Traditionally, mobile media sharing and messaging has been studied from the perspective of an individual author making media available to other users. With the aim of supporting spectator groups at large-scale events, we developed a messaging application for camera phones with the idea of collectively created albums called Media Stories.The field trial at a rally competition pointed out the collective and participative practices involved in the creation and sense-making of media, challenging the view of individual authorship. Members contributed actively to producing chains of messages in Media Stories, with more than half of the members as authors on average in each story. Observations indicate the centrality of collocated viewing and creation in the use of media. Design implications include providing a "common space" and possibilities of creating collective objects, adding features that enrich collocated collective use, and supporting the active construction of awareness and social presence through the created media.
In this paper we introduce the method of dramaturgical reading, which was originally a method of producing different crystallized and associative theatrical and graphical presentations of a role character in a drama context. We transfer dramaturgical reading into the field of user-centered design in order to understand, analyze and represent usercentered material. We compare a persona created with dramaturgical reading to a user profile and persona. We state that adapting a role character as an embodied and concrete user description in user-centered design improves the designers' ability to empathize and understand the users, thus improving the results of the design process. We believe personas must be enabled to "come to life" and allowed to develop in the minds of the designers using them. The dramaturgical method is one way of accomplishing this.
In this article, we discuss the application of drama and dramaturgy to user-centered product concept design (UCPCD) processes, aiming to create a more holistic approach to designing user experiences. We present the UCPCD process and its background, and a selection of interactive theater tools that can be applied to UCPCD. Through a case study we introduce a practical implementation of these tools to UCPCD. The paper concludes by suggesting guidelines for using drama and dramaturgy in concept design activities. The key finding is that drama methods deepen the designers' involvement in the process and improve understanding of the user communities' behavior.
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