Tuning the Sonic Playing Field: Teaching Ways of Knowing Sound in First Year Writing

In recent years there has been a call within composition to include sound, among other modes, such as word and image in writing. Some of this call relies on a movement to multimodal composition in order to capture both the richness of rhetorical possibility and the reality of communities of practice, and some is in response to a perceived shift in writing due to digital media tools and environments. Regardless of the impetus for including the auditory realm in the composition classroom, it is important for the field of composition and rhetoric to develop further pedagogies of sound so that students are not simply offered the opportunity to produce diverse texts, but instead, are invited to enter “the playing field.” In order to do this I first explore an approach to teaching auditory rhetoric based on ways of knowing sound from an acoustics and musicology perspective, then I consider a phenomenological approach based on listening, and finally I construct a model of “tuning the sonic playing field” that draws on the literal, material practice of tuning as a metaphor for how sound may be taught in composition. The “tuning” approach to teaching sound draws on attention, embodiment, listening, and negotiation. Rather than simply offering students opportunities to use sound in rhetorically sensitive ways, this final approach asks instructors to become “attuned” to how different auditory epistemologies influence students’ ability to design and compose in sound.     

The body of Charlie Brown’s teacher: What instructors should know about constructing digital subjectivities

Although scholars from multiple fields, including rhetoric and composition, have studied and theorized how computer users can construct empowered subject positions with digital writing technologies, we have yet to articulate a rhetorical process for composing digital subjectivities. Past work has presented some unrealistic expectations related to digital empowerment and subjectivity. As compositionists and as digital rhetoricians, we need to develop and articulate rhetorical strategies that may lead to instructor empowerment. Here I examine rhetorical situations experienced by instructors, and I explore how they might use writing technologies to rhetorically position themselves in the classroom. To not only successfully revise their subjectivity, but also to teach students how to compose digital subjectivities, instructors should consider the ideologies that define the rhetorical situation, their knowledge of the technologies, and the ideologies that the computer industries have written into the technology.     

探讨基于认知心理学的网站交互设计原则

网站有着很强的交互性,与传统的报纸及电视媒体等均有很大的不同,可以与用户进行实时的交流,因此网站设计应充分考虑网站的交互性,才能发挥出网站独特的魅力,但是目前网站网页设计从很大程度还停留在平面设计的层次上。文章从认知心理学的角度研究网站交互设计的原则。将认知心理学中的观点引入到网站交互设计中,更深入的了解用户使用网站的特点及需求,提出网站交互设计的原则,以期能为网站设计的起到一点指导作用。     

Show, not tell: The value of new media scholarship

In this article, I consider the changing nature of publications in relation to technology and tenure, presenting a taxonomy of scholarly publications: online scholarship, scholarship about new media, and new media scholarship. I offer a focused definition of new media texts as ones that juxtapose semiotic modes in new and aesthetically pleasing ways and, in doing so, break away from print traditions so that written text is not the primary rhetorical means. By applying this definition to scholarly online publications, readers can be better prepared to recognize and interpret the meaning-making potential of aesthetic modes used in new media scholarly texts. I conclude by offering an analysis of a scholarly new media text, “Digital Multiliteracies.”     

Reclaiming Experience: The Aesthetic and Multimodal Composition

Recent scholarship points to the rhetorical role of the aesthetic in multimodal composition and new media contexts. In this article, I examine the aesthetic as a rhetorical concept in writing studies and imagine the ways in which this concept can be useful to teachers of multimodal composition. My treatment of the concept begins with a return to the ancient Greek aisthetikos (relating to perception by the senses) in order to discuss the aesthetic as a meaningful mode of experience. I then review European conceptions of the aesthetic and finally draw from John Dewey and Bruno Latour to help shape this concept into a pragmatic and useful approach that can complement multimodal teaching and learning. The empirical approach I construct adds to an understanding of aesthetic experience with media in order to render more transparent the ways in which an audience creates knowledge—or takes and makes meaning—via the senses. Significantly, this approach to meaning making supports learning in digital environments where students are increasingly asked to both produce and consume media convergent texts that combine multiple modalities including sound, image, and user interaction.     

