People now easily share digital photos outside the home via web publishing and gift-giving. Yet within the home, digital photos are hard to access and lack the physical affordances that make sharing easy and opportunistic. To promote in-home photo sharing, we designed Souvenirs, a system that lets people link digital photo sets to physical memorabilia. These mementos trigger memories and serve as social instruments; a person can enrich their storytelling by moving the physical memento close to their largeformat television screen, and the associated photos are immediately displayed. We implemented Souvenirs, and then reexamined our design premises through contextual interviews with 20 households. Families described their current practices of photo sharing and memento use, and also reacted to the Souvenirs design. Based on these interviews, we redesigned Souvenirs to better fit the real practices of photo and memento use in the home.
________________________________________________________________________The uptake of digital photos vs. print photos has altered the practice of photo sharing. Print photos are easy to share within the home, but much harder to share outside of it. The opposite is true of digital photos. People easily share digital photos outside the home, e.g., to family and friends by email gift-giving, and to social networks and the broader public by web publishing. Yet within the home, collocated digital photo sharing is harder, primarily because digital photos are typically stored on personal accounts in desktop computers located in home offices. This leads to several consequences. 1) The invisibility of digital photos implies few opportunities for serendipitous photo sharing. 2) Access control and navigation issues inhibit family members from retrieving photo collections. 3) Photo viewing is compromised as digital photos are displayed on small screens in an uncomfortable viewing setting.To mitigate some of these difficulties, we explore how physical memorabilia collected by family members can create opportunities that encourage social and collocated digital photo sharing. First, we studied (via contextual interviews with 20 households) how families currently practice photo sharing and how they keep memorabilia. We identified classes of memorabilia that can serve as memory triggers to family events, trips, and times when people took photos. Second, we designed SOUVENIRS, a photo-viewing system that exploits memorabilia as a social instrument. Using SOUVENIRS, a family member can meaningfully associate physical memorabilia with particular photo sets. Later, any family member can begin their storytelling with others through the physical memento, and then enrich the story by displaying its associated photos simply by moving the memento close to the home's large-format television screen. Third, we re-examined our design premises by evoking household reactions to an early version of SOUVENIRS. Based on these interviews, we redesigned SOUVENIRS to better reflect the preferences and real practices of photo and memorabilia use in the home. ________________________________________________________________________ INTRODUCTIONDigital photography has become increasingly popular. This is for good reason. It allows numerous photos to be taken and stored, while minimizing the cost and hassle associated with film. People are free to take more photos, increasing their chance of getting a "good" photo, taking playful "candid" shots, and recording event details as memories. They can select and edit their favorites for printing. They are able to store many photos without physical space restrictions. They can easily send photos to others via email or cell phones. Indeed, it is impossible to know just how many photos are taken with digital cameras per year (Norman, 2003) 1 .While digital photography has revolutionized the way we take photos, we now must consider how such technology affects how people use their photo collections, especially for p...
This paper presents a comparison of several selection aids to improve pointing input on tabletop displays. Our previous research explored the Trac-torBeam-a hybrid point-touch interaction technique for tabletop displays. We found that while pointing input was preferred (over touch) by users of tabletop displays, it was slower for small distant targets. Drawing from previous work on improving target acquisition for desktop displays, we developed and tested three selection aids to improve pointing selection of small distant targets on tabletop displays: expanding the cursor, expanding the target, and snapping to the target. Our experiments revealed that all three aids resulted in faster selection times than no selection aid at all, with snapping to the target being the fastest. Additionally, participants liked snapping to the target better than the other selection aids and found it to be the most effective for selecting targets.
Abstract. Always-on media spaces broadcast video between collaborators to provide mutual awareness and to encourage casual interaction. This video can be easily recorded on the fly as a video trace. Ostensibly, people can review this video history to gain a better idea of the activities and availability of their collaborators. Such systems are obviously highly contentious, as they raise significant privacy concerns. However, the ease of capturing video means that video trace systems will appear in the near future.To push the boundaries and encourage debate about video trace technologies within the CSCW community, we created TIMELINE, a highly effective visualization system that combines ideas in slit scanning as used in interactive art to allow people to easily and rapidly explore a video history in detail. We describe its design and implementation, and begin the debate by offering preliminary reflections on how it can be used and misused. To encourage this debate, TIMELINE is freely available for others to try.
An essential aspect of mobile and ubiquitous computing research is evaluation within the expected usage context, including environment. When that environment is an urban center, it can be dynamic, expansive, and unpredictable. Methodologies that focus on genuine use in the environment can uncover valuable insights, although they may also limit measurement and control. In this paper, we present our experiences applying traditional experimental techniques for field research in two separate projects set in urban environments. We argue that although traditional methods may be difficult to apply in cities, the challenges are surmountable, and this kind of field research can be a crucial component of evaluation.
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