependent on the mobile setting. Sketching in hardware and software combinations becomes accessible not only to technology experts, but to all. How can HCI-practice change to make the ‘digital materials’ accessible to all rather than supporting only HCI-experts to develop innovative design? As pointed out in the vision “Being Human: Human-Computer Interaction in the year 2020”, HCI needs to orient towards the values shaped by the interaction between technology and people in our everyday lives. As digital, interactive technology enters every aspect of our lives we must do justice to the full complexity of actual human lived experience, where people actively and individually construct meaningful experiences around technology. We might even have to take responsibility for how society is shaped by this second digital revolution - making values such as privacy, autonomy or trust, but also living a good, rich life, explicitly part of our design processes and study methods, creating for a sustainable, human-friendly society. In the Mobile Life centre, we work around a vision of a ludic society where work mixes with leisure, private with public – a society where enjoyment, experience and play are adopted into all aspects of life. It becomes important to recognise that private and leisure life should not have to be as polished and efficient as your work performance when practices and technology travel between these spheres of our life. In my talk, I will discuss the implications for academic research in HCI as well as how this fosters a novel work practice in industry. The ICT and telecom industry will be less focused on identifying needs and more focused on values, in particular, ludic aspects of life.

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Abstract: In this paper, we argue that HCI practitioners are facing new challenges in design and evaluation that can benefit from the establishment of commonly valued use qualities, with associated strategies for producing and rigorously evaluating work. We present a particular use quality 'suppleness' as an example. We describe ways that use qualities can help shape design and evaluation process, and propose tactics for the CHI community to use to encourage the evolution of bodies of knowledge around use qualities.

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Abstract: We present an analysis based on user-provided content collected from online blogs and forums about the robotic artifact Pleo. Our primary goal is to explore stories about how human-robot interaction would manifest themselves in actual real-world contexts. To be able to assess these types of communicative media we are using a method based on virtual ethnography that specifically addresses underlying issues in how the data is produced and should be interpreted. Results indicate that generally people are staging, performing and have a playful approach to the interaction. This is further emphasized by the way people communicate their stories through the blogging practice. Finally we argue that these resources are indeed essential for understanding and designing long-term human-robot relationships.

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Abstract: One of the most exciting developments in the field of new technologies, games and other media are crossmedia productions. New forms of interaction between the ludic and the narrative are being established, displayed via different platforms such as mobile phones, television shows, online games, websites, chats, blogs and forums, as well as physical locations. Sanningen om Marika (The Truth About Marika), a Swedish crossmedia production, employed those platforms to create a fictional universe with strong references to the real. As it turned out during the play course, the distinction between fiction and reality couldn't always and easily be made by the participatory community, since the blurring of the boundaries was one of the major design strategies of the production companies. Calling Sanningen om Marika (SOM) a participation drama, the producers clearly had the intent to actively engage the participants in the storyline, and to encourage them to imagine and immerse into the fiction as if it was reality rather than just engage in a game. This article will explore the strategies of the blurring of the boundaries between reality and fiction as it occurred in SOM and explain how the different platforms were contributing to its ambiguity.

Abstract: The Affective Health system is a mobile lifestyle application that aims to empower people to reflect on their lives and lifestyles. The system logs a mixture of biosensor-data and other contextually oriented data and transforms these to a colorful, animated expression on their mobiles. It is intended to create a mirror and thereby empower users to see activity patterns and relate these to their experiences of stress. People’s different cultural backgrounds and their different physiological and psychological composition give them different perceptions and associations of time. We explore the time dimension of our system through working through a set of different designs that organize events as time going linearly forward, in a circular movement or relating to geographical places. Here we discuss the process of designing a mobile interface for presenting temporal data in a way that allows multiple and subjective interpretation.

Abstract: coming

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Abstract: In our research we made use of an instrument previously developed to facilitate nonverbal self-report of emotion, which consists of eight sculpted objects. We describe the use of this instrument in the assessment of three interactive storytelling experiences in a small user study and draw some conclusions about the instrument's effectiveness in supporting design.

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Abstract: Communities have always excited in human life and people have always met to discuss subjects that are important and interesting to us. For a long time communities were bound to the limitation of time and space, but with highly developed mobile phones and networks, people are these days able to “meet” anytime, anywhere at mobile communities. This study has examined the mobile usage at the community site Playahead. The study had an inductive approach primarily based on analysing quantitative data from usage logs, but also included a survey. The purpose of the study was to look at the mobile usage of different social functions at Playahead and see if the usage differed between different user groups, e.g. between male and females and different age segments. It was also of interest to see how the activity differed between weekdays and weekends. Our main findings was that women tend to use the communicative functions chat and write guestbook more than men and that women also login more to Playahead. Men, on the other hand, are sending more mail than women and are looking at profiles more. The age distribution looked similar for most of the functions with an age peak at 14, 15 and 16. Comparing weekends and weekdays showed us that the usage followed a similar pattern for the different methods. At weekdays the usage started earlier in the mornings and ended earlier in the evenings. At weekends the activity started later in the mornings and continued later on throughout the nights.

Abstract: We aim to understand meaningful experiences of photography, in order reflect upon the design of future camera devices. We have conducted a study of a passive camera device called Sensecam, which previously has been investigated as a memory aid, a combination of life-logging and memory tool and as resource for digital narratives. We take a creative perspective and show that even if a camera is designed to be forgotten in use (i.e. is worn as a necklace and takes pictures automatically) it can still be part of an engaging or active photographic experience. Because Sensecam is different from film cameras, camera phones and other digital cameras, this involves a different type of photographic experience and pictures, for example when moving through different social contexts, and how the resulting pictures are valued. Our findings stem from people who used the camera for a week, and are complemented with reflections from the author who has used the camera for a month.

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Abstract: Quickly emerging from the fast-paced growth of mobile communications and wireless technologies, pervasive games provide a worldwide network of potential play spaces. Now games can be designed to be played in public spaces like conferences, museums, communities, cities, buildings and other non-traditional game venues...and game designers need to understand the medium—both its challenges and its advantages. This book shows game designers how to change the face of play—who plays, when and where they play and what that play means to all involved. Montola and Stenros explore aspects of pervasive games that concern and affect game designers: what makes these games compelling, what makes them possible today, how they are made and by whom, as well as the theoretical and philosophical reasoning behind their designs.

Abstract: To be added

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Abstract: In this paper, we present through the description of several applications how the Mobile 2.0 project is exploring the scope of context-aware mobile applications and their implications on a human-centered perspective.

