| 1. |
- Arvola, Mattias, 1975-, et al.
(författare)
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Transmodal interaction and user experience
- 2016
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Ingår i: Proceedings of the 12'th SweCog Conference. - Skövde : The University of Skövde. - 9789198366709 ; , s. 5-5
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- We are in a series of studies, ranging from news production to computer gaming, looking into the intersection of transmodal interaction and user experience. The purpose of this abstract is to outline the theoretical framework for that intersection. The first area we are studying is Transmodal Interaction, which is a concept that refer to a specific aspect of multimodal interaction. Human action is multimodal (Streeck, Goodwin, & LeBaron, 2011), and different sensory modes play an important role in action. However, little attention has been given to the intricate ways in which sensory modalities (seeing – drawing, hearing – saying, moving – touching, etc.) integrate, affect, and transform each other during the course of an activity. There are transformations of meaning in every new materialisation of an idea or a thought, partly depending on the communication potential of the sensory modality. This render what we refer to as a transmodal process where ideas and thoughts materialise action by action in an emergent sequence across relatively long and discontinuous timespans (Murphy, 2012). Over a sequence of actions, the meanings expressed in one modality, dynamically blend and shape what is expressed in other modalities. This produces, according to (Murphy, 2012) “a series of semiotic modulations in which certain core qualities persist, but others are noticeably transformed in the transition from one mode to another. (p. 1969)” We can, in intersemiotic translation (Jakobson, 1959) between modalities, address what is lost, how we introduce distortions, or even introduce perceptions of things that do not exist. A question is then how continuity of meaning and experience is preserved in modality changes. The second area we are studying is User Experience. The term refers to a person's perceptions and responses resulting from the use and/or anticipated use of a product, system or service (ISO, 2010). We employ a three level model of user experience based on Leontiev’s account of consciousness (Kaptelinin & Nardi, 2012; Leont ́ev, 1978), which also relate closely to Norman’s model of emotional design (Norman, 2005). The first level is the sensory fabric of consciousness, Norman refers to this as the visceral level. It is the largely subconscious level of how things feel. The second level is the personal meaning of things, related to what and how we do things action by action. Norman (ibid.) refers to this level as the behavioural level. The third level has to do with meaning, and what Norman refers to as a reflective level. It is the level of cultural meaning and what things mean for us in our socially and historically rooted activities. The intersection of these two areas constitutes our current focus of research. We are, in domains as different as news production and computer gaming, investigating persons’ perceptions and actions resulting from interaction with each other and with materialisations across different sensory modalities that give rise to intersemiotic translation effects. References ISO. (2010). ISO 9241-210: 2010 Ergonomics of human-system interaction -- Part 210: Human-centred design. Geneva: International Standardization Organization. Jakobson, R. (1959). On linguistic aspects of translation. In R. A. Brower (Ed.), On translation (pp. 232-239). Cambridge, Mass.: Harvard University Press. Kaptelinin, V., & Nardi, B. (2012). Activity theory in HCI: Fundamentals and Reflections. Synthesis Lectures on Human-Centered Informatics, 5(1), 1-105. Leont´ev, A. N. (1978). Activity, Consciousness, and Personality. Englewood Cliffs, NJ.: Prentice-Hall. Murphy, K. M. (2012). Transmodality and temporality in design interactions. Journal of Pragmatics, 44(14), 1966-1981. doi:10.1016/j.pragma.2012.08.013 Norman, D. A. (2005). Emotional design: Why we love (or hate) everyday things. New York, NY.: Basic Books. Streeck, J. r., Goodwin, C., & LeBaron, C. (2011). Embodied interaction: language and body in the material
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| 2. |
- Amir, Alia
(författare)
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Doing Language Policy : A Micro-Interactional Study of Policy Practices in English as a Foreign Language Classes
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study investigates foreign language classroom talk and micro-level language policy-in-process from an ethnomethodological conversation analytic perspective. The study is based on 20 hours of video recordings from 20 lessons in an English as a Foreign Language classroom (EFL) in grades 8 and 9 of an international compulsory school in Sweden between the years 2007 and 2010. The main purpose of the study is to shed light on some of the distinguishing features of how a target-language-only policy is materialised in situ in a foreign language classroom. The study demonstrates the relative ease with which teachers and pupils uphold a strict language policy in the classroom, but also the considerable interactional work that is done, by both teachers and pupils, in cases where upholding the policy becomes problematic. An interactional phenomenon which arises in such cases is language policing, where the teacher or pupils restore the policy-prescribed linguistic order. Such sequences are analysed in detail. The study increases our understanding of how language policy is lived out in practice, through interaction in the classroom.
