Designing Interactions with Shared Systems

Total Page:16

File Type:pdf, Size:1020Kb

Designing Interactions with Shared Systems Designing interactions with shared systems Citation for published version (APA): Niemantsverdriet, K. (2018). Designing interactions with shared systems. Technische Universiteit Eindhoven. Document status and date: Published: 13/09/2018 Document Version: Publisher’s PDF, also known as Version of Record (includes final page, issue and volume numbers) Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. If the publication is distributed under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license above, please follow below link for the End User Agreement: www.tue.nl/taverne Take down policy If you believe that this document breaches copyright please contact us at: [email protected] providing details and we will investigate your claim. Download date: 05. Oct. 2021 DESIGNING INTERACTIONS WITH SHARED SYSTEMS KARIN NIEMANTSVERDRIET DESIGNING INTERACTIONS WITH SHARED SYSTEMS Doctoral Dissertation by Karin Niemantsverdriet A catalogue record is available from the Eindhoven University of Technology Library ISBN: 978-90-386-4552-0 Cover Illustration by Eleni Debo © Karin Niemantsverdriet, 2018 All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods without permission of the author. DESIGNING INTERACTIONS WITH SHARED SYSTEMS PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Technische Universiteit Eindhoven, op gezag van de rector magnificus prof.dr.ir. F.P.T. Baaijens, voor een commissie aangewezen door het College voor Promoties, in het openbaar te verdedigen op donderdag 13 september 2018 om 11:00 uur door Karin Niemantsverdriet geboren te Nuenen Dit proefschrift is goedgekeurd door de promotoren en de samenstelling van de promotiecommissie is als volgt: voorzitter: prof.dr. L. Chen 1e promotor: prof.dr.ir. J.H. Eggen copromotor: dr.ir. H.A. van Essen leden: prof.dr. L. Ciolfi (Sheffield Hallam University) prof.dr.ir. Y.A.W. de Kort prof.dr. P. Markopoulos adviseur: T.D. Erickson, MA (IBM Research) Het onderzoek of ontwerp dat in dit proefschrift wordt beschreven is uitgevoerd in overeenstemming met de TU/e Gedragscode Wetenschapsbeoefening. TABLE OF CONTENTS Chapter 1: INTRODUCTION 11 1.1 About Systems that are Shared in Use 13 1.2 About this Research 20 Chapter 2: Scoping EXPLORING INTERACTIONS WITH SHARED LIGHTING SYSTEMS 27 2.1 Introducing this Chapter 29 2.2 Background: Preferences and Conflict 30 2.3 Study 1: Decision-making in Individual Interactions 36 2.4 Study 2: Causes of Lighting Conflict in Single-room Apartments 50 2.5 Study 3: Conflict Resolution Strategies in Family Living Rooms 58 2.6 Refining our Scope: Preference and Conflict in Shared Lighting Use 68 2.7 Concluding this Chapter 74 Chapter 3: Exploration DESIGNING FOR AWARENESS 77 3.1 Introducing this Chapter 79 3.2 Background: Awareness 80 3.3 Exploring How to Design for Awareness 87 3.4 Designing Three Comparable Interfaces for Shared Lighting Use 100 3.5 Concluding this Chapter 110 Chapter 4: Evaluation INVESTIGATING SHARED LIGHTING USE 113 4.1 Introducing this Chapter 115 4.2 Methodology 117 4.3 Analysis 1: Considerations and Awareness in Interactions 126 4.4 Analysis 2: Use and Appraisal of Social Information 137 4.5 Analysis 3: Interaction Style and Coordination of Shared Use 143 4.6 Concluding this Chapter 153 Chapter 5: Formalization SUPPORTING INTERACTION DESIGN FOR SHARED USE 157 5.1 Introducing this Chapter 159 5.2 The Exploration-Action Model 161 5.3 The DASS Framework 172 5.4 Concluding this Chapter 185 Chapter 6: CONCLUSIONS 189 6.1 Introducing this Chapter 191 6.2 Concluding the Research 192 6.3 Recommendations for Future Work 202 References 207 APPENDICES 227 Appendix A: Materials of Study 1 (Section 2.3) 229 Appendix B: Materials of Study 2 (Section 2.4) 230 Appendix C: Materials of Study 3 (Section 2.5) 235 Appendix D: Materials of Study 4 (Chapter 4) 239 Curriculum Vitae 253 Publications by Karin Niemantsverdriet 254 Acknowledgements 256 Summary 258 INTRODUCTION 1.1 ABOUT SYSTEMS THAT ARE SHARED IN USE “Exclusive, private use of possessions appears in the literature as the normal, default mode of material relationships, such that ‘sharing’ appears to be relatively rare or innovative, or perhaps revolutionary. I say ‘appears’ because in reality […] Sharing resources has always been the norm, and exclusive use of resources has always been relatively rare. In my own life, unshared possessions include my eyeglasses, watch, toiletries, underwear, shoes, e-mail accounts, and some bank accounts. But my major possessions such as house, car, money, furniture, appliances, tools, computers, sports equipment, books, most clothes, and art are all shared, as are the atmosphere, roads, parks, and other public properties that I use.” – Floyd Rudmin (2016:199). Most daily environments are shared. A family living room, a student kitchen, the open- plan office and virtually every (semi-) public space – albeit temporarily, we co-inhabit most environments with other people. Moreover, most of the objects and systems within those environments are shared as well. This sharing has an important social function. Next to its more utilitarian benefits of more economic use of resources, sharing is a communal act that connects humans to other people. It goes hand in hand with feelings of solidarity, caring, trust, and bonding (Belk 2010; Rudmin 2016). In fact, the notion of “feeling at home” might