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Abstract: A diary is generally considered to be a book in which one keeps a regular record of events and experiences that have some personal significance. As such, it provides a useful means to privately express inner thoughts or to reflect on daily experiences, helping in either case to put them in perspective. Taking conventional diary keeping as our starting point, we have designed and built a digital diary, named Affective Diary, with which users can scribble their notes, but that also allows for bodily memorabilia to be recorded from body sensors and mobile media to be collected from users’ mobile phones. A premise that underlies the presented work is one that views our bodily experiences as integral to how we come to interpret and thus make sense of the world. We present our investigations into this design space in three related lines of inquiry: (1) a theoretical grounding for affect and bodily experiences; (2) a user-centred design process, arriving at the Affective Diary system; and (3) an exploratory end-user study of the Affective Diary with 4 users during several weeks of use. Through these three inquiries, our overall aim has been to explore the potential of a system that interleaves the physical and cultural features of our embodied experiences and to further examine what mediaspecific qualities such a design might incorporate. Concerning the media-specific qualities, the key appears to be to find a suitable balance where a system does not dictate what should be interpreted and, at the same time, lends itself to enabling the user to participate in the interpretive act. In the exploratory end-user study users, for the most part, were able to identify with the body memorabilia and together with the mobile data, it enabled them to remember and reflect on their past. Two of our subjects went even further and found patterns in their own bodily reactions that caused them to learn something about themselves and even attempt to alter their own behaviours.

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Abstract: Designing for non-verbal communication using e.g. gestures and other bodily expressions is difficult. Hardware and software need to be co-designed and harmonize in order to not throw users out of their embodied experience. We aim to design for kinaesthetic expressions of emotion in communication between friends – in this case, colleagues at work. A probe was built using sensor node technology designed to let users express themselves and their emotional state to a public and shared display where the expressions together formed a collective art piece expressing the individuals but also the group as a whole. Two groups of colleagues used the probe during two weeks. It came to serve as a channel in which some conflicts and expressions of social relations were acted out which were not openly discussed in the office. It exposed different roles and balances in relationships in the group. Finally, the probe taught us the importance of balancing the design for joint group expression and individual, personal expressions. The study also allowed the participants to experience the sensor node-‘material’ – enabling a participatory design process.

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Abstract: Research within mobile interaction and applications initially focused on building interfaces that adapt to the limited interaction and presentation resources of mobile devices such as the limited bandwidth and small screens. More recent work has started to address richer interactive experiences by exploring ways of integrating what could be called the “whole body” in interaction in mobile settings. Such work includes for instance location-based systems, social networking, and collaborative applications of different kind. In line with this development our research investigates embodied and experience-oriented interaction with mobile and tangible devices.

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Abstract: Is there any coherence in how different professions place themselves as players on the Bartle’s graph of different play styles?

Abstract: Pervasive games are staged in reality and their main attractiveness is generated by using reality as a resource in the game. Yet, most pervasive games that use mobile and location-based technology use reality only in a weak sense, as the location for a computerized game. In this article we analyze two game practices, Nordic style live action role-playing (larp) and alternate reality games (ARG), that instead use reality as their main game resource. We analyze how they go about creating a believable game world and encourage the players to actively take part in this world. We present two example games that do the same with the support of technology, effectively realizing an immersive game world through a combination of physical play and technology-supported play.

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Abstract: Pervasive and location-based games are played in the real world rather than on the screen of a computer or mobile device. This makes them difficult to study. Since players move around it is difficult to observe them, while at the same time many of the central game activities cannot be monitored simply through logs of device interaction. In our project, we develop tools that allow players to record their subjective experiences during an ongoing game. We report on the design considerations for such tools, and our first experiences of using them in a game session.

Abstract: Pervasive games are rapidly maturing - from early research experiments with locative games we now start to see a range of commercial projects using locative and pervasive technology to create technology-supported pervasive games. In this paper we report on our experiences in transferring the successful involvement of players in computer games to ‘modding’ for pervasive games. We present the design process, the enabling tools and two sample games provided in boxes to end users. Finally we discuss how our findings inform the design of ‘modding’ tools for a pervasive game community of the future.

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Abstract: As part of the Affective Health project this thesis describes some of the challenges of developing a UI that does not use standard UI components and uses its own visual language. It focuses on the implementation of graphics and interaction. I present OpenGL ES as sufficient tool for this task and used the touch screen for interaction. The choice of these techniques is explained and problems arising when using them are described.

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Abstract: Following the widespread adoption of music media sharing applications for the Internet a growing number of research projects have explored sharing in a mobile context. Insofar these projects have mainly addressed face-to-face copresence situations. The Sound Pryer prototype, on the other hand, is designed to provide joint music listening experiences among drivers in traffic. Through field trials with a prototype application we have learned the importance of including awareness information but not necessarily distributing complete music media content in order to provide meaningful experiences.

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Abstract: Pervasive games are games that are played in the real world – they are not played as a computerized simulation or on a limited physical game arena. The central attraction for pervasive games is that they offer the pleasure of doing things for real. The world is a vast and infinitely changing resource of content for pervasive games. Interference is a pervasive game playable by groups of 6-8 players lasting for a total of 3-4 hours and using both technology (such as GPS positioning and augmented reality) and human actors to create the full experience. In this paper, we describe the design goals for Interference and how these permeate through all aspects of the design of the game to create a coherent experience. Interference shows how an emotionally complex game experience can be achieved without resorting to ambiguity or deep role playing. The game has so far been staged on seven occasions and we briefly report on the experiences from those stagings.

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Abstract: We spend ever increasing periods of our lives travelling in cars, yet quite what it is we do while travelling, aside from driving the vehicle itself, is largely overlooked. Drawing on analyses of video records of a series of quite ordinary episodes of car travel, in this findings paper we begin to document what happens during journeys. The material concentrates on situations where people are travelling together in order to examine how social units such as families or relationships such as colleagues or friends are reassembled and re-organised in the small scale spaces that are car interiors. Particular attention is paid to the forms of conversation occurring during car journeys and the manner in which they are complicated by seating and visibility arrangements. Finally the article touches upon the unusual form of hospitality which emerges in car sharing.