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| 3. |
- Arvola, Mattias, 1975-, et al.
(författare)
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Category, time, and space: : Structures in cross-media design and production
- 2019
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Konferensbidrag (refereegranskat)abstract
- The purpose of this empirically informed, but mainly conceptual paper, is to understand what we might mean by the word ‘structure’ in cross-media design. The paper draws upon a workplace study in print and online news production at a Swedish local news publisher, where we observed the work of reporters, page planners and web editors. Structure in the context of cross-media design and production is initially defined as the pattern of arrangement of elements in the media. We identified three kinds of structure in our observations of the journalists’ work: category, time, and space. Category: how knowledge is ordered is foundational and explains how functions and content relate to each other. Time: the temporal structure is how functions and content are ordered in time (what comes before and after). Space: The spatial structure is the layout of functions and content in 2-dimensional or 3-dimensional space. These three kinds of structure have corresponding design representations in interaction design: concept maps, flow charts, and wireframes.
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| 4. |
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| 5. |
- Broth, Mathias, 1965-, et al.
(författare)
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A walk on the pier : Establishing relevant places in mobile instruction
- 2013
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Ingår i: Interaction and mobility. - Berlin : Mouton de Gruyter. - 3110291142 - 9783110291278 ; , s. 91-122
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- How do people use language, gestures and the materialenvironment around themfor interacting in mobile situations? Interaction and Mobility brings together international scholars who use video-recordings from real-life everyday settings to study how people interact in diverse mobile situations as part of activities such as walking, driving, flying, dancing and gaming. This book isvaluablefor anyone interested in multimodal interaction and mobility.
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| 6. |
- Broth, Mathias, 1965-
(författare)
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Agents secrets : Le public dans la construction interactive de la représentation théâtrale
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The present study focusses on the theatre audience, and on its’ role in the maintenance of the theatrical situation. Using video-recorded performances of relatively naturalistic, modern dramas, the study examines the behaviour of the audience in relation to the unfolding of stage events. Such behaviour is described through close inspection of the sounds the audience produces, consisting primarily of coughing, throat-clearing, and laughter. The study contributes to the growing body of research surrounding ethnomethodological conversation analysis (CA). CA methods are used to analyse not only an audience’s overt reactions to stage events, but also the actions occurring outside these relatively short-lived phenomena in the context of a theatre performance. It is demonstrated that members of the audience refrain from making « vocal noise » during the verbal interaction of actors, and some of the resources used to achieve this end are described. These include the interpretation of the emerging dialogue, of the relative positioning of actors and of the actors’ use of gesture. Members of the audience are observed making vocal noise around possible completions in the sequence of ongoing stage actions, a placing which seems to make it maximally unobtrusive. Furthermore, the audience’s laughter is described. It is argued that members of the audience negociate collective moments of laughter with each other and with the actors. In doing so, the audience displays a sensitive awareness of the other members of the audience and the performers on stage. It is finally suggested that vocal noise on one hand and laughter on the other are differently placed in relation to an emerging action. This relative placing seems to indicate their producers’ different orientations to these actions, according to which vocal noise is to be hidden and laughter to be taken as an overt reaction.
