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User experience is now becoming central to our understanding of the usability of technology. Today many interactive technology companies describe on their Web sites their commitment to experiencebased design. There is also a trend in HCI communities to foreground experiencecentered approaches to technology, a movement reflected in several recent articles offering theoretical statements about the sensual and emotional conditions of interaction with technology. Thinking about Technology as ExperienceIn a recent study we presented a basis for thinking about and evaluating technology as experience. We show how technology can be seen in terms of experience with technological artifacts. This approach orients us toward the felt-life of technology-toward engagement, enchantment, irritation, and fulfillment. But we also recognize that the feeling-life does not begin and end with the immediate quality of an experience, rather it extends across space and time to the sense we make of experience in terms of our selves, our culture, and our lives. To make these concepts usable, we have developed a framework for analyzing experience with technology [2]. The FrameworkEven though the framework is presented as a set of components, perhaps giving the impression of separable elements, each of these parts should be seen as intrinsically connected with each other, and, collectively constitutive of an integrated framework. The framework consists of four intertwined threads of experience and six sense-making processes. The Four Threads of Experience COMPOSITIONAL: How do the elements of an experience fit together to form a coherent whole?This refers to the narrative structure, action possibility, plausibility, consequences and explanations of actions. When we ask questions like, "What is this all about?", "What will happen next?" and "How do I tackle this problem?" the composition of the experience is not clear to us. SENSUAL: What does the design and texture and the overall atmosphere make us feel?This orients us to the concrete, palpable, and visceral character of experience that is grasped pre-reflectively in the immediate sense of a situation; for example, the look and feel of a mobile phone and the sense of warmth in a social space. EMOTIONAL: What emotions color the experience for us?This refers to value judgments (e.g., frustration and satisfaction) that ascribe importance to other people and things with respect to our needs and desires. The emotional quality of an experience tends to summarize the experience for us; for example, as fun, exciting, or frustrating. This is how we tend to remember an experience. SPATIO-TEMPORAL: What effects do place and time have on our experience?This draws attention to the quality and sense of space-time that pervades experience. Time may speed up or slow down; pace may increase or decrease; spaces may open up or close down, affecting our willingness to linger or to re-visit such places. The Six Sense-making ProcessesPeople actively construct or make sense of experience-reflexively and recursive...

Studying collective action with newspaper accounts of protest events, rare only 20 years ago, has become commonplace in the past decade. A critical literature has accompanied the growth of protest event analysis. The literature has focused on selection bias-particularly which subset of events are covered-and description bias-notably, the veracity of the coverage. The "hard news" of the event, if it is reported, tends to be relatively accurate. However, a newspaper's decision to cover an event at all is influenced by the type of event, the news agency, and the issue involved. In this review, we discuss approaches to detecting bias, as well as ways to factor knowledge about bias into interpretations of protest event data.

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