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Abstract: We explore how the dynamic and vivid context of road travel, i.e. the highway experience, can be used to provide drama and challenge to pervasive games. The aim has been to gain insights into this novel application area and to understand the potential and implications for design. The thesis embraces a design-oriented research approach, where knowledge has been gained through the process of designing, implementing and evaluating experimental prototypes. The research has resulted in three prototypes, i.e. Backseat Gaming, Road Rager and Backseat Playground, which in various ways illustrate the potentials and problems in the proposed design space. Backseat Gaming makes use of roadside objects to create a contextualised game experience as the player travels along a specific route. The intention with the prototype has been to explore the characteristics of the fictitious linkage between the game and road-context. We have particularly looked at what types of roadside objects that could be integrated to create an understandable and engaging pervasive game. Road Rager is a multiplayer game where children that meet in traffic duel against each other. We suggest that the temporal and unpredictable character of an encounter, as well as the proximity, can provide for interesting game-play. A critical challenge is to enable multimodal interaction when the lifetime of a game-event is very limited. The Backseat Playground is a murder mystery game, which takes place in the physical landscape outside the window of the vehicle. The prototype particularly explores the prospect of automatically scaling the game to vast geographical areas through integration with digital maps. Additionally, it explores how to provide sequential storytelling that fits with the journey through the landscape. We will hereafter refer to these types of games as journey games. In this thesis we will explore four issues, which we argue are of crucial significance when designing experiences, which combine pervasive game play with the highway experience. First, we will tease out what parts and types of a digital game that fits with this experience. Second, we will look at ways to design the game interface so that the player’s can combine a visual attention on the road-context with game play. Then, we will investigate how to utilize the passengers’ cursory experience of the swiftly passing road objects. Finally, we look at how to provide game-content, which match to the temporal unfolding of the surrounding road-context.

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Abstract: We describe the motivation, design, and deployment of the Pieces of Identity system. Two goals motivated the system: to provoke a discussion concerning the relationship between privacy and mobile information technology during an inauguration event of a mobile technology research center, and to stir reactions contributing to the widening of the design space of privacy and information and communication technology (ICT). The results contrasts the two well-established preconceptions about privacy that nothing is private anymore and that personal information is best locked away.

Abstract: Changing media landscape forces public service broadcasters to search new ways to attract audiences. One strategy is to engage the audience in multi platform productions. Swedish Television collaborated with a small pervasive games company in the production of an alternate reality game; a spectacular and controversial production offering online and live action role-playing experiences in parallel with traditional TV drama. This article focuses on the cooperation of the companies, the differences in production cultures and how they affected the audience participation. The results show that the conflicting cultures created implications for the possibilities to participate, due to the differing views of what to produce and for whom. The broadcaster used production processes that resulted in ‘interaction for spectators’ while the pervasive games actor designed for ‘coproduction with participants’. The rich empirical data spans from participatory observations, in depth interviews, an online survey, log data and viewer statistics.

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Abstract: The production Sanningen om Marika is a rare example of a production that combines traditional broadcast culture with the participative culture fostered primarily within the larp community in the Nordic countries. Swedish television collaborated with The Company P to produce this alternate reality multiplatform media production. The result was a spectacular and controversial production offering online and live action role-playing experiences in parallel with traditional TV drama. This article focuses on the differences between the production cultures of two companies, and how it affected the experience they produced together.

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Abstract: In the Affective Health project we explore mobile services that empowers people to monitor and understand their own stress levels vis-à-vis their everyday activities. Our design aims to create open surfaces for users to interpret, appropriate and change over time, making the look and experience of the system their own, even after it has been deployed, letting the participatory process continue where PD traditionally leaves. Here we discuss our design process and the problem of getting design input from a sensitive and hard to reach target group. We present the ways we worked around the problems, the questions that arose, and thoughts we have for our future work.

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Abstract: We report on design research investigating a possible combination of mobile collaborative live video production and VJing. In an attempt to better understand future forms of collaborative live media production, we study how VJs produce and mix visuals live. In the practice of producing visuals through interaction with both music and visitors, VJing embodies interesting properties that could inform the design of emerging mobile services. As a first step to examine a generation of new applications, we tease out some characteristics of VJ production and live performance. We then decide on the requirements both for how visitors could capture and transmit live video using their mobile phones and how this new medium could be integrated within VJ aesthetics and interaction. Finally, we present the SwarmCam application, which has been implemented to investigate these requirements.

Abstract: We analyze how VJs produce visuals to support DJs in dark and noisy club environments, enhancing the overall experience. We suggest that mobile technologies could improve the interaction between the audience and the VJ. As a first step to the generation of new applications, we tease out some characteristics of VJ production and live performance, which might influence the design of such technologies. We specifically focus on the ways in which VJs interact with the audience and the computer interfaces, as well as how they orient towards specific aesthetical ideals.

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Abstract: In this position paper, we present an ongoing design oriented project examining the mobile and collaborative production of live video. We argue that mobile phones equipped with cameras will play an important role in the future of user multimedia content creation. Informed by our findings from previous projects with similar topics of exploration, however with other users and settings such as VJ’s in a club setting and the professional crew producing live sports television, we now turn to teenagers in a school setting to learn more from early adopters, and gain new insights regarding the possibilities for the design of innovative services. By arranging a series of discussion seminars, on the teenagers’ relation to, and use of, their mobile phones, combined with practical workshops on video production with mobile phones, we examine the design space for mobile collaborative live video production.

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Abstract: This paper presents a study of professional live TV production, investigating the work and interactions between distributed camera operators and a vision mixer during an ice hockey game. Using interview and video data, we discuss the vision mixer’s and camera operators’ individual assignments, showing the role of video as both a topic and resource in their collaboration. Our findings are applied in a design-oriented examination into the interactive user experience of TV, and inform the development of mobile collaborative tools to support amateur live video production.

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Abstract: To deal with stress, in a positive way, one can benefit from increased self-reflection in order to better understand the individual experiences and how they affect your health and well-being. This way the person can become increasingly empowered over him/herself yourself. There is a lack of tools and devices to support people to be empowered to take control over their everyday behaviors and balance their stress levels. We are creating a mobile service, Affective Health, where we aim to provide a holistic approach towards health, enabling users to make a connection between their daily activities, as reflected by a representation on the mobile phone (which is constructed from values picked up, by biosensors, from some of their bodily reactions) and their own memories and subjective experiences. This issue entailed figuring out how to provide real-time feedback without making them even more stressed and making sure that the representation empowered rather than controlled them. In a Wizard of Oz study, testing two different visualizations on the mobile, we got some useful design feedback. In short, we found that the design needs to: feel alive, allow for interpretative openness, include short term history, allow for scrolling back into the past, and be updated in real-time. We also found that the interaction did not, according to their feedback, increase our participants stress reactions. They also claimed that the setting was successful in recreating a real-life “feeling”.

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Abstract: There exists today a paucity of tools and devices that empower people to take control over their everyday behaviors and balance their stress levels. To overcome this deficit, we are creating a mobile service, Affective Health, where we aim to provide a holistic approach towards health by enabling users to make a connection between their daily activities and their own memories and subjective experiences. This construction is based upon values detected from certain bodily reactions that are then visualized on a mobile phone. Accomplishing this entailed figuring out how to provide real-time feedback without making the individual even more stressed, while also making certain that the representation empowered rather than controlled them. Useful design feedback was derived from testing two different visualizations on the mobile in a Wizard of Oz study.. In short, we found that a successful design needs to: feel alive, allow for interpretative openness, include short-term history, and be updated in real-time. We also found that the interaction did not increase our participants stress reactions.

