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Market pressure to access wider markets, whilst reducing costs of delivering support to distant clients, is driving the demand for systems that support remote delivery of customer service. Although systems have been developed to meet such demand, the delivery of remote mining engineering services posts unique challenges that require specific attention. In this paper, we report a study conducted as part of a collaborative project between CSIRO and a company specialising in the provision of mining engineering services, to understand user requirements for delivering mining engineering services remotely. In this study, we employ an approach that applies user-experience design methods, combined with scenario-based software design techniques in requirements elicitation and analysis. We review related work, describe the procedure and techniques of the approach, present our design recommendations and discuss future work.

In 2012, EXIST initiated the Live Art National Network Development project (supported by the Australian Council for the Arts), an online resource launching March 2013 www.performancemap.org This website currently maps the Australian network of practitioners, venues and curators, enabling artists and curators to better connect and work together. In 2013 and beyond in collaboration with software engineer Kerstin Haustein, Performance Map will grow to be a digital mapping of the global performance art, action art live art network from 1975-present, cataloguing existing archives and online sources. Although multiple sources will eventually be part of this map, the current primary source of archival data is Die Schwartz Larde or The Black Kit www.asa.de, the largest known performance art archive in the world with access provided by Boris Nieslony. The archive element brings into the 3D global map and historical element, a time scaling slide will allow users to look back in time and uncover the evolution of the network from 1975 to present. The archival element is currently still in progress. Performance Map will also function as a live streaming state for performance art, that allows video streaming from Smartphone via the purpose built application. Future events are automatically incorporated into the map utilizing predictive network modelling and various coding techniques. The website will also collect and collate existing performance archives of artists, festivals, email lists, facebook pages etc. This website seeks not to replicate existing materials or databases such as the National Review of Live Art Archive at Bristol University [www.bristol.ac.uk/nrla], The European Live Art Archive [http://www.liveartarchive.eu] or UbuWeb [http://www.ubu.com/], but rather aims to collate, visualise the data as an accessible and user friendly resource. This paper demonstrates the current operational scale and scope of the Performance Map Live Action Art International Network and discusses future development stages. Overview of Performance Art sector: work and network Performance art is a niche genre within the performing arts that has seemingly actively sought to evade definition and institutionalisation for decades. A definition by performance art historian and curator Rose-Lee Goldberg states that although the genre defies definition, it may be thought of as 'live art by artists' (1998: 12), although every performance artist approached by Goldberg appeared to have their own personal definition. This definition of performance art relates to the practice of live art and action art; enveloping the key elements of the practice which are experimental, experiential and ephemeral (Goldberg, 1998; Phelan, 1993). Performance art emerged around 1960 from the work of the Viennese Actionists, as well as from the cultural movements of Futurism, Dada, Fluxus and experimental theatre (Goldberg, 2004). There is a long tradition of community involvement and political activism in performance art, with a focus on humanitarianism, activism, and...