A categorization of telecommunications services is presented, as a deliverable in a project commissioned by TeliaSonera.

Report produced in the project Enabling and Promoting Trust in Micro Service Environments (EPTMSE) with a web site at www.trust-eze.org. The report gives an overview of the concept of trust in domains such as psychology, sociology, philosophy, and computer science, and then describes the current domain of Micro Service Environments - open and unregulated electronic service environments - where users can create, use, and share electronic services, and where the need for decentralized trust mechanisms is high. Some design and implementation choices and solutions for trust mechanisms are suggested.

The first step in any design process is to set the stage for what to design and how that should be realised. In terms of user-centred design, this includes to develop a sense of who will be using the system, where it is intended to be used, and what it should be used for. In this chapter we provide an overview of this part of the development process, and its place in the design cycle, and some orienting design challenges that are specific to affective interaction. Thereafter we present a variety of methods that designers may want to consider in actual design work. We end by providing a set of examples from previous and ongoing research in the field, which could also work as inspirations or guiding sources in the early stages in a user-centred design process.

In this paper we describe the development and initial testing of a tool for self-assessment of affect while interacting with computer systems: the Sensual Evaluation Instrument. We discuss our research approach within the context of existing affective and HCI theory, and describe stages of evolution of the tool, and initial testing of its effectiveness.

The purpose of this chapter is to describe the design and evaluation process in the light of affective interaction. With a starting point in user-centred design we will explore what additional problems or opportunities become important when designing for affective interaction with computer systems. This chapter also provides a historical background to HCI ending with what is sometimes named the third wave of HCI – that is, designing for aesthetic, emotional experiences with and through technology.

This paper describes ongoing work on creating a dramatic gaming prototype. A specific problem is how to evaluate the game and the gaming experience as there are no existing methods specifically suited for this purpose. Two methods are presented that aim to capture different aspects of the players’ subjective experiences. One of the methods, the sensual evaluation instrument, is an experimental non-verbal method that attempts to capture players’ immediate emotional experiences. The other, Repertory Grid Technique, is a method for eliciting and evaluating people’s subjective experience of interacting with technology, used after the gaming session.

Interactive storytelling is a new form of storytelling emerging in the crossroads of many scholarly, artistic, and industrial traditions. In interactive stories the reader/spectator moves from being a receiver of a story to an active participant. By allowing participants to influence the progression and outcome of the story new experiences will arise. This thesis has worked on three aspects of interactive storytelling: plot, spectacle, and experience. The first aspect is concerned with finding methods for combining the linear structure of a story, with the freedom of action required for an interactive experience. Our contribution has focused on a method for avoiding unwanted plot twists by predicting the progression of a story and altering its course if such twists are detected. The second aspect is concerned with supporting the storytelling process at the level of spectacle. In Aristotelian terms, spectacle refers to the sensory display that meets the audience of a drama and is ultimately what causes the experience. Our contribution focuses on graphically making changing emotions and social relations, important elements of dramatic stories in our vision, salient to players at the level of spectacle. As a result we have broadened the view of what is important for interactive storytelling, as well as what makes characters believable. So far not very much research has been done on evaluating interactive stories. Experience, the third aspect, is concerned with finding qualitative methods for evaluating the experience of playing an interactive story. In particular we were interested in finding methods that could tell us something about how a players experience evolved over time, in addition to qualities such as agency that have been claimed to be characteristic for interactive stories. Our contribution consists of two methods that we have developed and adapted for the purposes of evaluating interactive stories that can provide such information. The methods have been evaluated on three different interactive storytelling type games.

In our research we made use of an instrument previously developed to facilitate nonverbal self-report of emotion, which consists of eight sculpted objects. We describe the use of this instrument in the assessment of three interactive storytelling experiences in a small user study and draw some conclusions about the instrument's effectiveness in supporting design.

In our research we made use of an instrument previously developed to facilitate nonverbal self-report of emotion, which consists of 8 sculpted objects. We describe the use of this instrument in the assessment of three interactive storytelling experiences in a small user study, and draw some conclusions about the instrument’s effectiveness in supporting design.