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Abstract: In this paper we report on a cross-cultural study of people's judgments about privacy in public places. Replicating and extending a previously published study conducted in the US, 350 surveys and 30 interviews were conducted on a university campus in a major city in Sweden. Participants were recruited on campus while walking through a major public through fare which was being captured by a video camera and displayed in real-time in a room in a campus building overlooking the area. We analyze the Swedish data alone and also report comparative analyses with the previously published US data. Results showed in general Swedes are substantially more concerned about privacy in public places than their counterparts in the US. In both countries, women generally expressed more concern than men, but this gender gap was greater in the US than Sweden. Discussion focuses on cross-cultural perspectives on privacy in public and implications for interaction design.

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Abstract: Sensor-based interaction has enabled a variety of new creative practices. With ubiquitous computing, designing for creative user experience with sensor-based devices benefits from new opportunities as well as new challenges. We propose a design approach where surrounding context information is brought to the foreground to become a resource for interaction, available at hand and in real time to the users. We illustrate this approach with our project context photography as a design case. Context photography consists of taking still pictures that capture not only incoming light but also some of the additional context surrounding the scene, with real-time context information visually affecting the pictures as they are taken. Based on the design and use of our context camera prototypes, this paper brings insight into implications of our approach to the design of sensor-based ubiquitous computing systems for creative purposes.

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Abstract: With new technologies such as body sensors, tangible interaction, haptics, interactive cloth, or small computing devices such as mobiles, we can move interaction from the desktop out into the world and onto our bodies. Likewise, with the boom of computer games, domestic digital technology use, and social communication tools, we have to consider designing for non-instrumental goals, beyond task completion. This has been picked up by human-computer interaction researchers in the so-called third wave of HCI. We suggest that learning technologies could use some of the results from the third wave of HCI, placing body and emotion more centrally into the communication and construction of knowledge. Designing for bodily interaction, emotional communication or aesthetics is not trivial. In design work, a designer can only set the stage for certain experience to happen, but in the end, it is the user who co-constructs the experience with or through the interaction. Based on our experiences of designing for bodily and emotional communication, we will posit three postulates that might be helpful in designing for involving interaction: leaving ‘surfaces’ open for users to appropriate, building for users to recognise themselves socially, emotional or bodily through the interface, and avoiding reductionism.

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Abstract: A research agenda for bodily persuasion through a design approach we name affective loops is outlined. Affective loop experiences draw upon physical, emotional interactions between user and system.

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Abstract: Digital products that attempt to set the scene for emotional experiences, bodily interactions, persuasive processes, aesthetic experiences and other experiential qualities, are gaining grounds both in the commercial world and in the so-called “third-wave of HCI”-movement within academia. While a typical HCI-goals used to be ease of use or learnability, we now discuss design qualities such as suppleness, game play, embodiment, reflection, affective loops or pliability. In this talk, I will discuss these new design qualities and the kinds of challenges we meet when designing for physical, emotional, and bodily involvement. I will examplify with systems that we have built (or are building) in my lab, such as eMoto, mobile emotional messaging using gesture, Affective Diary, a way to remember your bodily and social experiences, and Affective Health, a mobile service empowering users to deal with stress.

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Abstract: We propose that an interactional perspective on how emotion is constructed, shared and experienced, maybe a good basis for designing affective interactional systems that do not infringe on privacy or autonomy, but instead empowers users. An interactional design perspective may make use of design elements such as open-ended, ambiguous, yet familiar, interaction surfaces that users may use as a basis to make sense of their own emotions and their communication with one-another. With such tools, users are provided with power over their own data and the interpretation of it – providing for privacy and autonomy. We describe the interactional view on design for emotional communication, and provide a set of orienting design concepts and methods for design and evaluation that help translate the interactional view into viable applications. From an embodied interaction theory perspective, we argue for a non-dualistic, non- reductionist perspective on affective interaction design.

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Abstract: We introduce bootlegging, a structured brainstorming technique particularly suited to multidisciplinary settings. Participants first generate ideas in 2 rough groups, one having to do with users and usage situations and the other pertaining to a specific technology or domain. Results are then randomly combined to form unexpected juxtapositions. These combinations are used as the basis for several quick application brainstorms, after which promising ideas can be fleshed out to complete scenarios. Bootlegging stimulates participants’ creativity without abandoning the target domain, and can be run efficiently even without a skilled facilitator. The technique has been successfully used in several thematic workshops.

Abstract: Abstract absent

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Abstract: GlowBots are small tangible, communicating and interactive robots that show eye-catching visual patterns on a round LED display. This paper details the development of the GlowBots from the early user-oriented design phase, through hardware and software development and onto preliminary user studies. In the design phase we outlined a robot application based on a study of how owners relate with unusual pets, such as snakes and lizards. This led to an application concept of a set of ”hobby robots” which would communicate with each other and the user through dynamic patterns. Based on these requirements, we developed a LED display called see-Puck, which together with an open robot platform was used for the GlowBots application itself. One particular issue is dealing with energy consumption problems, as resources in embedded systems often limit the potential time for user interaction. We conclude with a report on early user experiences from demonstrating GlowBots and a preliminary user study in a home environment as well as remarks about future directions.

Abstract: A user study, with ten participants and three prototypes built on 3D-accelerometers in mobile phones was executed with Think Aloud method, Brainstorming sessions, and DV documentation. McCarthy & Wright´s ‘Four Threads of Experience’ was used as a framework for analysis of the material. The methods were very well suited for the purpose of the project, and the results of the study is encouraging in further design and development of mobile services with new interaction styles.

Abstract: Coming soon

Abstract: To be added

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Abstract: The design of online collaborative computer games and pervasive games can learn from the everyday practice of deer hunting. We present an ethnographic study revealing how hunters fine-tune their experience through temporal and spatial organization. The hunt is organized in a way that allows the hunters to balance between forms of collaboration ranging from solitude to face-to-face interaction, as well as between attentiveness and relaxation. Thus, the hunters deal with the task – hunting down the prey – while managing issues of enjoyment. We argue that understanding these experiential qualities is relevant for collaborative gaming, and adds to our understanding of leisure.

