Friday, February 09, 2007


Kirstie Willis - DFIM - UWIC- Production Processes -
Web Report Assignment

Introduction & Background
On the 12th December 2006 Myself, John, Lee, Nick and Nigel visited Sequence. Sequence is Wales' largest Internet services agency and provides web solutions to major blue chip clients including Volkswagen and Panasonic, as well as a large public sector presence having worked for BBC, National Assembly of Wales and the Welsh Tourist Board, and many others. They also offer web development and branding services, and a range of web based solutions including streaming media and mobile data. Marketing magazine ranked Sequence among the top 50 agencies in the UK. They were named as one of the fifty fastest growing digital companies in the UK (Source: 2006 Media Momentum Awards) and have now been officially recognised as the largest agency in Wales for five years running (Source: New Media Age Magazine, New Media Top 100 Agencies guide 2005).

We met with Richard Shearman, who is currently working as an Account Director at Sequence, but was a Project Manager for 5 years previous to that. The purpose of our visit was to look into the role of the Project Manager and at what Project Life Cycle methodologies are deployed during the Production Processes. A list of the questions we asked can be found in the appendix.


The way in which Sequence gains work is split through a number of channels. They have work that will be completely speculative that they will pitch to a number of channels for example the BBC. The BBC’s commissioning process works by you pitching ideas to them. They put some work together that they think the BBC would like and pitch it to them, if they like it they will ask the BBC for some money to explore the idea. The BBC also run innovation labs and new technology workshops where they develop ideas. The aim of the workshops to aim is to get agencies and people in the private sector to develop ideas alongside the BBC with the BBC provide funding from r & d core. Other speculative work is tendering for contracts along with other companies.

They also put ideas together for existing clients that they think they will be interested in. A large percentage of their work, (about 40/50%) comes from client led leads. For example a client who they have done some work with in the past, who have a business need, will approach them for some work. Sequence will put a package together for them, for a budget that suits them. Usually a few options that meet the needs of the client but with different budgets, timescales and techniques / products.

Sequence is split into a number of teams, they have a

whose main role is to develop contacts, a sales team work with potential clients that they don’t have any existing business with and also to develop ideas with emerging technologies.

Who look after existing client base first and foremost. The reasons being that
  • they already have a good working history with the client
  • they have already had money from the client
  • the already had money off them
  • they already know type work Sequence does
  • They also look after repeat business.
Once initial contract has been won it then done it will be passed on to a Project Manager .

Manages Design and Development, liases with external suppliers, development teams,. The project manager also looks after the invitations to tender and putting proposals together for speculative work.

Ideally Sequence would like to keep all aspects of a project in-house but sometimes it’s not economically possible to do so. They have a small team of contract workers who they use regularly. The skill they outsource most is complex flash development for action scripting for large jobs. Freelancers are also used when there is a heavy workload from a client wanting something quickly. All paper based printing goes to an external suppliers.

At Sequence they use one of a number of different project cycles depending on the client and project genre. For Websites which they will be designing, developing and hosting the project follows this cycle:-

Sales Team will win the work

An Account Manager will get an order form for some new work off an existing client
Next step is to start producing documentation for the project
Initial visual ideas for website
Project initiation document which will include:- contract, scope, timescale, costs, key performance indicators for the client, What the client wants the website to achieve and how they will judge if its successful or not .

Sequence will also include technical documentation. If it’s going to be a difficult project or anything non standard we will produce full technical documentation.
Will always produce a functional specification for every piece of work so a client can sign it off .
This ensures the client knows what they’re getting and the designers and teams know what they’re expected to be building.

Length of time project initiation phase lasts varies. Bigger projects would be most likely to have quite a few iterations of producing visuals. Whereas other clients may just want a homepage and a standard web design template on all of the pages and they can create pages as and when they want in-house. Other clients may want a website that’s very much web 2.0 or very design heavy. In this case Sequence will specifically design every page for them and get them to sign off the designs for each page. A web project will have these stages in its life cycle.

  • Sales
  • Project initiation
  • Development
  • Testing (quality assurance)
  • Deployment of the final project
Some clients have on going maintenance agreement and or support contract for them which can vary for some it will be producing fresh content for them ongoing translation for some it will be working with them on a maintenance contract

It is Important to sign off every stage and they use one of two main approaches to this. One is the very formal methodology PRINCE 2. This is a very rigid methodology and it is tended to be used whilst doing work for the public sector e.g. the National Assembly for Wales, as it is the methodology that they use for running projects internally.

The other methodology used is DSDM. This is a more agile method of development that gives the client more involvement. The DSDM design process is illustrated in fig.1. This is the method that is used more often. The difference between DSDM and PRINCE 2 is that with DSDM your assuming that the client will want to change their mind as they go through there’ll be much more prototyping. The client might know what they want the whole thing to do when they order it or they might want the flexibility of having a few pages put up and see what they think about them and then they add on functionality as they go through the iterations.

Commercially what they would do, rather than agreeing a fixed cost and fixed time per project. They will say to the client that they've paid for this many hours of design and a number of days development and what they are spent on is very much up to the client . There will be far more iterations and sign offs with the client. Using DSDM. you still know what the overall goals are and how much of a budget you have got to spend. On the surface it look a bit tricky to work out how you'll get something the clients happy with if you haven’t got the overall scope of the project worked out before hand.

Fig 1. The DSDM Development Process

To assist them they use a method where every element required as part of development is defined as a
  • Must have
  • Should have
  • Won’t have
If mid project the client wants to change an element from a should have to a must have then they make another element from the must have less priority. So the client is shaping the project during development.

Other projects that they use a different life cycle to develop would be for example if they were preparing graphics for something which is very text heavy at initiation. They would work out what the client is having and when and how much its going to cost. They would then keep doing design iteration until the client is happy, it would then go to printers for a proof. The proof is then checked and signed off before it goes into production.

Everything is collaborated with the client through the sign off process of documentation. A client won’t sign something off if they’re not happy with it. From a design point of view. Collaboration will come in really in only one or two stages.

If it’s an invitation to tender with a client they don’t know and are one of many companies pitching, they will often send a printed proposal with some sample designs of what they think the client might like. This process is carried out as a Sales Tool and shows that they have researched their industry and know who their competitors are and what they are doing. The client does not necessarily have to have the designs it’s really just utilised to showcase Sequence’s ideas and hopefully the client might want to work with Sequence as a supplier.

Once a project has been won the first thing they do is run a design workshop, using a design briefing proforma that Mark Johnson (Creative Director) has put together some questions can be answered straight away and others need to be taken away and given a little thought over it includes questions like name the types of websites do you like? The ones you don’t like? Who, what is your target market, age audience and backgrounds? They believe it is best to understand what the client wants so they can come up with designs that fit the purpose of the project. The client is paying for their expertise, if they didn’t want input from Sequence they would just design in house, sketch it on paper and do develop it in Front Page.

They see their role with the client very much one of collaboration. They try and encourage the client to work with them to produce visuals they’re happy with, sometimes this will take lots of rounds of visuals and sometimes they’ll hit the nail on the head first time. The client will say “yes that’s what we wanted” and they’ll sign it off with few or no amends to it. Once the client has signed off the visuals they won’t see it during the development stage where there is no working functionality, until they do the first handover to them. They then work again with the client through the alpha testing phase which is where they’re putting their content and making design amends as and when necessary to fit with their content and they also help them with how they should lay their WebPages out. Templates and advice are given on how to lay out the content.

They believe in keeping the channels open between themselves and the client and have Project Support Officers working with Project Managers and Account Managers on every project. If a client has any queries they will ring and speak to the Project Support Officer. Throughout the design process clients will be coming back and forth with small changes or queries and it is a two way process.

A lot of the groundwork is set out during project initiation and a working methodology is agreed. Along with how often the client will be provided with formal progress reports and how many hours of client contact they’re expecting to have.

There’s no hard and fast rules of collaboration with the clients it very much depends on the type of client it is as well. If working with the finance director of a bank it’s going to be a very different relationship to a marketing officer form an arts film fest . We try ensure that we’ve built the team specifically for the job in hand. The Sequence team is tailored so that the client is working with team members that they feel happy with.

Testing goes on throughout the production process. The testing program for general sites is that every area built is tested in isolation. It is then tested by a developer when it is all put together to ensure it works functionally. At various stages during the development phase the designer for the project gets involved with the developers to ensure they have interpreted the design correctly. Designers will quite often like a lot of control over the final product looks before it goes to a client and again before it goes live.

With regards to usability, functionality testing is done at unit level by the development team. Then the will test it completely from beginning to end against the specification and also from a usability point of you. Something that may have worked in paper may not necessarily be user friendly in practice. Once the quality and testing department are happy with the functionality, workflow and design it goes over to the client for user acceptance testing. The client then re-tests it using real content. Nothing goes until it has been signed off by the Account Director Project Manager and the client.

With regards to expert testing it depends what the project is. They do quite a lot of work for the disabled community. In the past they have undertaken work for Disabilities Rights Commission Wales, Cardiff Institute for the Blind, North Wales Institute for the Blind, RNIB Cymru, Disability Wales. They would use expert testing when working on a project for a client in the disabled community.

Another area that would require expert testing would be a project aimed specifically at children. They would get children in test this type of project as it is not possible for an adult to think exactly like a child . Other types of expert testing would be if an project was aimed at a specific market


i. The questions that we prepared for the interview with Richard Shearman at Sequence.
  1. Is the majority of your business client based or speculative work?
  2. How is your team structured in terms of in house and freelance expertise?
  3. Do you use a standardised project cycle model on each job?
  4. How do you encourage collaborative working and successful communications with your clients?
  5. How do you test your work before completion i.e. User / Expert Testing ?

Tuesday, January 16, 2007

production processes links

Methodology of Multimedia Production:-

Production Process:-

Multimedia Asset Production:-

Managing multimedia:-

Sunday, December 10, 2006


Also missed Tues and Weds lectures this week cos my son was still unwell. The meeting at Sequence is arranged for next week. These are the questions we have prepared to ask at the meeting

1. Is the majority of your business client based or speculative work?
2. How is yur team structured in terms of in house and freelance expertise?
3. Do you use a standardized project cycle model on each job?
4. How do yu encourage collaborative working and successful communications with your clients
5. How do you test your work before completion, i.e User/Expert Testing?

We have emailed the questions to Sequence so they have time to prepare the answers.
I am looking forward to visiting Sequence next week .

The work for the remainder of this module can be found on my:-Live Doritos Brief Blog

Wednesday, December 06, 2006


The proposed activbity for this lecture was to work in small groups and analyse the YCN and D&AD live competition briefs.

As i was the only one to turn up for this workshop today it wasn't possible to work in groups on the proposed task. So Stuart and I looked at the winning entries and how they had followed the brief set. We then looked at this years YCN & D&AD briefs and we decided on looking into the Windows Live Brief in more detail.

Tuesday, December 05, 2006


Untunately due to my son's ill health i missed the two lectures they had this week. The lectures were on project life cycles and project manager responsibilities. I have viewed the powerpoint presentations for these lectures and also borrowed the England & Finney books on Managing Multimedia and also a book called Web Sites That Suck by Willis and Flander (1996) from the library.

John, Nick, Nigel and Lee have arranged for us to visit Sequence next week on 12/12/06

Saturday, November 25, 2006


The multimedia production company, whose website I’ve chosen to evaluate is called Sequence.

The company’s name and the 8 navigation buttons and the bright pink colour theme provide visual consistency throughout. The bright colours also give the site a modern and happy vibe.

The home page is simple and uncluttered. There are only two images one, being a snapshot of a site design by Sequence for Traffic Wales, which is part of the Welsh Assembly Government. Seeing that Sequence has such a high profile client prospective customers viewing the site will be reassured that Sequence is a reputable company.

Under the heading Welcome on the left of the homepage informs that the company has been trading since 1995. That Sequence has undertaken work for household names in both the public and private sectors. It also gives brief description of what digital is and how multimedia technology can be used communicate, entertain and educate The Welcome section conveys the message that Sequence can relate well to clients who have little or no prior technical knowledge.

The home page also features Latest News where you can read news articles
On Sequence or the sites designed by them. You can explore Sequence by entering your query in the search box.

I am looking forward to visiting Sequence and finding out more about the company and its production processes.

Wednesday, November 15, 2006

Production processes Part 1

Part 1 of Production processes is Project Management & Analysis

Our brief is to undertake research on the local multimedia companies. The website has a directory that will assist us in the search.

Choose one particular company and look at the front door of the company in detail. The front door being the company’s website

Look at:-
What it says about the company
What we can find out about the company from the website
How site akeys to what work the company is actually doing
Look at the visual language used

Big Images = Images are important
Text heavy = Text is important
Is it Fresh / Sexy / Formal / Corporate

Monday, November 13, 2006

BA/BSc Design for Interactive Media: - User Centrered Design Assignment

Introduction & Background
This is a report on my re-design and testing of my Kodak Easyshare V610 Digital Camera using a User Centered Design Approach. The reason I am re-designing the camera is for my Design for Interactive Media module titled “User Centered Design.”
An evaluation of the Kodak Easyshare V610 Digital Camera was completed for an assignment for the course’s previous module titled “Design for Interaction”. This can be viewed by clicking on the link below

Stage 1 - Re-design of the product and building a prototype

Stage 2 - Evaluation of the re-designed prototype

For stage 1
I followed Preece et al (2002) interaction design model and Mayhew’s(1992) General Principles of User Interface Design in the re-design.

For Stage 2
I used Neilson’s (1993)Discount Usability Evaluation

Stage 1

Identifying needs and establishing requirements A usability study of the camera before re-design consisted of direct observation of the user carrying out the task of sending a photo via Bluetooth to another mobile device with a security code. The users would want to use a security code if the transfer took place in public. I also compiled a short questionairre for the volunteers to complete after the testI tested the camera's usability on 4 volunteers. The Kodak Easyshare V610 would be used by both amateur (novice) users and semi-skilled photographers (intermediate) it is unlikely to be used by an proffessional photographer (expert) as a proffessional would have much more sophisticated equipment. It would be used indirectly by someone taking a photo for the cameras owner or directly by the owner themselves. The camera may be used infrequently or frequently. It's users could come from all age groups with no, limited or lots of prior technical knowledge and they may or may not have used a digital camera. A typical user would be someone who has a family or enjoys socialising and have purchased the camera bringing with them little or no knowledge of digital cameras to record their memories. I tried to get testers who were from different ranges of the demographics who would be llikely users of the camera.

Tester 1

Age: 10

Sex: Male

Owner of digital camera : No

Prior technical knowledge: little

Tester 2
Owner of digital camera:Yes
Prior Technical knowledge: Limited

Tester 3
Age: 23
Sex: Female
Owner of digital camera : Yes
Prior technical knowledge: little

Tester 4
Age: 22
Sex: Male
Owner of digital camera : Yes
Prior technical knowledge: Lots

3 out of the 4 testers did not manage to complete the task set.
All four said they probably wouldn't remember where to find the Bluetooth security options a second time.
Only one tester thought the task was easy to carry out
3 out of the 4 testers did not manage to find the Bluetooth set-up menu which contains the option of setting a security code .
All four testers commented that the lack of any meaningful grip on the back of the camera means it doesn't feel that safe when shooting, nor is it easy to keep stable when using the long end of the zoom. I only felt safe when the strap was firmly wrapped around my wrist All Four testers found the buttons too small


I am not going to re-design the whole camera as it would make a very large assignment so i'm just going to re-design the problems highlighted by the usability test, by my previous module's "Design for Interaction" assignment and by my own observations. Also those brought to light by the direct observation and those highlighted in the questionnaire (Appendix 1) and user interviews.

Mayhew’s(1992) General Principles of User Interface Design.
I took Mayhew‘s (1992) General Principles of User Interface Design into consideration in my re-designing of the camera

The main problem in the menu structure that was crying out for redesign is the security options for Bluetooth. At present to complete the task of sending a photo to another device (in this case my mobile phone) using Bluetooth with a security code you need to firstly access the set-up through the menu button and then go to the Share Menu to send the picture.
The image below shows the hierarchy of the two menus required for completion of the Bluetooth task ""

Ease of learning
There is now only one menu that needs to be accessed to complete the task. This makes the task easy to learn and the user will be much more likely to remember the steps required to complete the task in the future.

Ease of use
From my usability study and my own observations I have decided to re-design the controls on the rear of the camera to make them more accessible and to ensure they were not pressed accidently when pointing and shooting. Also i have added grips to each side of the rear of the camera


I used a Low Fidelity Prototype for my re-design. I decided against using a HIgh Fidelity prototype as i didn't feel confident having had no previous experience with them.
This is the paper Prototype used in the test

To test the ergonomic (physical) design of the camera I used photoshop to design a 1:1 2D prototype

This is the original design and the re-designed prototype of the camera

Stage 2


I tested my prototypes on the same volunteers I used in my usibility study. I again used a direct approach in observing the testers. They completed the same questionairre as before and I held interviews afterwards.
All users found the new lay-out of the buttons easier to manipulate and said the camera felt steadier whilst holding it.

Neilson’s (1993) - D.U.E (Discount Usability Evaluation)

Using the guide below i evaluated the re-design against Neilson's (1993) Heuristics

1 = cosmetic issue
2 = minor problem
3 = major problem
4 = catastrophe

Use simple & natural dialogue Score 0
The interface uses simple and natural dialogue
Speak the users’ language - Score 0
The interface speaks the users’ language
Minimise memory load - Score 0
This new design minimises memory load
Provide consistency - Score 0 -
The menu is consistent
Provide good feedback - Score 3
There is no feedback on the Bluetooth menu
Provide clearly marked exits - Score 3
There is not clearly marked exits on every level of the Share menu
Provide appropriate shortcuts - Score 3
There are no shortcuts on the Share / Bluetooth menu
Provide good error messages - Score 0
Good error messages are provided
Prevent errors if possible - Score 3
Provide a good help facility - Score 3
No help facility provided

Conclusions / Recommendations

From my Heuristic Evaluation I can conclude that there is still re-designing that could be done on this cameras Bluetooth feature. I would recommend that the following factors be considered whilst planning a further re-design
Providing good feedback
Providing clearly marked exits and appropriate shortcuts on the Share / Bluetooth menu
Error prevention
Providing a good help facility
There has been no indication that the external rear controls need to be re-designed at present as all 4 testers were happy with the design.


Preece et al., 2002. Interaction Design. John Wiley & Sons Inc.

Nielsen, J., 1993. Usability Engineering.

Norman, D., 2001. The Design of Everyday Things. MIT Press


Appendix 1 - Questionnaire
Task: Send a photo via Bluetooth to my mobile phone using a security Passcode.
Please circle your answer

1. Did you complete the task set? Yes / No
2. Do you think you’d remember the actions needed to complete the task a second time? Yes / No
3. Did you find the task easy? Yes / No
4. How easy was it to find the security set-up menu?
Easy / Moderate / Hard
5. Did you find the camera* comfortable to hold? Yes / No
6. Did you accidently press any buttons when you didn’t mean to? Yes/No 7. Did you find the buttons easy to use? Yes / No

Tuesday, October 31, 2006

UCD Assignment

BA/BSc Design for Interactive Media (Top-up) 2006/07
ADM302 - User-Centred Design


Tutors: Stuart Neil and Debbie Lamont

Assignment Introduction.

There are three aspects to the assessment:

Assignment and presentation of personal work (75%)
Contribution to discourse through seminars and tutorials (10%)
Personal Progress Journal (15%)

The assignment will consist of a written report, prototype and presentation.

Work done for the module should be reflected in your online personal progress journal.

The assessment of this module is based on the aims and learning outcomes which you will find in the module handbook.

Marking criteria

A Pass will be awarded where students successfully undertake the following:
Evaluate forms of interactivity relating to various technologies and contexts
Critically appraise developments within a number of disciplines relating to the design of interaction
Identify and evaluate concepts for both conventional and novel forms of interactive software products or systems
Consider technical requirements and possibilities for the design and development of interactive products or systems
Critically assess issues pertinent to the designing for communities and for collaboration

A Merit will be awarded where students as well as addressing the above, show the ability to:
Combine existing elements to create something new
Communicate your ideas clearly
Plan your work well
Form hypotheses from your research
Draw conclusions from your research

A Distinction will be awarded where, as well as the above, students demonstrate the ability to:
Make a judgement using a recognised standard
Make generalisations from your conclusions
Develop evaluation criteria
Make decisions
Identify subjective values in your research

Assessment Schedule

Handout Date
Submission Date
Written Report

PP Journal

Module Schedule


Debbie Lamont & Stuart Neil
Introduction to module
Stuart Neil
Practical Development
Debbie Lamont & John-Paul Jones
Design Prototyping and construction
Stuart Neil
Practical Development
Debbie Lamont & John-Paul Jones
Testing and evaluation
Stuart Neil
Practical Development
10am – 4pm

Debbie Lamont & John-Paul Jones
10am – 4pm
Stuart Neil

Overall Aim

Using a user-centred approach, you are going to redesign the product chosen in the previous module (‘Design for Interaction’), create a prototype of your redesign and then test it for usefulness and usability.

You will be required to submit a written assignment in formal report format (1000-1500 words) (to be published within your Blog) incorporating stages one and two of the assignment (detailed below).

Stage One - Redesign

Based on your evaluation of the original product from the last module (‘Design for Interaction’), you are going to redesign the product and produce a prototype using appropriate development methods and prototyping techniques.

Your written work will be marked on the following criteria:

Ø Demonstration of an understanding of the user-centred design methods and prototyping techniques chosen by discussing, evaluating and justifying the approach taken and practical application of them;

Ø Relating the redesigned product to the concepts & principles of key thinkers in the field of HCI & Usability (e.g. Jakob Nielsen, Donald Norman, Jenny Preece, Christine Faulkner and Ben Shneiderman);

Ø Implementation of theories learned from the ‘Design for Interaction’ module (e.g. consideration of the core cognitive processes, creating an accurate mental model for the user, appropriate use of interface metaphors and styles of interaction adopted).

Your prototypes will be marked on the following criteria:

Ø Choice of appropriate prototyping and development methods;
Ø Effective application of specialist technical and practical skills.

Stage Two - Testing

Evaluate your redesigned prototype using Nielsen’s Discounted Usability Engineering method (‘DUE’).

Your written work will be marked on the following criteria:

Ø Demonstration of an understanding of the DUE technique by discussing, evaluating and justifying the approach taken and practical application of it;

The write-up of the test results and recommendations made for a further redesign.

Stage Three - Presentation

You are required to make a 15-minute presentation to the rest of the class. The presentation will pull together all the work you have done for this module, i.e. redesign and testing. It will also allow you to explain how successful (or not!) your approach was and any problems encountered during the development lifecycle.

It would be useful to begin with a brief introduction on the original design of your product (from the ‘Design for Interaction’ module).

If you did not have time to incorporate the recommendations from your testing into a further redesign, please ensure you discuss/show visuals of a possible redesign at the end of your presentation.

Similarly to the preceding module (‘Design for Interaction’), your presentation will be marked on the following criteria:

Ø Presentation delivery;
Ø Structure of presentation;
Ø Content of presentation;
Ø Relevance of material;
Ø Use of visual aids.

Wednesday, October 25, 2006

C.C.S - Participation

On Mondays session we talked about participation and what it meant to interactive media. The clue is in the title interactive media as you couldn't have interaction without participation. Simon has been in the media quite a bit since his exhibition at Chapter opened. The exhibition entitled 'Gallery Space Recall', is indeed an empty gallery, with nothing but the words 'You are invited to recall from memory a walk through a gallery space' written on the wall. This is a link to the gallery

and one to the article that made front page of the South Wales Echo

Tuesday, October 24, 2006

user centred design

we were introduced to a new module by Debbie this morning. The module is User Centred Design.

Design to create user experiences through interactive products.

1. Ask user what they want / what they involve
list of requirements - useability / usefullness
2. Develop alternative designs - different alternatives

a)conceptual - what we want it to do
b)Physical - colour, fonts etc
Think aloud processes 2/3 different prototypes

3. Building - Prototyping development methods

4. Testing and evaluating design

5. Final development

It is an iterative process (stages 1-4, 1-4 , 1-4,1-4,5 )we keep going through till users are happy before trial development

Use neilson, normans, principles
think aloud processes

we looked at how we create alternative design
user input , self input, alternative designs of similar products, colleauges input
time constraints

We looked at how choose alternative design?
testing and evaluating, feedback, feasability - financial, technical, time, staff
Most clearly meets the criteria of specification

we looked at how the ddesign stages are related
Lifecycle models eg waterfall methods

Question why we choose a particular method
Why we didn't chhose a different method

our assignment for this module will be to redesign product chosen for previous hci module

Friday, October 20, 2006

Contemporary Contextual Studies - Session 1

Session 1

Our lecturer for this subject is Simon Pope who is a well established artist. I really enjoy his manner and find him extremely interesting to listen to.

What is Contemporary Contextual Studies?

All things that happen that are Contemporary
New Ideas
Peer-2-Peer (filesharing)
Copyrights 9Creative Commons)
Location Specific Services (GPS, Smart Phones0
Content built for specific places
Substainable development

There will be a flexible format to our lectures but they will roughly follow this structure

Each week = introduction of new topi
1st Half = Interactive discussion between Simon and ourselves about what we’ve found out about previous weeks topic
2nd Half = Introduction to next topic with Simon filling us in on the basics and cdiscussions

Must write in BLOG - