From `Social' Media to Collaborative Media: Cooperative Inquiry For
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From ‘Social’ Media to Collaborative Media: Cooperative Inquiry for Shoulder-to-Shoulder Youth Video Authorship Technologies A DOCTORAL THESIS SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Sarah MCROBERTS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Svetlana YAROSH April, 2020 c Sarah MCROBERTS 2020 ii Acknowledgements I would like to thank all of my collaborators, mentors, and broader support net- work. Special thanks to Irene Ye Yuan, Jasmine Jones, and the Harrison Ford Ex- perience: Stryker Thompson, Mikhaila Friske, Evan Sebranek, Chen Chen, Abi- gail Bilger. Gratitude and best wishes to my fellow creators from the "Snapchat Etc." class at Sanford Middle School. Thanks to the Sanford Middle School, especially Lily Thiboutot and Zackaria Antar for supporting this bold collabo- ration. Thanks to Maria Gini and my summer workshop participants. Last but not least, thanks to my advisor Lana Yarosh, my committee, and GroupLens Re- search. I’d also like to acknowledge funding from the GAANN PhD Fellowship, the Jacobs Foundation, and the Google PhD Fellowship. iii Dedicated to John Carlis. Here’s a joke I wrote for you: What’s the difference between a steak and a thesis? I can tell when a steak is done. iv Contents Acknowledgements ii 1 Introduction1 2 Related Work4 2.1 Mainstream Online Media and Youth................4 2.2 Youth Storytelling............................7 2.3 Participatory Design with Children..................8 2.4 Age and Social Networking......................9 3 Analysis of Video Sharing Practices 11 3.1 Media Choices in Social Networking................. 11 3.1.1 Methods............................. 12 Participants and Procedure.................. 12 Analysis............................. 13 3.1.2 Results.............................. 14 Age of the Sharer........................ 14 Interplay between Sharing Platform and Media...... 16 3.1.3 Contribution.......................... 18 3.2 YouthTube: Youth as creators on global platforms......... 19 v 3.2.1 Methods............................. 19 3.2.2 Results.............................. 20 Types of Youth Videos..................... 20 Types of Youth Channels.................... 22 3.2.3 Contribution.......................... 23 3.3 Share First, Save Later: Opportunities in ephemeral, private sharing 24 3.3.1 Introduction to Snapchat Stories............... 24 3.3.2 Methods............................. 25 3.3.3 Results.............................. 27 3.3.4 Contribution.......................... 29 4 Cooperative Inquiry 30 4.1 Introduction............................... 30 4.2 Related Work.............................. 32 4.2.1 Cooperative Inquiry and Participatory Design with Chil- dren............................... 32 4.3 Methods................................. 33 4.3.1 Participants and Settings.................... 33 Pre-Teen Youth......................... 34 Emerging Adult Designers.................. 34 Lead Researchers......................... 35 4.3.2 Pre-Teen Sessions........................ 36 Typical Session......................... 36 Activities............................. 37 Action Research Approach.................. 38 vi 4.3.3 Undergraduate Sessions.................... 38 Typical Session......................... 39 Activities............................. 39 Action Research Approach.................. 40 4.3.4 Analysis............................. 40 Workshop Video Content Analysis.............. 40 Design Development Iterations................ 42 4.3.5 Ethical Considerations..................... 42 4.3.6 Limitations........................... 43 4.4 Results.................................. 43 4.4.1 Practices and Roles in Video Creation............ 44 Skits................................ 45 Goofing Around......................... 45 Documenting........................... 46 Surveilling............................ 46 Bothering Others......................... 47 Disregarding the Camera.................... 47 Technical Moments....................... 47 4.4.2 Making Social Play a Priority................. 48 4.5 Video Collaboration Opportunities.................. 49 4.5.1 ‘Video Chainz’......................... 51 4.5.2 ‘Video-Phone Game’...................... 51 4.6 Discussion................................ 52 4.6.1 Making Social Media More Social.............. 53 vii 4.6.2 Collaboration and Creativity in Design........... 54 4.6.3 Mainstream Media and Youth’s Voices............ 54 4.7 Conclusion................................ 55 5 Prototype Evaluation 57 5.1 Evaluation of Prototypes........................ 58 5.2 Study Design.............................. 59 5.2.1 Developing and Comparing Prototypes........... 59 Piggyback Prototyping..................... 