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Abstract: Recently, there has been an increase in studies focusing on naturally occurring mobile activities. In this paper, we add to this growing body of work, by presenting a study of a highly mobile activity - deer hunting. Deer hunting is a collaborative activity with a number of different roles such as marksmen and dog handlers, collaborating to make the hunt efficient but also fun. A hunting radio is an important tool in this activity, as well as the dogs, which are lead through the specified terrain, searching for animals and driving the prey towards the marksmen. We focus on a number of issues of relevance for mobility, space and talk. First, we look at how the radio is used to make sense of the ongoing activity. For the marksman, the hunt often consists of long periods of isolation; looking and listening, many times without seeing or hearing an animal. The radio creates an awareness of the ongoing hunt, when hearing the dog handlers discuss what they have seen and heard. It is also used to prepare or warn hunters that a deer might be coming their way. Second, we analyze how sounds in the local environment are oriented to by the hunters. They skillfully describe their sound environment and qualify the audio observations to each other. Third, we discuss the potential relevance of absence of sound. The hunters need to interpret what the absence of a barking dog means – is the dog following a lead, is it too far away to be heard, or does this particular dog not bark when following the trace of a deer? The paper is based on ethnographic fieldwork of three hunting days, and the data consists of recorded radio talk, videos of marksmen and dog handlers, as well as photos of all these activities.

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Abstract: This thesis goes beyond a user-centred design approach to explore potential future applications and modes of interaction. With several design cases, we investigate how early technology ideas can be matched with a specific practice to inspire novel design. This involves learning about existing experiences, interests and activities that can be relevant for a potential application, but which are not necessarily found among the intended users. Starting with early technology ideas and then finding a suitable practice to learn from is an alternative perspective of design activities. This can be useful for researchers and designers in Human Computer Interaction (HCI) who are interested in complementing approaches compared to user-centred design. Our approach is also relevant for researchers that face technology-driven starting points, and want to investigate future applications by grounding the design in existing practices. A set of design cases show how the overall research goes from a usability-oriented perspective towards a more experience-oriented one, in order to accommodate technology-driven design situations. The design cases have involved different technical starting points, including information display technologies, surface-based networking, digital photography, and robot technology for everyday settings. The overall design process evolves towards matching the technology with a practice, and to investigate applications by developing one or more research prototypes. This has resulted knowledge of novel applications and interaction for the technology in question, as well as knowledge on how to employ empirical data to inspire novel design. Finally, we provide an overall reflection of the research process and show how a design approach that goes “beyond users” can benefit the design process.

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Abstract: Designing tangible systems that mediate physical, emotional closeness between friends in a group is difficult and has so far been neglected in HCI research. A first step in designing such systems is to understand what emotional closeness entails for different relationships we are involved in. The thesis work at hand approaches the problem in an exploratory way by deploying a technology probe that was used in two groups of friends at work. We are providing results from a qualitative study including cultural probe material to open up the dialogue between designers and participants. In the semi-structured interviews that were conducted after a two weeks’ period of using the probe, we were able to discuss experiences about selfexpression, social interaction and emotional processes with the participants. We learned how important it is to offer users a range of ways to express themselves in their own personal way engaging body and mind. Furthermore we found qualities that are important to look at in the process of designing for emotional closeness in groups of friends. Such qualities were Richer Expressivity and Personality, Collaboration, History, Social Positioning as well as Aesthetics and Engagement of Non-users.

Abstract: Will be added shortly

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Abstract: Students are not always sitting at their desk but are also out in the world. In a university course teaching ethnography and design students were out in the field making observations and collecting data. We gave them access to a wiki, which they used to upload field notes and material as a support for collaboration. In this paper we present three tools we built and deployed to aid the students when in field and when collaborating. The first is a mobile tool used to gather data: a program running on the students’ mobile phones let them take photos, record video and audio, and write simple text notes, which are automatically uploaded to the wiki. The second is an awareness tool that enables the students to quickly see what the others have done in the wiki. The third is a novel browser for the uploaded data, which relates objects by both time and location. We also talk about the experience from having students using the tools live during the course.

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Abstract: This paper presents Columbus – a mobile application for physically exploring the world of geo-tagged photos. Using GPS, users must go to a photo’s physical location to discover it. This allows individuals and groups to explore the world around them and make the discovering of geo-tagged photos a fun and exciting endeavor.

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Abstract: Today’s fast-paced modern life motivates a need for tools and devices that support people in dealing with stress by helping them to control their daily behaviors. There is a variety of emerging applications that track physiological data from the body associated with stress over periods of time by using biosensors. However, most of them remain purely monitoring devices made to diagnose or warn users when they become stressed. We are projecting Affective Health, a mobile system designed to enable users to make a connection between the data from their body and their own subjective memories and experience, over the course of daily activities. To facilitate this connection, we propose a representation of the physiological data mapped on three common sense concepts: physical activity, arousal and adaptability. While the first two were previously tested in a similar system developed by the research group, adaptability, which represents the ability of the body to cope and recover from stress, had yet to be mapped to consistent physiological input in order to have meaning both in terms of its relation to stress and to end-users. The intended continuous usage of the system poses challenges in how the physiological data from the body is to be collected. There is a wide range of physiological sensors varying in detection accuracy and degree of discomfort that people are willing to stand. Novel wearable sensor technologies minimize the discomfort by compromising the validity of the measured data. This thesis contributes an exploratory review of sensors and characteristics of physiological data suited to be measured during the course of everyday life. It is also shown as a proof-of-concept that both arousal and physical activity can be measured consistently in such unconstrained setting but adaptability can only be estimated by assessing sleep quality. Besides supporting sensor input in Affective Health, these results provide insights and best practices when sensing signals from the body in real-time.

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Abstract: Affective Diary is a digital diary that makes use of bio-sensors to add some reminiscence of bodily experiences. The design process behind Affective Diary aimed was ‘sensitive’ to three design qualities extracted from a previous project; providing cues of emotional expressivity building on familiarity, making the design open for personal expressivity and be aware of contradictions between modalities. Through the design process of Affective Diary, with frequent user involvements during the process, these design qualities became further tested, developed and refined. By providing a fairly detailed and reflected description of the design process behind Affective Diary, we aim to provide other designers with inspiration on several levels: both in terms of methods used, but also in why these three design qualities are important and how to realize them. Our aim is also to provide designers with knowledge in the form that makes sense to designers: the practical link between design qualities and final results.

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Abstract: Projektet som den här rapporten sammanfattar har bedrivits på heltid under 20 veckor hösten/vintern 2007. Min huvudsakliga utgångspunkt är att många barn behöver vistas mer i naturen än vad de gör idag för att må bra på alla plan. Min uppgift har sedan varit att ta fram ett koncept som introducerar naturen för de barn som idag inte ser den som en självklar lekplats. Min målsättning är att leverera ett koncept som kan få barn att ersätta stillasittande lekmed aktiva upptäckter utomhus. Den virtuella verkligheten är lättillgänglig och uppslukande, och jag har utvecklat ett digitalt spel som blandar virtuella och verkliga upplevelser. Spelet är tänkt som ett medium mellan de två världar som barn idag lever i. Spelet ges ytterligare dimensioner av att spelplanen existerar fysiskt. Eftersom fl era sinnen samtidigt måste användas förstärks spelupplevelsen samtidigt som det är nyttigt för barnen att träna sina sinnen. Genom intervjuer och enkäter har jag utvecklat och formgivit ett spel och en spelmobil som används tillsammans. Det här konceptet kallar jag för KIM. KIM står för Kids In Matrix, och som namnet antyder är det både den virtuella- och fysiska verkligheten det handlar om.