be constituted by “certain taken-for granted sharing privileges.” (Belk 2010:724). Perhaps because of its ubiquity, sharing is often overlooked and taken for granted: “the majority of daily sharing of food, money, and possessions goes unnoticed and is invisible to most people for whom it is routine.” (Belk 2010:717). This overlooking extends to literature: the reluctance to study sharing that Rudmin expresses has been recognized in sociological, economic, and consumer research (Belk 2010; Rudmin 2016), as well as in our own field of human-computer interaction (Gruning and Lindley 2016). As a result, many of the objects that are shared in use, have been designed with the individual user in mind. Not taking systems that are shared as part of their primary functionality into consideration – such as collaboration software, communication systems, systems that aim to increase social connectedness between people, social networks, competitive or collaborative games – most other everyday systems seem to be designed for personal use. We expect that it can be beneficial to design interactions more explicitly for shared use, for several reasons. Firstly, systems that are designed for shared use might make ubiquitous sharing more visible and perhaps more appreciated. Secondly, it is likely that interactions that are designed for the individual user do not optimally support people in sharing, since “technology necessarily influences styles of cooperation, by making some things easier and other things harder to do, or by changing or reinforcing power relationships and patterns of interaction between collaborators.” (Easterbrook et al. 1993:2). Thirdly, sharing constrains use (Belk 2010; Gruning and Lindley INTRODUCTION 13 2016): people are responsible for keeping the shared objects in good shape and shared goods shouldn’t be damaged or overused, for example. These constraints in shared situations form a risk for the benefits of personalization that many interactive technologies promise. It seems that shared use needs to be considered in the design process to design interactions that match people’s everyday social lives. To use the words of Bernheim Brush and Kori Inkpen: “As we begin to think about the realities of using ubiquitous computing devices in a domestic environment, we are immediately confronted with questions about whether these devices should support sharing and personalization.” (2007:109–10). In this dissertation, we investigate how to design interactions with systems that are shared in use. In this chapter, we first define what we mean with ‘shared use’. We review research that demonstrates the influence of interaction design on sharing practices, and we introduce our application domain of shared lighting systems. We then explain the specifics aims of our research and we position our approach. This chapter is concluded with an outline. DEFINING SHARED USE OF INTERACTIVE SYSTEMS Let us first explain what we mean with systems that are shared in use. Rudmin defines sharing as “the simultaneous or sequential use of goods (e.g., cars, books, food, water), a space (e.g., living rooms, gardens, decades, websites), or intangibles (e.g., experiences, beliefs, identities, heredity) by more than one individual” (Rudmin 2016:198). In order to specify this definition for the‘simultaneous or sequential use of interactive systems’, we need to take a closer look at what ‘use’ of interactive technologies entails.
Recommended publications
  • Negotiating Musicianship Live Weider Ellefsen
    Ellefsen Weider Live Live Weider Ellefsen In this ethnographic case-study of a Norwegian upper secondary music musicianship Negotiating programme – “Musikklinja” – Live Weider Ellefsen addresses questions of Negotiating musicianship subjectivity, musical learning and discursive power in music educational practices. Applying a conceptual framework based on Foucault’s discourse The constitution of student subjectivities theory and Butler’s theory of (gender) performativity, she examines how the young people of Musikklinja achieve legitimate positions of music student- in and through discursive practices of hood in and through Musikklinja practices of musicianship, across a range of sites and activities. In the analyses, Ellefsen shows how musical learn- musicianship in “Musikklinja” ers are constituted as they learn, subjecting themselves to and perform- ing themselves along relations of power and knowledge that also work as means of self-understanding and discursive mastery. The study’s findings suggest that dedication, entrepreneurship, compe- tence, specialization and connoisseurship are prominent discourses at play in Musikklinja. It is by these discourses that the students are socially and institutionally identified and addressed as music students, and it is by understanding themselves in relation to these discourses that they come to be music student subjects. The findings also propose that a main charac- teristic in the constitution of music student subjectivity in Musikklinja is the appropriation of discourse, even where resistance can be noted. However, within the overall strategy of accepting and appropriating discourses of mu- sicianship, students subtly negotiate – adapt, shift, subvert – the available discourses in ways that enable and empower their discursive legitimacy. Musikklinja constitutes an important educational stepping stone to higher music education and to professional musicianship in Norway.