59 Implemented Prototypes.................... 60 5.2.2 Participants and Setting.................... 63 5.2.3 Session Overview........................ 64 5.2.4 Data Collection and Analysis................. 64 Prototype Ratings........................ 65 Created Videos......................... 66 Qualitative Analysis: Created Videos and in-Session Dis- cussion........................ 67 5.2.5 Limitations........................... 68 5.3 Results.................................. 70 5.3.1 Videos Created and General Usage.............. 70 5.3.2 Interactions in the Videos................... 70 5.3.3 Evaluations from Youth.................... 71 5.3.4 Reflecting on the Curated Audience............. 74 5.4 Discussion................................ 75 5.4.1 Understanding Collaboration................. 75 viii 5.4.2 The Interconnected Ecosystem of Social Media....... 76 5.4.3 Implications for Design.................... 77 6 Conclusion and Future Work 79 6.1 Summary................................. 79 6.1.1 Evaluating Common Media.................. 79 6.1.2 Participatory Design with Youth............... 80 6.1.3 Designing for Collaboration.................. 81 6.2 Future Work............................... 81 6.2.1 Mobile Collaborative Creation: Squid............ 81 6.2.2 Implications for Parents, Practitioners, & Policy...... 82 6.2.3 Implications for Industry................... 83 6.3 Closing Statement............................ 84 A Novel Prototype Development 85 A.1 Design Values.............................. 85 A.1.1 Design Overview........................ 86 A.2 Front End Features........................... 88 A.2.1 Video Recording........................ 88 A.2.2 Video Passing.......................... 88 A.2.3 Video Combining........................ 89 A.3 Back End Video Processing and Storage............... 89 A.4 Conclusion................................ 90 Bibliography 92 ix List of Figures 4.1 Selected examples for video categories (from left to right): Skits, Goofing Around, Disregarding the Camera, and Technical Mo- ments.................................... 44 4.2 Selected screens from the interactive prototype of Video-Phone Game: Group Activity page (including activities status of all the people participated in the game), Groups Home page (allowing users to create new groups for a new telephone game), Select Prompt page (allowing users to select a prompt to start the game), and Describe Video Prompt (prompting users to continue the game by describing/summarizing the video from last participant). Through interactive prototypes like this one, undergraduate designers in training were able to help ........................ 50 x 5.1 These three screenshot images reflect three modes of Instagram (the system piggybacked for this evaluation), group members can view short clips created in the app, like this design presented on the left. This image on the left is a screenshot of a clip created dur- ing the evaluation by the "Jellybeans" group, and features a fes- tive dancing hedgehog with jellybeans and labeled to celebrate the group. The middle image displays a sparse profile page to support the experience of an Ephemeral and Curated Audience. The image on the right reflects the robust editing mode for cre- ators. In the right side image a row of icons on the top allow users to add special effects, download the current image, add gif and static ’stickers’ (like the hedgehog on the left), as well as to draw and write text on the image................... 61 5.2 This figure demonstrates the difference in Collaborative Video Creation. For the "Private Room" prototype individual’s are cre- ating videos with and for each other, but their videos are dis- tinctly tied to their own accounts. However, for the One Story prototype everyone creates and shares as one account, and indi- vidual’s clips are presented as one, unified video.......... 62 xi 5.3 This figure presents three examples of the videos created during both sessions. On the left is a video recording of a robot pro- grammed earlier in the camp. It’s demonstrating some editing features (a drawn, glowing squiggle, a "yasss" sticker, tagging a fellow group member, and filtered video). In the center, partic- ipants chose to reenact a viral Vine meme [114] (with water in- stead of vodka). On the right the participant recorded a classic selfie, with slight filter and/or angled effect so that her face is too dark to see................................. 69 5.4 These screenshots show examples of interactive creation. On the left, a group coordinates a video of their feet jumping in a circle. On the right, two girls participate in a "camera showdown" first observed in the study in Chapter 4................... 72 5.5 In this figure we see the distribution of evaluations from the youth participants. For these