The technical framework of interactive functions for course-management systems: Students’ perceptions,uses, and evaluations

This study explores the interactivity of course-management systems (CMSs). First, this study reviews the concepts of interactivity, interactivity dimension, and interaction type on the basis of related theories and studies. Second, this study analyzes the interactive functions attributable to the six major CMSs in Taiwan colleges and universities, and re-constructs a technical framework containing five interaction types, nine interactivity dimensions, and 83 possible interactive functions. This study has found that a total of 21 interactive functions were featured in the six CMSs, while six functions identified from theories and research were not. In terms of interaction type, the results indicate that these six CMSs possessed the highest percentage of possible interactive functions for facilitating human interactions (e.g., learner–learner interaction and learner–instructor interaction), followed by learner–interface interaction and learner–self interaction, with the lowest percentage corresponding to learner–content interaction. In terms of interactivity dimension, these six CMSs seemed more likely to feature a learner-centered design approach than a system-centered one. Also, this study conducted user surveys on students’ perceptions, use, and evaluation of these interactive functions. A total of 491 valid sets of data were collected from six CMS user groups. The results indicate that, for their online learning, students considered the function of “Assignment handling” to be the most known, frequently used, and useful function. In addition, students were well familiar with, and made use of, any functions that would help them monitor or track their learning process. Students required more content-related interactive functions than were currently available in CMSs. Last, the regression results indicate that the more positively the students perceived the CMS interactivity, the usefulness of CMS for learning, and the interactive functions, the more positively these students perceived their CMSs.     

An experimental study of learner perceptions of the interactivity of web-based instruction

An effectively designed interaction mechanism creates a shortcut for human–computer interaction. Most studies in this area have concluded that the higher the level of interactivity, the better, especially regarding interactive websites applied in the fields of business and education. Previous studies have also suggested that designs with a higher level of interactivity result in higher learner evaluations of websites. However, little research has examined learner perceptions as they interact with web-based instruction (WBI) systems in a situation with limited time. To assist learners in acquiring knowledge quickly, the interactivity design must make the web learning environment easier to use by reducing the complexity of the interface. The aim of the present study is to explore learner perceptions of three WBI systems with different interaction levels under time limitations. This study was therefore designed to provide a new framework to design systems with different degrees of interactivity, and to examine learners’ perceptions of these interaction elements. Three WBI systems were developed with different degrees of interactivity from high to low, and a between-subject experiment was conducted with 45 subjects. The results of the experiment indicate that a higher level of interactivity does not necessarily guarantee a higher perception of interactivity in a short-term learning situation. Therefore, the instructors must pay attention to modifying or selecting appropriate interactive elements that are more suitable for various learning stages. The findings provide insights for designers to adopt different degrees of interactivity in their designs that will best fulfill various learners’ needs.     

Exploring interactivity: user ability and the Chinese diaspora

Abstract

This paper focuses on two areas of enquiry, the phenomenon of interactivity and how ideas from outside of interaction design can expand our understanding of interactivity. Although generally seen as the user's ability to access information, interactivity's capacity can extend to the shaping of content and meaning. The paper proposes that visualities produced by diasporic individuals reveal the potential of users for reflexivity and intervention. It draws on theories of postcolonial identity and the mixing of cultural meanings of diasporic people to highlight the importance of allowing users to experience autonomy, agency and self-determination in digital media.     

What Interactivity Means to the User Essential Insights into and a Scale for Perceived Interactivity

The selection and use of media depend largely on how users perceive such media. A central aspect of the “new media” is their interactivity, but how users perceive this phenomenon has rarely been researched. This study provides an in‐depth investigation into the perception component of interactivity and develops a compact scale for its measurement. According to psychological approaches, practical uses (affordances) – not physical or technical characteristics – guide perception. While existing scales mostly measure whether the “interactive” technical features of devices or websites are noticed, our instrument is based on the affordances that interactivity provides. Consequently, a new research design, the use‐identified meaning, was implemented. This is the first study on interactivity that empirically examines a wide range of Internet‐based services, thus meeting the broad ambit of interactivity. Our results generally validate the existing constructs, which are largely based on technical characteristics, yet provide additional insights into the relevant contexts and the subjective significance of different aspects of interactivity.     

Investigating the affective quality of interactivity by motion feedback in mobile touchscreen user interfaces

Emotion is a key aspect of user experience. To design a user interface for positive emotional experience, the affective quality of the user interface needs to be carefully considered. A major factor of affective quality in today's user interface for digital media is interactivity, in which motion feedback plays a significant role as an element. This role of motion feedback is particularly evident in touchscreen user interfaces that have been adopted rapidly in mobile devices. This paper presents two empirical studies performed to increase our understanding of motion feedback in terms of affective quality in mobile touchscreen user interfaces. In the first study, the relationships between three general motion properties and a selected set of affective qualities are examined. The results of this study provide a guideline for the design of motion feedback in existing mobile touchscreen user interfaces. The second study explores a new dimension of interactivity that is the Weight factor of Laban's Effort system. To experiment the Weight factor in a mobile touchscreen user interface, a pressure sensitive prototype was developed to recognize the amount of force applied by the user's finger action. With this prototype, the effects of implementing pressure requirements on four different types of user interfaces were examined. Results show that implementing the Weight factor can significantly influence the affective quality and complement the physical feel of a user interface. The issues to consider for effective implementation are also discussed.     