    [Show full text]
  • Parliamentary Debates (Hansard)
    Thursday Volume 569 31 October 2013 No. 67 HOUSE OF COMMONS OFFICIAL REPORT PARLIAMENTARY DEBATES (HANSARD) Thursday 31 October 2013 £5·00 © Parliamentary Copyright House of Commons 2013 This publication may be reproduced under the terms of the Open Parliament licence, which is published at www.parliament.uk/site-information/copyright/. 1053 31 OCTOBER 2013 1054 John Glen: I thank the Minister for that answer, but House of Commons what do I say to the local authority and residents in villages such as Pitton who believe they are in the percentage that will not qualify for the imminent roll-out Thursday 31 October 2013 through the BT deal? They want to be free to develop new community-based solutions with alternative providers, The House met at half-past Nine o’clock as they anticipate they will not get anything from BT for a long time. PRAYERS Mr Vaizey: I am happy to meet my hon. Friend to discuss any issues. The rural community broadband fund is designed to support community broadband [MR SPEAKER in the Chair] projects that the programme is not reaching. Chris Bryant (Rhondda) (Lab): This is not just an Oral Answers to Questions issue for rural areas. Semi-rural areas often fall between two stools. It is difficult for people to get broadband to their home, either because they are too far from the final mile or because the bung that has been given to CULTURE, MEDIA AND SPORT BT, to roll this out across the country and make it almost impossible for anybody else to compete, has made it difficult for other operators to get into areas The Secretary of State for Culture Olympics, Media such as the Rhondda.
    [Show full text]
  • Learning from the Jamaican Street Dance by Larisa K
    Decolonizing Copyright: Learning from the Jamaican Street Dance By Larisa K. Mann A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Jurisprudence and Social Policy in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kristin Luker, Chair Professor Calvin Morrill Professor Pamela Samuelson Professor Coye Cheshire Fall 2012 This dissertation is licensed under a Creative Commons – Attribution license (CC-BY 3.0) Larisa Mann 2012 Abstract Decolonizing Copyright: Learning from the Jamaican Street Dance By Larisa Kingston Mann Doctor of Philosophy in Jurisprudence and Social Policy University of California, Berkeley Professor Kristin Luker, Chair In this ethnographic study I examine the significance of music-making in Jamaican society in the light of the increasing interpenetration of law and technology with cultural practices. I center the local institution of the “street dance” as the heart of Jamaicans’ musical practices. Grounded in a historical analysis of musicking – the active practice of engaging with music – in Jamaica and in the Jamaican diaspora, this study reveals how Jamaica’s colonial past and present shapes musicking’s cultural, political and economic significance in Jamaican life. Most specifically, Jamaican music-makers’ collaborative and repetitive practices, that draw on and reinforce shared cultural history, contradict current local and international copyright law. Copyright law relies on historically and culturally specific
    [Show full text]
  • Organizing Music
    The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 5: Organizing Music §1 Evolution “Huh-ooohw,” hovers an unstable, low male voice, “huh-eeehw.” A sudden Mountain-Song-like movement lifts the melody to a high pitch: like a rubber band stretched and then released, the voice howls: “ee-oo.” It remains high, but the volume now wavers and decreases, into a nasal falsetto. “Ii- ih-i-i,” on the last bit of breath. Silence again, a loud sigh “whiiiy,” followed by high, barely audi- ble, “e-e-e” sounds. Low again: “whoo-oo-ee.” The melody now jumps back and forth between al- most painfully high and low registers, while simultaneously working the overtones through changes of the vowel. Silence, another sigh, followed by a glissando. The sixth phrase is relatively conven- tional – a few drawn-out high notes with only microtonal fluctuations, briefly interrupted by a sud- den dive into lower registers. Then the glockenspiel enters with a quiet tremolo. On Taoism 道极 (1985) begins with composer Tan Dun singing the germ cell of the composition. A bass clarinet and bass bassoon take turns developing the melodic line provided by the voice, render- ing the music almost monophonic: a single calligraphic-melodic line divided over the three solo in- struments employs a palette of tone-colors on a canvas of strings.1 The seven phrases of the open- ing, the seventh accompanied by the glockenspiel, also foreshadow the division of the thir- teen-minute composition into seven parts.
    [Show full text]