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Abstract: days and offer unique experiences to the players. However, development of such games typically still requires expert knowledge and access to Mixed Reality toolkits or frameworks. In this paper, we present the so-called Magic Lens Box that follows a different approach. Based on standard hardware The Magic Lens Box enables game designers with little technological background to create their own Mixed Reality games in a simple yet powerful fashion. We further outline the development process of the magic Lens Box, describe the conceptual model behind it and discuss three games that have been developed with our system. Evaluation of these games shows the viability of our approach, enabling the creation of a variety of rather different Mixed reality games while keeping the development process simple.

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Abstract: In this thesis, we investigate a model for interactive story telling based on which stories are generated randomly. We discuss whether it is fun to read a story in random order and whether this can be used in a pervasive game. Moreover, in order to prove the theoretical discussions, we present a new game - Shards – which is a pervasive game based on random storytelling. Storytelling is a very traditional activity, as are games. Sometimes people connect the two together, making storytelling into a playful activity. Examples of playful storytelling include many formats, such as random writing or multi-author storytelling, interactive storytelling and adventure games. In this thesis, we discuss the playful possibilities offered by reading stories in random order, the different kinds of stories that fit this reading mode, the possible forms to play with it, and finally present an authoring tool for such stories. To illustrate this idea, we present a new game, Shards. Literally, “Shards” means pieces or fragments. Here, the name refers to the pieces of stories we play with. In this game, the player tries to complete one story line. Every time he or she comes close to another participant, a new shard can be retrieved, until the story is finished or the player stops playing the game. ‘Shards’ requires stories that are written to be read in random order. The first part of the thesis investigates which kinds of stories are best suited for shards. From a brainstorming session, we obtained four stories in the form of Shards. The four stories are very different and offer different reading experiences when read randomly. Based on the initial idea of this game, one story was chosen as a model story to develop the game and the authoring system for the game. One conclusion we can draw from the brainstorming session is that certain story themes are better suited for this game than others. For example, crime stories would fit well with the game structure. The second part of the thesis describes two authoring tools that support story writers in generating stories for shards. The tools were implemented using Ruby for basic reading tools and TCL/TK for more advanced functionality. Both are web-based tools and were used by the author to maintain the story database. The basic tools allow for CRED (create, read, edit, delete, a standard of database operation), and the more advanced tools allow for VADE (view, add, delete, edit, a standard) with “read” but without “delete” and “edit”. The basic tool, using Ruby, is intended for backend service management, and the more advanced tool, using TCL/TK, draws a graphic interface for the end user. The final part of the thesis describes a brief user evaluation of the game and evaluates the authoring tools. Four people participated in this evaluation. They found that Shards was a fun game with a well-designed story. This shows that it is possible to create a game out of random story reading, and also that the authoring tool is usable as a tool to create such stories.

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Abstract: In modern societies the activity of driving has become almost an essential routine. Vehicles are considered by many as indispensable tools for accomplishing their daily tasks and they are the main form of transportation for millions of people. The average driver spends, voluntarily, considerable amounts of time on the road, using their vehicle to transport himself even for small distances and knowing that its use presents him with some form of comfort and convenience; yet, drivers frequently regard their road experience as tiring and fastidious, but their persistence in using their vehicle at every opportunity serves as proof of a pleasurable experience. So far car manufacturers, traffic authorities and designers of technology have been mainly concerned with aspects of the road that ensure drivers safety, increase power engine, provide more comfort, and maintain better streets, etc; however, the actual feelings of the driver as he travels through the streets has not yet been taken into a great account by the developers of the road environment. For this reason this thesis tries to create awareness on the existence and constant presence of people’s emotions as they drive, which have the mutual power to influence their action on the road and their driving patterns. In order to capture a drivers’ emotional experience this study uses three main methods. One of them is Cultural Probes, consisting of common objects specifically Postcards, Pictures, and Web-logs, to measure unknown factors about the users. The second is the use of Ethnographic studies on the driving activities through the use of observations, the popular talk-aloud-protocol and the shadow method. Finally, the Experience Sampling Method is used, which tries to captures the experience of an individual as it unfolds in its natural context. With the combined used of these three methods some of the main factors of the road’s environment that are commonly able to influence the driver’s emotions in negative or positive ways were discovered, which include the intensity and type of light, the different types and sources of sound, the perceivable landscapes and surrounding architectures and the different kinds of continuously occurring interactions. These are just some of the many factors that can influence emotions on the road, and hopefully this study will open the curiosity for a deeper study of these and other aspects of the emotional driving experience.

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Abstract: While ethnography is an established part of CSCW research, teaching and learning ethnography presents unique and distinct challenges. This paper discusses a study of fieldwork and analysis amongst a group of students learning ethnography as part of a CSCW & design course. Studying the students’ practices we explore fieldwork as a learning experience, both learning about fieldsites as well as learning the practices of ethnography. During their fieldwork and analysis the students used a wiki to collaborate, sharing their field and analytic notes. From this we draw lessons for how ethnography can be taught as a collaborative analytic process and discuss extensions to the wiki to better support its use for collaborating around fieldnotes. In closing we reflect upon the role of learning ethnography as a practical hands on – rather than theoretical – pursuit.

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Abstract: New mobile phones come with basic video editing facilities. Given a constantly evolving technology, it is possible to envision new mobile devices with more elaborated video editing applications. We suggest that mobile video editing could be informed by collaborative professional TV-production functionalities. It would then allow functionalities supporting collaborative recording of various camera angles and real time editing. It would enable production of content covering distributed events and situations, and almost synchronous production and consumption.

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Abstract: Mobile phone use in cars is a highly debated issue. Legislation and policy discussions flourish in many countries and coincide with an increased effort in design of new in-car technologies. The studies which influence policy and design decisions use experimental approaches and are based on a cognitive perspective. In this paper, we discuss why this is a problematic approach. Further, we provide data and initial results from an ethnographic study of mobile phone use in traffic, where the aim is to investigate the ‘interactional adaptation’ by which the driver fit the involvement with the phone with driving and vice versa. By taking part of drivers’ daily work, and video recording their activities of driving and handling the mobile phone, we are able to reveal details which we believe could not be found in experimental studies with a constructed setup. We end with a discussion of the benefits of this method and how it can be developed further.

