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

Contents
Contributors
About the Editors
Chapter 1: Introduction: New Directions in Third Wave HCI
	1.1 Waves, Paradigms, and Cultures
	1.2 Are the Waves ‘Paradigms?’
	1.3 Theoretic Integration
	1.4 Trading Zones and Interactional Expertise
	References
Chapter 2: Steampunk, Survivalism and Sex Toys: An Exploration of How and Why HCI Studies Peripheral Practices
	2.1 Introduction
	2.2 Making Waves in HCI
	2.3 What Do We Mean by “Peripheral Practices”?
	2.4 “Design for” vs “Learn from”
	2.5 Case Studies of Peripheral Practices Research in HCI
		2.5.1 Steampunks
		2.5.2 Bookbinding & Restoration
		2.5.3 Sex Toy Design
		2.5.4 Survivalists and Preppers
	2.6 Why We Study Peripheral Practices
		2.6.1 Diversity of Relationships with Technology
		2.6.2 Testbed for Unusual Design Strategies
		2.6.3 Defamiliarization
	2.7 Ethical Considerations and Challenges
	2.8 Conclusion
	References
Chapter 3: Autoethnography in Human-Computer Interaction: Theory and Practice
	3.1 Introduction
	3.2 Autoethnography in Anthropology
		3.2.1 The Realistic Style
		3.2.2 The Impressionistic Style
		3.2.3 The Confessional Style
		3.2.4 The Autoethnographic Style
	3.3 Autoethnography and Reflexivity
	3.4 Autoethnography in Human-Computer Interaction
		3.4.1 Autoethnography as a “Quick” Method
		3.4.2 Autoethnography as a “Reflexive” Method
	3.5 Autoethnography and Design in Practice
		3.5.1 Setting
		3.5.2 Notes from the Field
	3.6 Conclusion
	References
Chapter 4: Empathy-Based Design Approaches
	4.1 Introduction
	4.2 Empathy in Theory
		4.2.1 Historical Overview
		4.2.2 Current Models, Definitions and Pitfalls
	4.3 Empathy in Dialogue
		4.3.1 Humanistic Psychology
		4.3.2 Listening with Care
	4.4 Empathy in Design Research
		4.4.1 A Framework for Empathy in Design
		4.4.2 User-Sensitive Inclusive Design (USID)
		4.4.3 Empathy-Oriented Participatory Design
		4.4.4 Empathy-Oriented Co-Design
		4.4.5 Empathic Product Design
		4.4.6 An Overview of Methods
	4.5 Challenges and Considerations for Empathic Design
	4.6 Conclusion
	References
Chapter 5: Measuring Experiences
	5.1 Introduction
	5.2 Questionnaires for User Experience
		5.2.1 Uncertainty in Games
	5.3 Grounding the Concept
	5.4 Generating Items
	5.5 Participants
	5.6 Factor Analysis
	5.7 Analysing Data
	5.8 Limitations and Opportunities
	References
Chapter 6: A Holistic Approach to Measuring User Engagement
	6.1 Introduction
	6.2 An Overview of User Engagement Methodological Approaches
	6.3 Defining User Engagement
	6.4 An Interpretive Framework for Studying User Engagement
		6.4.1 User Engagement As Process and Product of Interaction
		6.4.2 User Engagement As Affective, Behavioral and Cognitive
		6.4.3 User Engagement As Depth of User Investment
	6.5 The Context of User Engagement
	6.6 A Unifying Framework for Evaluating User Engagement
	6.7 Further Considerations in the Evaluation of User Engagement
		6.7.1 The Role of Individual and Collective Measures in the Study of User Engagement
		6.7.2 The “Goodness” of a Particular Method
		6.7.3 Room of Multiple Perspectives and Approaches
	6.8 Conclusion
	References
Chapter 7: Influencing and Measuring Behaviour in Crowdsourced Activities
	7.1 Introduction
	7.2 Types of Crowdsourcing
		7.2.1 Volunteer-Based Citizen Science
		7.2.2 Paid Crowdworking
	7.3 Comparative Studies of Crowdsourcing
	7.4 Designing Empirical Studies for Crowdsourcing Platforms
		7.4.1 Choosing a Platform
		7.4.2 Recruiting Participants
		7.4.3 Designing for Real Participants
	7.5 Collecting Data Using Crowdsourcing Platforms
		7.5.1 Building and Continuing Engagement
		7.5.2 Ethical Data Collection
		7.5.3 Payment and Non-monetary Remuneration
	7.6 Ensuring Quality Data
		7.6.1 Attention Checks
		7.6.2 Participant Preselection
		7.6.3 Analysing Data from Crowdsourcing Platforms
		7.6.4 Summary
	7.7 Conclusion
	References
Chapter 8: Design Research: Methodological Innovation Through Messiness
	8.1 Design Research
	8.2 The Messiness of Design Research
