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In this paper we consider the development of ‘digital records’ to support ethnographic study of interaction and collaboration in ubiquitous computing environments and articulate the core concept of ‘record and replay’ through two case studies. One focuses on the utility of digital records, or records of interaction generated by a computer system, to ethnographic inquiry and highlights the mutually supportive nature of digital records and ethnographic methods. The other focuses on the work it takes to make digital records support ethnography, particularly the work of description and representation that is required to reconcile the fragmented character of interaction in ubiquitous computing environments. The work involved in ‘making digital records work’ highlights requirements for the design of tools to support the endeavour and informs the development of a Replay Tool. This tool enables ethnographers to visualize the data content of digital records; to extract sequences of relevance to analysis and remove non-relevant features; to marry recorded content with external resources, such as video; to add content from internal and external resources through annotation; and to reorder digital records to reflect the interactional order of events rather than the recorded order of events.

Movements of interfaces can be analyzed in terms of whether they are expected, sensed, and desired. Expected movements are those that users naturally perform; sensed are those that can be measured by a computer; and desired movements are those that are required by a given application. We show how a systematic comparison of expected, sensed, and desired movements, especially with regard to how they do not precisely overlap, can reveal potential problems with an interface and also inspire new features. We describe how this approach has been applied to the design of three interfaces: pointing flashlights at walls and posters in order to play sounds; the Augurscope II, a mobile augmented reality interface for outdoors; and the Drift Table, an item of furniture that uses load sensing to control the display of aerial photographs. We propose that this approach can help to build a bridge between the analytic and inspirational approaches to design and can help designers meet the challenges raised by a diversification of sensing technologies and interface forms, increased mobility, and an emerging focus on technologies for everyday life.

In this paper we describe a prototype interactive system supporting a shared synchronous experience for physical, World Wide Web and virtual reality visitors to an exhibition devoted to the designer and architect C.R.Mackintosh. The system provides awareness between visitors that spans multiple media while also providing location- and device-sensitive content to each visitor.

In this paper we describe a system and infrastructure forsharing of visiting experiences across multiple media. The prototype systemsupports synchronous visiting by both physical and digital visitors,with digital access via either the World Wide Web or 3-dimensionalgraphics, and we are extending it to support asynchronous visiting inthe form of annotations and recommendations.

[N.B. Pagination of eThesis differs from printed thesis. The content is identical.] This thesis is concerned with the theory, design, realisation and evaluation of large-scale collaborative virtual environments. These are 3D audio-graphical computer generated environments which actively support collaboration between potentially large numbers of distributed users. The approach taken in this thesis reflects both the sociology of interpersonal communication and the management of communication in distributed systems. The first part of this thesis presents and evaluates MASSIVE-1, a virtual reality tele-conferencing system which implements the spatial model of interaction of Benford and Fahlén. The evaluation of MASSIVE-1 has two components: a user-oriented evaluation of the system’s facilities and the underlying awareness model; and a network-oriented evaluation and modelling of the communication requirements of the system with varying numbers of users. This thesis proposes the “third party object” concept as an extension to the spatial model of interaction. Third party objects can be used to represent the influence of context or environment on interaction and awareness, for example, the effects of boundaries, rooms and crowds. Third party objects can also be used to introduce and manage dynamic aggregates or abstractions within the environments (for example abstract overviews of distant crowds of participants). The third party object concept is prototyped in a second system, MASSIVE-2. MASSIVE-2 is also evaluated in two stages. The first is a user-oriented reflection on the capabilities and effectiveness of the third party concept as realised in the system. The second stage of the evaluation develops a predictive model of total and per-participant network bandwidth requirements for systems of this kind. This is used to analyse a number of design decisions relating to this type of system, including the use of multicasting and the form of communication management adopted

Digital marketing plays an important role for businesses trying to attract new customers. For micro-businesses (0-9 workers) or self- run businesses it can be difficult to find the time to market yourself online. Non tech-savvy individuals can be unaware of where to start or how to set up a website. It can be time consuming, costly and difficult to understand the digital requirements. In this paper, we describe an online system - the dashboard, to help micro-businesses learn about building an online presence, using a range of available digital services, and providing analytical data on services that they are using. We discuss how analytic tools can help inform business owners of how useful online marketing tools are for their business and which services attract the most customers and revenue.

This paper outlines recent developments in the Scaling the Rural Enterprise (SRE) research project – an interdisciplinary project that combines the expertise of social scientists, computer scientists and software developers, in order to inform the development and design of digital technologies in a rural context. The paper provides a brief overview of the research undertaken. It then highlights the outcomes from three stages of the work. Initially, it undertakes a review of associated literature and discusses issues of definition in relation to rural enterprises in the UK. Following this we present the insights from rural business advisers on the current state of use of digital technologies in these organisations. This then leads to work that analyses community- based enterprises as agents of economic change and gatekeepers to the introduction of digital technology solutions. The paper concludes by highlighting some implications for the design of digital tools and services.