This paper describes experiences from development and deployment of the Lega, a hand held device for physical sharing of experiences during an art exhibition. Touching and moving the device in different ways creates a tactile trace that can be experienced by others through their own device. The system was successfully deployed at an art exhibition for two months where user studies were performed. Here we present some general observations regarding the systems performance and discuss issues that we encountered.

A diary provides a useful means to express inner thoughts and record experiences of past events. In re-readings, it also provides a resource for reflection, allowing us to re-experience, brood over or even shed the thoughts and feelings we've associated with events or people. To expand on the ways in which we creatively engage in diary-keeping, we have designed an affective diary that captures some of the physical, bodily aspects of experiences and emotions--what we refer to as "affective body memorabilia". The affective diary assembles sensor data, captured from the user and uploaded via their mobile phone, to form an ambiguous, abstract colourful body shape. With a range of other materials from the mobile phone, such as text and MMS messages, photographs, etc., these shapes are made available to the user. Combining these materials, the diary is designed to invite reflection and to allow the user to piece together their own stories.

There is a growing interest in designing systems for sharing experience through bodily interaction. To explore this design space, we built a probe system we named the Lega. In our 2-month-long research design process, we noted that the users' attention was set on their own reflective experience, rather than attending to the person(s) with which they were sharing their experience. To explain these findings, we present an inductive analysis of the data through a phenomenological lens to pinpoint what causes such behavior. Our analysis extends our understanding of how to design for social embodied interaction, pointing to how we need to embrace the tension between self-reflection and shared experience, making inward listening and social expression visible acts, accessible to social construction and understanding. It entails experiencing our embodied self as others experience us in order to build a dialogue.

This paper presents design requirements for expressive, avatar-based multi-modal messaging on mobile platforms. It is argued that expressive messaging needs to exploit context of peers, embodied appearance and behaviour, in combination with text. Our approach allows strong expressiveness and yet simple, on the fly message compositions required in a mobile, noisy setting. Technical challenges for a user ready prototype are sketched. It is argued that the context of usage between work-related stationary terminals and mobile ones is radically different.

We present a design for expressive multimodal messaging on mobile platforms. Strong context, simple text messages, and crude animations combine well to produce surprisingly expressive results.

The ultimate purpose with Socially Intelligent Agent (SIA) technology is not to simulate social intelligence per se, but to let an agent give an impression of social intelligence. Such user-centred SIA technology, must consider the everyday knowledge and expectations by which users make sense of real, fictive or artificial social beings. This folk-theoretical understanding of other social beings involves several, rather independent levels such as expectations on behaviour, expectations on primitive psychology, models of folk-psychology, understanding of traits, social roles and empathy. The framework presented here allows us to analyse and reconstruct users´ understanding of existing and future SIAs, as well as specifying the levels SIA technology models in order to achieve an impression of social intelligence.

Designing for mixed-reality performances is challengingboth in terms of technology design, and in terms ofunderstanding the interplay between technology,narration, and (the outcomes of) audience interactions.This complexity also stems from the variety of roles inthe creative team often entailing technology designers,artists, directors, producers, set-designers andperformers. In this multidisciplinary, one-dayworkshop, we seek to bring together HCI scholars,designers, artists, and curators to explore the potentialprovided by Design Fiction as a method to generateideas for Mixed-Reality Performance (MRP) throughvarious archetypes including scripts, programs, andposters. By drawing attention to novel interactivetechnologies, such as bio-sensors and environmentalIoT, we seek to generate design fiction scenarioscapturing the aesthetic and interactive potential formixed-reality performances, as well as the challengesto gain access to audience members’ data – i.e.physiological states, daily routines, conversations, etc

Repurposing refers to a broad set of practices, such as recycling or upcycling, all aiming to make better use of or give new life to physical materials and artifacts. While these practices have an obvious interest regarding sustainability issues, they also bring about unique aesthetics and values that may inspire design beyond sustainability concerns. What if we can harness these qualities in digital materials? We introduce Delete by Haiku, an application that transforms old mobile text messages into haiku poems. We elaborate on how the principles of repurposing -- working on a low budget, introducing chance and combining the original values with the new ones -- can inform interaction design in evoking some of these aesthetic values. This approach changes our views on what constitutes "digital materials" and the opportunities they offer. We also connect recent debates concerning ownership of data with discussions in the arts on the "Death of the Author."