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Abstract: This master thesis in industrial design is a research- and innovation-project in the vast area of the interaction design of mediated communication. This thesis describe mobile-phone services and applications that enable users to “stumble into” friends, despite being apart physically. Four concept-categories for social serendipitous mobilephone experiences were developed.

Abstract: absent

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Abstract: Mobile technology has turned the traditionally collective activity of enjoying music into an often private one. New technologies such as wireless ad hoc networks have the potential to re-connect listeners who are now separated by headphones. We report on a field study of Push!Music, a novel mobile music sharing system. Push!Music allows both manual and automatic sharing of music between users through ad hoc wireless networking, and also provides a social awareness of other users nearby. The system was used by 13 subjects for three weeks. In post-study interviews, we identified four categories of results: social awareness, sharing music with friends, sharing music with strangers, and sharing automatically. Based on this, we present implications for design that can be applied not only to mobile music sharing systems, but to mobile media sharing in general: Allow division into active and passive use; enhance the awareness of who, where and when; support reciprocity; and finally, support identity and impression management.

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Abstract: Push!Music is a novel mobile music listening and sharing system, where users automatically receive songs that have autonomously recommended themselves from nearby players depending on similar listening behaviour and music history. Push!Music also enables users to wirelessly send songs between each other as personal recommendations. We conducted a two-week preliminary user study of Push!Music, where a group of five friends used the application in their everyday life. We learned for example that the shared music in Push!Music became a start for social interaction and that received songs in general were highly appreciated and could be looked upon as ‘treats’.

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Abstract: By now no one can have failed to notice the latest hype: Web 2.0. Everybody is on Flickr and MySpace, blogging away and running their lives through Google’s map and calendar services. According to Web 2.0 stalwart Wikipedia, the term refers to “a supposed second generation of Internet-based services such as social-networking sites, wikis, communication tools, and folksonomies that let people collaborate and share information online in previously unavailable ways.” It also implies accessing services through a unified, distributed interface i. e., Web browsers. In fact, what the user sees often looks just like a stand-alone application, except that it runs in a browser window.

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Abstract: The telecom and IT industry is now facing the challenge of a second IT-revolution, where the spread of mobile and ubiquitous services will have an even more profound effect on commercial and social life than the recent Internet revolution. Users will expect services that are unique and fully adapted for the mobile setting, which means that the roles of the operators will change, new business models will be required, and new methods for developing and marketing services have to be found. Most of all, we need technology and services that put people at core. The industry must prepare to design services for a sustainable web of work, leisure and ubiquitous technology we can call the mobile life. In this paper, we describe the main components of a research agenda for mobile services, which is carried out at the Mobile Life Center at Stockholm University. This research program takes a sustainable approach to research and development of mobile and ubiquitous services, by combining a strong theoretical foundation (embodied interaction), a welldefined methodology (user-centered design) and an important domain with large societal importance and commercial potential (mobile life). Eventually the center will create an experimental mobile services ecosystem, which will serve as an open arena where partners from academia and industry can develop our vision an abundant future marketplace for future mobile services.

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Abstract: Editorial.

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Abstract: In this paper we describe the development and testing of a tool for self-assessment of affect while interacting with computer systems, meant to be used in many cultures. We discuss our research approach within the context of existing cultural, affective and HCI theory, and describe testing of its effectiveness in the US and Sweden.

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Abstract: GlowBots are small wheeled robots that develop complex relationships between each other and with their owner. They develop attractive patterns which are affected both by user interaction and communication between the robots. The project shows how robots can interact with humans in subtle and sustainable ways for entertainment and enjoyment.

Abstract: Coming soon

Abstract: Coming soon

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Abstract: Using what researchers call backseat games the kids could be occupied while traveling in a car and not bother parents with nag like “Are we there yet”. These kinds of games transform boring trips into exciting adventures by combining and connecting real world and computer generated data. One of these backseat games is a research prototype called Backseat Playground (BSP). This prototype is based on narrative stories which evolve through interaction with the surrounding environment. By using a customized gaming device for acquiring position of where the player is located and direction that the player is pointing the device kids are able to interact with the surroundings of the car. In the current BSP prototype the player can only pinpoint objects that are defined by BSP itself while traveling through a variety of surrounding environments. In this thesis project it is investigated if there is a possibility to make the pinpointing more realistic. Realistic in the way that the algorithm senses if the player has started to pinpoint an interesting object and further on it also pinpoints that object’s location. This new generation of pinpointing is called Open-Set REalistic Pinpointing (OSREP) since it extends a closed set of objects into the amount of objects that the player(s) would like to put into the world of the BSP. Furthermore this opens up for the possibility for users to create their own content at that location. The purpose of this thesis project is to create algorithms that serves as proofs of concept showing that it is possible to carry out the necessary calculations needed to produce the results wanted for the BSP game prototype. Therefore there are some extensive investigations and examinations made as to how a player would be pinpointing objects and also how the sensing of players sight can be calculated. These examinations were in fact test runs made by myself in the same environment that the BSP prototype is tested. To be able to conduct such test runs a simplistic data acquirement tool was created. The investigations carried out was done by first study the relevant publications made in the area of mobile AR games and also study the publications made regarding the BSP prototype. Consecutively there were some studies made in the areas of mathematical statistics, geometry and probability to show the theories behind the OSREP algorithm. One objective during development of the OSREP algorithm was that they should be easy to integrate into the BSP prototype. This was accomplished through a thoroughly investigation of the current version of the code written for the BSP prototype. Although some modifications regarding the handling of direction data has been made and also regarding the conversions of positional data. A reason for this was to be able to create the OSREP algorithms as a standalone process so that there would not be a need for running the actual BSP game or its simulator. Another objective was to visualize the OSREP performance in the real world. Although this has not been completely finished there are results presented in this thesis in a more primitive way than wished for. The reason for not completing such a visualization application is that the time constraint put on this kind of thesis project is too narrow. But at least a foundation has been made and could certainly be continued by another master student. Although some setbacks have been experienced regarding the way the OSREP algorithms was visualized the algorithms seem to work in both in theory and on the acquired sensor data. The primitive visualization made only serves as proof-of-concept and could be used as an aid for making sure further efforts of integration of the OSREP algorithms into BSP is worth the cost in effort and time. The major result of the OSREP algorithm was that it shows a sufficiently accurate location of the pinpointed object. A very nice feature of the algorithm is that it does not need any external triggering to make the distinction as to when the player has started to aim. It could rather be used continuously to examine the recorded data to calculate the location of pinpointed objects.