		8.2.1 Messiness and Structure
		8.2.2 Expertise
		8.2.3 Sense-Making and Meaning-Making
	8.3 Examples of Methodologies and Approaches Used in Design Research
		8.3.1 Research for Design Methods
		8.3.2 Action Research and Design
			8.3.2.1 Participatory Action Research and Participatory Design
			8.3.2.2 Participatory Action Research and Design Research
			8.3.2.3 Action Research and ‘Messiness’
		8.3.3 Co-design/Participatory Design
	8.4 Discussion and Conclusion
	References
Chapter 9: Problematic Milieus: Individuating Speculative Designs
	9.1 What Is Speculative Design
	9.2 Technical Individuation and Futural Functions
	9.3 Examples
		9.3.1 The Red String of Fate
		9.3.2 Happy Life
		9.3.3 Uninvited Guests
		9.3.4 Crafted Logic
		9.3.5 Parasitic Products
	9.4 Prototyping Problematic Provocations
	9.5 Conclusion
	References
Chapter 10: Speculative Design in HCI: From Corporate Imaginations to Critical Orientations
	10.1 Introduction
	10.2 Speculative Design As Critical Practice
	10.3 Moving Toward Third Wave Concerns
	10.4 Speculative Design As Corporate Practice
		10.4.1 Blurring the Boundary Between “Speculative” and “Practical”
	10.5 Corporate Concept Videos
		10.5.1 Concept Videos As Corporate Prototyping
		10.5.2 Critically Re-imagining Concept Videos
	10.6 Scenario Planning
		10.6.1 Scenario Planning in the HCI Toolkit
		10.6.2 Critically Re-engaging Scenario Planning
	10.7 Speculative Design as Legitimating Practice
		10.7.1 “speculative design” and “Speculative Design”
		10.7.2 Moving Forward: Doing the Work of Critically Oriented Speculative Design
	10.8 Conclusion
	References
Chapter 11: Designing from Embodied Knowing: Practice-­Based Research at the Intersection Between Embodied Interaction and Somatics
	11.1 Introduction
	11.2 Background
		11.2.1 The Embodied Turn
		11.2.2 Enactivism
		11.2.3 Embodied Aesthetics
		11.2.4 Embodied Interaction
		11.2.5 Somaesthetics
		11.2.6 Lived Somaesthetic Reflection
		11.2.7 Fleshing Out Embodied Interaction
	11.3 Somatic Practices
		11.3.1 First-Person Methodologies to Cultivate Embodiment
		11.3.2 The Alexander Technique
		11.3.3 Material for the Spine
		11.3.4 Mind-Body Pragmatism
	11.4 Somatic Challenges
	11.5 Somatic Strategies
	11.6 Multiple Perspectives to Navigate the Soma
	11.7 Design Methodology: Moving and Making Strange
	11.8 Design Methodology: Radically Interdisciplinary Dialogues
	11.9 Case Study: Designing with Breath – exhale
	11.10 Designing for Kinaesthetic Awareness
		11.10.1 Case Study: still, moving
		11.10.2 Somatic Details Matter
		11.10.3 The Practice of the System
	11.11 Conclusion
	References
Chapter 12: Sound, Ecological Affordances and Embodied Mappings in Auditory Display
	12.1 Sound and Its Affordances for HCI: Auditory Display, Sonic Interaction Design and Mapping
		12.1.1 Auditory Display and Sonification
		12.1.2 An ‘Embodied Turn’ in Musical HCI and Auditory Display
		12.1.3 Embodied Cognition and Sonic Information Design
	12.2 An Embodied Cognition Primer for HCI Researchers
		12.2.1 Embodied Cognition: Historical Roots
		12.2.2 Embodied Cognition: Conceptual and Philosophical Underpinnings
		12.2.3 Embodied Metaphors and Meaning–Making Faculties
	12.3 Embodied Sonic Meaning Making for Sonic Information Design: Current Models and Potential Applications
		12.3.1 Applications of Embodied Cognition Theory in HCI and Auditory Display
		12.3.2 Environmental Models of Sound: Gestalt Psychology, Auditory Scene Analysis and Ecological Psychoacoustics
		12.3.3 Embodied Cognition and Cognitive Musicology
		12.3.4 Auditory Imagery and Gestural–Sonorous Objects in Sound Environments and in Music
		12.3.5 Embodied Cognition and Solutions to the Mapping Problem in Auditory Display
	12.4 Conclusion: HCI, Sonification, Multi-modal Aspects Grounded by Embodied Cognitive Frameworks
	References
Chapter 13: The Methodological Pivot
	13.1 Sketching Transdiscursive Material Practice
	13.2 Critique of Reflective Practice
	13.3 The Methodological Pivot
	References