Jocelyn Spence

Steve Benford, Paul Mansfield, Jocelyn Spence

The global pandemic has driven musicians online. We report an ethnographic account of how two traditional folk clubs with little previous interest in digital platforms transitioned to online experiences. They followed very different approaches: one adapted their existing singaround format to video conferencing while the other evolved a weekly community-produced, pre-recorded show that could be watched together. However, despite their successes, participants ultimately remained unable to sing in chorus due to network constraints. We draw on theories of liveness from performance studies to explain our findings, arguing that HCI might orientate itself to online liveness as being co-produced through rich participatory structures that dissolve traditional distinctions between live and recorded and performer and audience. We discuss how participants appropriated existing platforms to achieve this, but these in turn shaped their practices in unforeseen ways. We draw out implications for the design and deployment of future live performance platforms.

Anders Sundnes Løvlie, Karin Ryding, Jocelyn Spence et al.

This article brings together two distinct, but related perspectives on playful museum experiences: Critical play and hybrid design. The article explores the challenges involved in combining these two perspectives, through the design of two hybrid museum experiences that aimed to facilitate critical play with/in the collections of the Museum of Yugoslavia and the highly contested heritage they represent. Based on reflections from the design process as well as feedback from test users we describe a series of challenges: Challenging the norms of visitor behaviour, challenging the role of the artefact, and challenging the curatorial authority. In conclusion we outline some possible design strategies to address these challenges.

Karin Ryding, Jocelyn Spence, Anders Sundnes Løvlie et al.

We reflect on two museum visiting experiences that adopted the strategy of interpersonalization in which one visitor creates an experience for another. In the Gift app, visitors create personal mini-tours for specific others. In Never let me go, one visitor controls the experience of another by sending them remote instructions as they follow them around the museum. By reflecting on the design of these experiences and their deployment in museums we show how interpersonalization can deliver engaging social visits in which visitors make their own interpretations. We contrast the approach to previous research in customization and algorithmic personalization. We reveal how these experiences relied on intimacy between pairs of visitors but also between visitors and the museum. We propose that interpersonalization requires museums to step back to make space for interpretation, but that this then raises the challenge of how to reintroduce the museum's own perspective. Finally, we articulate strategies and challenges for applying this approach.

Tommy Nilsson, Joel E. Fischer, Andy Crabtree et al.

UbiComp has been envisioned to bring about a future dominated by calm computing technologies making our everyday lives ever more convenient. Yet the same vision has also attracted criticism for encouraging a solitary and passive lifestyle. The aim of this paper is to explore and elaborate these tensions further by examining the human values surrounding future domestic UbiComp solutions. Drawing on envisioning and contravisioning, we probe members of the public (N=28) through the presentation and focus group discussion of two contrasting animated video scenarios, where one is inspired by "calm" and the other by "engaging" visions of future UbiComp technology. By analysing the reasoning of our participants, we identify and elaborate a number of relevant values involved in balancing the two perspectives. In conclusion, we articulate practically applicable takeaways in the form of a set of key design questions and challenges.