A formal model for plastic human computer interfaces

The considerable and significant progress achieved in the design and development of new interaction devices between man and machine has enabled the emergence of various powerful and efficient input and/or output devices. Each of these new devices brings specific interaction modes.With the emergence of these devices, new interaction techniques and modes arise and new interaction capabilities are offered. New user interfaces need to be designed or former ones need to evolve. The design of so called plastic user interfaces contributes to handling such evolutions. The key requirement for the design of such a user interface is that the new obtained user interface shall be adapted to the application and have, at least, the same behavior as the previous (adapted) one. This paper proposes to address the problem of user interface evolution due to the introduction of new interaction devices and/or new interaction modes. More, precisely, we are interested by the study of the design process of a user interface resulting from the evolution of a former user interface due to the introduction of new devices and/or new interaction capabilities. We consider that interface behaviors are described by labelled transition systems and comparison between user interfaces is handled by an extended definition of the bi-simulation relationship to compare user interface behaviors when interaction modes are replaced by new ones.     

Beyond WIMP

The WIMP (windows, icons, menus, point-and-click devices) graphical user interface (GUI) is not an ideal interface. Expert users find pure WIMP GUIs frustratingly slow and thus use keyboard shortcuts. In addition, they don't scale well-GUI bloat accompanies feature bloat. The most serious limitation, however, is that WIMP GUIs were designed for keyboard-plus-mouse desktop computing environments-environments that takes advantage only of vision and primitive touch. Our goal should be to design user interfaces that match our human perceptual, cognitive, manipulative and social abilities. We want to interact as naturally with computers and intelligent devices as we communicate and collaborate with each other and as we manipulate our physical environments. Indeed, computers are increasingly being used to facilitate human communication, collaboration and social interaction. Therefore, we should increasingly focus on human-human interaction, not just human-computer interaction. This change in focus reflects not only changes in the mode of computer use but also the increasingly invisible nature of the computer in our environments. New environments must serve as forcing functions to give us far higher expectations for user interfaces than we have had previously. Furthermore, the potential of future interfaces for handicapped people is phenomenal. Thus, despite the technology challenges, the greatest challenge lies in our understanding of human capabilities and how to incorporate that understanding into new design tools, methodologies and user interfaces     

Promote physical activity among college students: Using media richness and interactivity in web design

Recently with widely available access, the web has emerged as a medium for new interventions. However, as yet, little is known about what makes some websites more effective than others. This study investigated an approach to developing websites that utilized two media characteristics – media richness and interactivity – to promote physical activity among college students. Four forms of websites were developed and tested in a 2 × 2 between-subject experiment (high vs. low richness; high vs. low interactivity) that was conducted among 205 participants. Overall, media richness had a significant main effect on college students’ intention to visit the fitness center while interactivity influenced the likelihood they would recommend it. Although media richness did not have a significant main effect on recommendation, a significant interaction effect was observed that rich media led to higher recommendation intention when interactivity level was low. In addition, knowledge, attitude and trustworthiness of the fitness center mediated the effects of media richness and interactivity on behavioral intentions. These findings support the efficacy of utilizing these media characteristics to design web-based health interventions promoting college students’ physical activity.     

Pen–tablet as a CAD interface alternative

Championed by major industry players, pen–tablet computing is an example of the trend towards ubiquitous computing and natural/intuitive human machine interfaces that offers engineers opportunities to change how they interact with and how useful computers can be for performing engineering tasks, in particular, design tasks. Recognising that engineers starting a new design reach first for pen and paper instead of CAD software, a broad survey on the state of the art relating to sketch driven design was done. This paper summarizes and analyses the survey's review of the roles new computer interaction devices can play in the initial stages of mechanical design where few applications exist to support the engineer. The paper starts by briefly reviewing the role of pen and paper in the design process and then discussing the potential of new interaction devices in mechanical CAD modelling, keeping most of the focus on the pen–tablet interface and the human machine interaction paradigms and modes that it makes possible. Context is provided using summaries of some of the survey findings and accompanied by comments regarding some areas worthy of future research. Comparisons between these new interaction paradigms and current windows, icons, menus and pointers-based (WIMP-based) CAD operation are also included.     

The Rhetorical Work of Multimedia Production Practices: It's More than Just Technical Skill

Calls for multimodal communication are being heard with increasing frequency in composition and professional communication. Oftentimes, however, teaching multimedia production is viewed by those outside of the field as simply a matter of imparting technical skill rather than facilitating development of diverse and significant literacies. A closer look at these practices reveals how the complex choices made during production regarding audience, content, technology, and media can dramatically affect the final text and its reception by users. Rather than viewing multimodal production work as just technical skill, I argue that it requires careful attention to both traditional and technological rhetorical considerations. Better understanding these varied rhetorical practices specific to new media supports us in helping students to appreciate the constraints and possibilities of composing and offers support for the value of our work with multimedia to colleagues in other areas of English studies.     