The work draws on repurposing practices to inform design for deletion and handling of digital waste -- a way of letting go -- in graceful and aesthetically appealing ways.

Delete by Haiku is a mobile phone application that explores how deleting old text messages can become an enjoyable and creative practice by turning messages into haiku poetry. Through the application users interactively repurpose selected old text messages on their mobile phone into a haiku poem aided by a haiku-generating algorithm. By repeatedly pinching the selected messages they break apart into words that tumble down in a Tetris like manner. Gradually words are deleted until the remaining words find their position and form a haiku.

The video presents a walkthrough of how to interact with the application to select messages in various ways, how to apply "themes" to gain some control over the generation process, and eventually share created poems with others through social media.

We articulate and reflect on the use of nature as a physical sketching material. We have closely documented explorations of various organic and non-organic materials found during excursions in a local forest and how we used them as resources in sketching. This serves as an exemplar case of how sketching in interaction design can be grounded in empirical explorations of nature. We discuss three examples of sketching based on explorations and experiences with elements and objects from a forest. Processes and characteristics of phenomena in nature such falling leaves, melting and freezing of snow, and perennial growth allowed us to expand our design repertoire and sketching skills, especially as new forms of representations and interactions. Based on this we outline three aspects of how nature can be included in sketching processes: being in nature, bringing nature to the lab, and bridging nature and interaction design.

From the analysis of how the Lega, a touch, motion, and location sensitive device that allows museum visitors to share their experiences, we identified kinaesthetic dialogue as an orienting concept for the understanding and the design of movement-based social interaction and experiences. It provides an analytical lens which captures critical aspects of kinaesthetic action in aesthetic experiences, as well as for better understanding of how users appropriate such artefacts in interaction. We believe that kinaesthetic dialog is a promising candidate for a meta-concept to capture interaction design knowledge in movement based technologies.

In this paper, we present new types of web information services, where users and information brokers collaborate in creating a user-adaptive information service. Such services impose a novel task on information brokers: they become responsible for maintaining the inference strategies used in user modeling. In return, information brokers obtain more accurate information about user needs, since the adaptivity ensures that user profiles are kept up to date and consistent with what users actually prefer, not only what they say that they prefer. We illustrate the approach by an example application, in which conference calls are collected and distributed to interested readers.

The information overflow problem is not simply one of information retrieval and information filtering: the user (reader) might also require aid in summarizing the retrieved information and judging its accuracy and quality. This shows that there is a clear role for the information broker, the human expert that gathers, structures, and evaluates information. Typically information-brokering services of today utilize a predefined classification schema for information. Readers can individualize the service by selecting from the predefined categories. This approach has many disadvantages. First, the individual readers must select between classes of information that may be orthogonal to their real interests. Second, they are forced to use the broker's classification not only for retrieval, but also for structuring the retrieved information. Third, it becomes impossible for readers to indicate that they are looking for types of information that are not covered by the service. Finally, as the information changes over time, the classification schema may have to change. In the EdInfo project [1] we have chosen a different approach. Editors, information brokers, readers, and information services may all use different classification schemas, and change them over time. Techniques from collaborative and intelligent filtering as well as information retrieval are used to create tools that allow services, brokers, and readers to communicate and synchronize their classification schemas.

The main goal of the EdInfo project [1] is to utilize human information brokers, or editors, as a resource in adaptive information systems. An information broker can be any of the following: The dedicated expert that collects and potentially reviews literature within a restricted area of interest; The journalist that produces articles with specific reader groups in mind; The librarian that organizes incoming information and directs readers to various sources; The professional information broker, that processes specific information requests, seeks for appropriate information sources, and produces summaries of the obtained information. The common characteristic of these roles is that the information broker has some kind of understanding of what his or her customers want, and is willing to adapt to these needs. Information brokers collect information from various sources, evaluate its relative importance and then choose whether to include the information as it is, disregard it, summarize it, or perhaps rewrite or illustrate it differently than in the original source.