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| 7. |
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| 8. |
- Broth, Mathias, 1965-
(författare)
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Att koppla ihop ansikten och namn : Om gemensamt memorerande inom ett TV-team
- 2011
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Ingår i: Lärande och minnande. - Stockholm : Norstedts Förlag. - 9789113037721 ; , s. 253-283
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Minnesfunktioner är något som det forskas intensivt om. Flera traditioner existerar parallellt. När det gäller minne i kombination med lärande är idag det socialpsykologiska perspektivet på frammarsch. Det går i korthet ut på att inget lärande sker som något isolerat utan alltid i samspel med andra människor och det sker också i samspel med allehanda hjälpmedel eller artefakter. Hur går lärande och minnande till? Vad är det egentligen? Det är detta denna bok försöker besvara. För att förstå det har en tvärvetenskaplig grupp samlats under Roger Säljös ledning för att utforska lärande och minnande. Varför är det viktigt att veta? Den nya kunskap som presenteras i denna bok får konsekvenser för framtida undervisning, för utformande av kommunikation av varierande slag och av artefakter. Vad är "minnande"? Det är en aktiv form av att minnas, minnande är något man lär sig, alltså ingen statisk förmåga. Det sker i samspel med andra människor och artefakter. Minnande är en del av lärandet och vice versa. Man kan inte lära något om man inte samtidigt minns. När man lär något sker ett minnande. Dessa tankar om minnande och lärande grundar sig alla medverkande författare på när de berättar om sina respektive forskningsprojekt. Deras berättelser spänner över många mänskliga områden, från hur tolvåringar arbetar med naturvetenskapliga experiment via dataspelande till polisförhör och från specialpedagogik via kontroverser till minnande och lärande i arkitektur
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| 9. |
- Broth, Mathias, et al.
(författare)
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Delaying moving away: Place, mobility, and the multimodal organization of activities
- 2019
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Ingår i: Journal of Pragmatics. - : ELSEVIER. - 0378-2166 .- 1879-1387. ; 148, s. 44-70
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Tidskriftsartikel (refereegranskat)abstract
- In mobile activities alternating between staying at a place and walking to the next place, such as guided visits, the initiation of walking awayis a powerful practice to achieve closing of conversational sequences and courses of action. This was demonstrated in a previous paper (Broth amp; Mondada, 2013): in this follow-up paper, we elaborate on the options that can be responsive to walking away, by focusing on actions that co-participants make in order to momentarily stopit, occasioning a delayed departure/closing. Delying walking awaymay be done, accountably, either as a continuation of the previous course of action, or as an initiation of a new course of action related to the present local position of the participants. The study is based on a large corpus of visits to different places and for diverse purposes, in French, Swedish and English. It also shows how trajectories of walking, their projections and their obstacles, are exemplary embodied practices revealing fundamental features of sequential organization - crucially related to the progressivity of talk, actions, and activities. (C) 2019 Elsevier B.V. All rights reserved.
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| 10. |
- Broth, Mathias, et al.
(författare)
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Getting Ready to Move as a Couple : Accomplishing Mobile Formations in a Dance Class
- 2014
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Ingår i: Space and Culture. - : Sage Publications. - 1206-3312 .- 1552-8308. ; 17:2, s. 107-121
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Tidskriftsartikel (refereegranskat)abstract
- The article focuses on how students in a Lindy Hop dance class move into a complex mobile formation as a sequentially relevant response to a directive embedded in the teachers verbal and embodied instructions of the next task for practice. This sequence of actions accomplishes a transition from a stationary constellation of observing students to a mobile circle of practicing dance couples. The article describes in detail how instruction is turned into practice in an emergent way, in and through the simultaneous accountable production and reception of qualitative instruction, practice proposals, structuring instructions, and count-ins. The analysis shows how student behavior is oriented to the couple as a relevant mobile formation and how couples gradually become more synchronized with each other.
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