The To-and-Fro of Sense Making

Abstract

Based on case studies from a heritage/museum context, I present and illustrate the notion of "spatiocontextual embedding," which conceptualizes installation designs that augment real objects and environments while keeping these primary focuses of attention. Key for this "embeddedness" is that interaction is contextualized within a meaningful setting, creating relationships between system and environment. While retaining a focus on original objects or environments, it supports user's active engagement and sense making by inviting, enticing, or forcing them to draw connections. At the heart of this is "indexing": mindful acts of referencing back-and-forth between here and there, connecting objects or representations. Analysis of case studies provides a repertoire of examples of "indexing," and examples for high-and low-tech installation designs that foster drawing of connections.Two core values for design underpin the argument: (1) primacy of real objects and environments and (2) supporting human agency. The case examples highlight how technological arrangements may support or hinder indexing activity. This is condensed into potential design strategies. This article contributes to design knowledge on design for human agency, sense making, and mindful engagement with our environment. "Indexing" is relevant beyond the heritage setting domain, as part of HCI design in support of human agency. CCS Concepts: r Human-centered computing → HCI theory, concepts and models; Empirical studies in interaction design; Ubiquitous computingAdditional Key Words and Phrases: Embedded interactions, embodiment, situated interaction, indexing, museum installations, interaction design strategy, augmented environments, engaging user experience ACM Reference Format: Eva Hornecker. 2016. The To-and-Fro of sense making: Supporting users' active indexing in museums. ACM

A Survey of the Trajectories Conceptual Framework

“…All of these critiques argue that trajectories are too structured [65,71,80], too close-ended [52,62], or involve too much authorial control and too little agency for participants [37,52,64]. Some of these critiques are justified by explicitly stating what characteristics of experiences fall outside the remit of trajectories (e.g.…”

Fighting Fires and Powering Steam Locomotives: Distribution of Control and Its Role in Social Interaction at Tangible Interactive Museum Exhibits

“…Micro-analysis of video-audio data by Hindmarsh et al [30] revealed playful social interactions between visitor companions, and highlighted the role of non-verbal 'co-participation', through observable bodily orientation, gesture, gaze and visible manipulation of exhibits, which contribute to people's sense-making and to social coordination. A micro-analysis of visitor interactions with two versions of the Jurascope (a telescope-like AR-view and a large screen relating to artefacts in the room) revealed contrasting conversation patterns and inability to communicate with peers from the telescope, as well as how visitors would frequently 'index' back and forth between objects in the room and related depictions on-screen [36]. Therefore, we approach our research studying visitors' interaction with the exhibits and the social interactions through the analysis of video-audio data.…”

“…Companions engage in a wide range of social behaviors and situations while visiting a museum. These include; commenting and laughing together at content [50]; seeking or sharing information [6]; co-creating fictional stories together [60]; negotiating turn taking [8]; sharing emotional reactions [67]; observing others interact [5,50,64]; suggesting ideas and creating content together [50]; physically sharing control of an object by pushing or moving it in the space at the same time [15,35]; mediating other people's interactions [53]; or sharing by pointing out aspects to each other [6,36,47]. Ultimately, the social aspect is a core element of the museum experience [23] and it is important to understand if and in what ways hands-on interactive exhibits in museums support the social dimension of the museum experience.…”

The Balance of Attention

“…This is where visitors are trying to simultaneously make sense of both a real and virtual place. Hornecker argues that technology that is spatially contextualized and physically embedded makes indexing easier and thus results in increased engagement from participants [28], although she stops short of suggesting ways in which this can be achieved. Karapanos at al.…”

“…Distractions in the environment, within the device, and structural misalignment between story and place (such as poor placement of narrative elements, or differences between story structure and navigational routes) can easily disrupt the reader's balance of attention. Horndecker is talking about discord when she discusses the challenge of indexing -simultaneously making sense of real and virtual place [28], and the difficulty of holding both things in mind at once.…”