“Light green doesn’t mean hydrology!”: toward a visual–rhetorical framework for interface design

The utility of metaphor as a visual–rhetorical design framework has diminished dramatically, and continues to erode. Metaphor has two important limitations as it is commonly applied in interface design: (a) metaphors are indexical, pointing to physical artifacts that they represent, and (b) metaphors are static, that is, unwavering in their indexicality. Both assumptions are demonstrably flawed. In this article, I first critically examine metaphor’s limitations as a visual–rhetorical framework for designing, evaluating, and critiquing user interfaces. Next, I outline an alternate framework for visual rhetoric, that of genre ecologies, and discuss how it avoids some of the limitations of metaphor. Finally, I use an empirical study of computer users to illustrate the genre-ecology framework and contrast it with metaphor.     

Building a multimodal human-robot interface

When we begin to build and interact with machines or robots that either look like humans or have human functionalities and capabilities, then people may well interact with their human-like machines in ways that mimic human-human communication. For example, if a robot has a face, a human might interact with it similarly to how humans interact with other creatures with faces, Specifically, a human might talk to it, gesture to it, smile at it, and so on. If a human interacts with a computer or a machine that understands spoken commands, the human might converse with the machine, expecting it to have competence in spoken language. In our research on a multimodal interface to mobile robots, we have assumed a model of communication and interaction that, in a sense, mimics how people communicate. Our interface therefore incorporates both natural language understanding and gesture recognition as communication modes. We limited the interface to these two modes to simplify integrating them in the interface and to make our research more tractable. We believe that with an integrated system, the user is less concerned with how to communicate (which interactive mode to employ for a task), and is therefore free to concentrate on the tasks and goals at hand. Because we integrate all our system's components, users can choose any combination of our interface's modalities. The onus is on our interface to integrate the input, process it, and produce the desired results.     

Interactivity and memory: Information processing of interactive versus non-interactive content

Existing research on the effects of interactivity tends to treat it as a global characteristic of the interface. However, not all content on an interface is endowed with interactive features. Therefore, it is important to explore how interactivity affects the cognitive processing of those particular content that is presented with interactive features and the surrounding content without these features. With this objective, a between-subjects experiment was conducted to understand how levels of interactivity affect information processing among users of an e-commerce website. The major findings of the study are: 1) Higher interactivity enhances recognition as well as recall memory of interactive content, but diminishes recognition and recall memory of non-interactive content; 2) Individuals spend the least amount of time on the interface with high interactivity, while most of this time is spent on interactive part rather than non-interactive part of the interface; 3) A moderate level of interactivity attracts most user attention to product information. The findings about interactivity’s effect have implications for cue-summation theory and limited capacity theory. The experiment’s results also hold practical implications for e-tailers.     

The quest for appropriate models of human-likeness: anthropomorphism in media equation research

Nass’ and Reeves’ media equation paradigm within human–computer interaction (HCI) challenges long-held assumptions about how users approach computers. Given a rudimentary set of cues present in the system’s design, users are said to unconsciously treat computers as genuine interactants—extending rules of politeness, biases and human interactive conventions to machines. Since the results have wide-ranging implications for HCI research methods, interface design and user experiences, researchers are hard-pressed to experimentally verify the paradigm. This paper focuses on the methodology of attributing the necessary social cues to the agent, a core aspect of the experimental design of studies dealing with the media equation. A typology of experimental anthropomorphisms is developed, allowing an assessment of how the differing axiomatic assumptions affect the relevance of the results for an evaluation of the paradigm. The paper concludes with a series of arguments in favour of one particular anthropomorphism type for researching the media equation.     

Visualization rhetoric: framing effects in narrative visualization

Narrative visualizations combine conventions of communicative and exploratory information visualization to convey an intended story. We demonstrate visualization rhetoric as an analytical framework for understanding how design techniques that prioritize particular interpretations in visualizations that "tell a story" can significantly affect end-user interpretation. We draw a parallel between narrative visualization interpretation and evidence from framing studies in political messaging, decision-making, and literary studies. Devices for understanding the rhetorical nature of narrative information visualizations are presented, informed by the rigorous application of concepts from critical theory, semiotics, journalism, and political theory. We draw attention to how design tactics represent additions or omissions of information at various levels-the data, visual representation, textual annotations, and interactivity-and how visualizations denote and connote phenomena with reference to unstated viewing conventions and codes. Classes of rhetorical techniques identified via a systematic analysis of recent narrative visualizations are presented, and characterized according to their rhetorical contribution to the visualization. We describe how designers and researchers can benefit from the potentially positive aspects of visualization rhetoric in designing engaging, layered narrative visualizations and how our framework can shed light on how a visualization design prioritizes specific interpretations. We identify areas where future inquiry into visualization rhetoric can improve understanding of visualization interpretation.