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Abstract: Under högskoleingenjörsutbildningen, Mekatronik & Industriell IT på institutionen för tillämpad IT på Kungliga Tekniska Högskolan ,KTH, i Stockholm, ingick det att utföra ett examensarbete på 10 högskolepoäng. Examensarbete bedrives i grupp om två personer och utfördes gentemot ett företag. I detta fall utfördes det åt Mobility studion på Interactive Institute i Kista. Interactive Institute är ett experimentellt IT-forskningsinstitut som utmanar traditionella perspektiv och tankesätt genom att kombinera konst, design och teknologi i forskningsprojekt. Genom att integrera och utforska dessa tre områden bidrar institutet till innovation, kreativitet och hållbar utveckling. Mobility studio utför forskning om framtidens mobila applikationer. Interactive Institute ingår i SICS-gruppen som tillhör koncernen Swedish ICT Research AB. Swedish ICT Research bidrar med sin forskning till ökad innovationskraft och tillväxt i näringsliv och samhälle. Examensarbetet är en del av projektet Backseat Playground, BSP, vilket är ett interaktivt handhållet spel. Spelet syftar till att sysselsätta barn under bilturer. BSP är ett innovativt spel där användaren riktar enheten (se ) mot geografiska objekt i omgivningen. För att detektera vad användaren riktar enheten mot kombineras riktningsdata från vinkelavkänning med data från GPS och geografisk kartinformation. Medans användaren färdas längs vägen förvandlas kyrkor, broar andra objekt till en fiktiv värld fylld av brott, virtuella karaktärer och gömda ledtrådar. Syftet med examensarbetet är att utveckla en modul som skapar en kraft som får enheten att vridas mot bestämda objekt i omgivningen. Kraftåterkoppling skall kunna integreras med den befintliga enheten. Kraften skall kunna variera i styrka och riktning med en hög uppdateringsfrekvens.

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Abstract: This paper reports on how we learned from an alternative practice in order to design engaging interactive technology intended for a more general user group. When investigating new types of digital photography we designed context photography, where real-time context data visually affects digital pictures as they are taken. To understand how to design for a meaningful photographic experience, we took inspiration from an amateur practice involving a particular type of analogue camera – Lomography. This paper shows how such alternative or marginal practices can help to ground design of interactive technology in existing human interests, while at the same time leading to a novel design outcome.

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Abstract: Transfer scenarios is a method developed to support the design of innovative interactive technology. Such a method should help the designer to come up with inventive ideas, and at the same time provide grounding in real human needs. In transfer scenarios, we use marginal practices to encourage a changed mindset throughout the design process. A marginal practice consists of individuals who share an activity that they find meaningful. We regard these individuals not as end-users, but as valuable input in the design process. We applied this method when designing novel applications for autonomous embodied agents, e.g. robots. Owners of unusual pets, such as snakes and spiders, were interviewed - not with the intention to design robot pets, but to determine underlying needs and interests of their practice. The results were then used to design a set of applications for more general users, including a dynamic living-room wall and a set of communicating hobby robots.

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Abstract: Ubicomp technology faces many technical challenges, which makes it difficult to test in real world situations. However, understanding and building for everyday practices is crucial for ubicomp designers, in order to push the technological development in the directions needed. We have developed and tested a ubiquitous computing prototype supporting collaborative scheduling. It is based on Pin&Play, a surface-based networking technology with interactive pushpins. The team of a local film festival was engaged in the development process, which resulted in a partial implementation illustrating how their current work practice could be supported. Drawing on this particular design case, we report findings and discuss challenges for ubicomp technology in general.

Abstract: Coming soon

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Abstract: We have designed and built a mobile emotional messaging system named eMoto. With it, users can compose messages through using emotion-signalling gestures as input, rendering a message background of colours, shapes and animations expressing the emotional content. The design intent behind eMoto was that it should be engaging physically, intellectually and socially, and allow users to express themselves emotionally in all those dimensions, involving them in an affective loop experience. In here, we describe the user-centred design process that lead to the eMoto system, but focus mainly on the final study where we let five friends use eMoto for two weeks. The study method, which we name in situ informants, helped us enter and explore the subjective and distributed experiences of use, as well as how emotional communication unfolds in everyday practice when channelled through a system like eMoto. The in situ informants are on the one hand users of eMoto, but also spectators, that are close friends who observe and document user behaviour. Design conclusions include the need to support the sometimes fragile communication rhythm that friendships require—expressing memories of the past, sharing the present and planning for the future. We saw that emotions are not singular state that exist within one person alone, but permeates the total situation, changing and drifting as a process between the two friends communicating. We also gained insights into the under-estimated but still important physical, sensual aspects of emotional communication. Experiences of the in situ informants method pointed to the need to involve participants in the interpretation of the data obtained, as well as establishing a closer connection with the spectators.

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Abstract: Denna rapport handlar om hur användaren etablerar en relation till en applikation samt sin omgivning i s.k. pervasivespel och hur detta stödjer användargenererat innehåll. I rapporten tas det upp hur man sätter sig in i ett spel och hur man kan uppmuntra spelaren till att etablera en önskvärd relation till spelet. Det hela ses ur perspektiv av rumslighet så som det är beskrivet i Paul Dourishs text från 1996 där han presenterar begreppen rymd och plats. Analyser baseras på tester utförda på ett pervasivespel som utvecklas vid Interaktiva Institutet. Detta spel kallas i rapporten för Backseat Playground. Förutom dessa analyser har även designförslag tagits fram för hur man ska kunna förbättra spelarens förmåga att uppnå en önskad relation till rummet samt få en bättre spelupplevelse. De frågor som ställs är: - Hur påverkar rummet/miljön spelarens vilja att bidra med innehåll i detta pervasivespel? - Hur kan man ta hänsyn eller utnyttja detta i spelet? - Hur kan Backseat Playground komma att stödja användargenererat innehåll? Resultaten pekar på att spelaren måste skaffa sig en särskild relation till miljön där spelet utspelar sig innan spelaren kan tänka sig att bidra med innehåll.

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Abstract: Generating content into vast areas is a relevant challenge in the field of location-based pervasive games. In this paper, we present a game proto-type that enables children travelling in the back seat of a car to enjoy a narrated experience where gameplay combines with the experience of trav-eling through the road network. The prototype is designed to provide what we refer to as a believ-able environment. We propose four design char-acteristics to persuasively include a journey within a pervasive game. First, the story should refer to geographical objects with their everyday meanings. Second, the game’s scale needs to cover vast areas. Third, the application should provide sequential storytelling to make it fit with the journey experience, and finally it should pro-vide interaction support where players can en-gage in gameplay and interact with the computer in various ways at the same time as they are looking out of the car window. We describe how these requirements have been implemented in the prototype and present an initial performance test.

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