We report on the design, premiere and public evaluation of a multifaceted audience interface for a complex non-linear musical performance called Climb! which is particularly suited to being experienced more than once. This interface is designed to enable audiences to understand and appreciate the work, and integrates a physical instrument and staging, projected visuals, personal devices and an online archive. A public premiere concert comprising two performances of Climb! revealed how the audience reoriented to the second performance through growing understanding and comparison to the first. Using trajectories as an analytical framework for the audience ‘journey’ made apparent: how the trajectories of a single performance are embedded within the larger trajectories of a concert and the creative work as a whole; the distinctive demands of understanding and interpretation; and the potential of the archive in enabling appreciation across repeated performances.

This paper outlines the IoT Databox model as a means of making the Internet of Things (IoT) accountable to individuals. Accountability is a key to building consumer trust and is mandated by the European Union’s General Data Protection Regulation (GDPR). We focus here on the ‘external’ data subject accountability requirement specified by GDPR and how meeting this requirement turns on surfacing the invisible actions and interactions of connected devices and the social arrangements in which they are embedded. The IoT Databox model is proposed as an in principle means of enabling accountability and providing individuals with the mechanisms needed to build trust into the IoT.

Musical interactions have the potential to increase emotional well-being, self-confidence and self-motivation. However, the ability to actively participate in creative activities involving music performance has so far been difficult for users with complex disabilities. This paper discusses placing a technology probe, using gesture based musical controls, in an existing music technology project for users with complex disabilities (conditions which affect both cognitive and motor abilities of an individual). The focus is on understanding the needs of this user group in a participatory design approach for creative music technologies that allow for tailored accessibility. Outcomes from this research show that many multi-level social interactions surrounding the technology, users, audience, and any third party facilitators exist in the context of ‘facilitated performance’. Results suggest that including facilitators in the design of Digital Musical Instruments (DMIs) could allow for improved accessibility for users with complex disabilities.

We are all increasingly the subjects of data collection and processing systems that use data generated both about and by us to provide and optimise a wide range of services. Means for others to collect and process data that concerns each of us – often referred to possessively as “your data” – are only increasing with the long-heralded advent of the In- ternet of Things just the latest example. As a result, means to enable personal data management is generally recognised as a pressing societal issue. We have previously proposed that one such means might be realised by the Databox, a collection of physical and cloud- hosted software components that provide for an individual data subject to manage, log and audit access to their data by other parties. In this paper we elaborate on this proposal, describing the software architecture we are developing, and the current status of a prototype implementation. We con- clude with a brief discussion of Databox’s limitations.

We present our case study on gifting digital music, The Rough Mile, as an example of a Framework of Immersive Practice, intended for researchers and practitioners in HCI and interaction design. Although immersion is a frequently used term in the HCI and related literatures, we find no definitions or frameworks that are robust enough to capture the full range of multi-sensory, emotional, and cognitive engagement that the richest of these experiences can entail. We therefore turn to the theatrical performance literature to distil a theory-based framework of practices that can apply to interdisciplinary projects as well as works with an entirely aesthetic aim. The design choices and findings of The Rough Mile are presented in terms of this framework, leading to a discussion of the design guidelines that can shape its use in any HCI or interaction design project aiming for a deep, personal engagement through technology.

“Climb!” is a musical composition that combines the ideas of a classical virtuoso piece and a computer game. We present a case study of the composition process and realization of “Climb!”, written for Disklavier and a digital interactive engine, which was co-developed together with the musical score. Specifically, the engine combines a system for recognising and responding to musical trigger phrases along with a dynamic digital score renderer. This tool chain allows for the composer’s original scoring to include notational elements such as trigger phrases to be automatically extracted to auto-configure the engine for live performance. We reflect holistically on the development process to date and highlight the emerging challenges and opportunities. For example, this includes the potential for further developing the workflow around the scoring process and the ways in which support for musical triggers has shaped the compositional approach.

We report lessons from iteratively developing a music recognition system to enable a wide range of musicians to embed musical codes into their typical performance practice. The musician composes fragments of music that can be played back with varying levels of embellishment, disguise and looseness to trigger digital interactions. We collaborated with twenty-three musicians, spanning professionals to amateurs and working with a variety of instruments. We chart the rapid evolution of the system to meet their needs as they strove to integrate music recognition technology into their performance practice, introducing multiple features to enable them to trade-off reliability with musical expression. Collectively, these support the idea of deliberately introducing ‘looseness’ into interactive systems by addressing the three key challenges of control, feedback and attunement, and highlight the potential role for written notations in other recognition-based systems.

This paper outlines the IoT Databox model as a means of making the Internet of Things (IoT) accountable to individuals. Accountability is a key to building consumer trust and mandated in data protection legislation. We briefly outline the ‘external’ data subject accountability requirement specified in actual legislation in Europe and proposed legislation in the US, and how meeting requirement this turns on surfacing the invisible actions and interactions of connected devices and the social arrangements in which they are embedded. The IoT Databox model is proposed as an in principle means of enabling accountability and providing individuals with the mechanisms needed to build trust in the IoT.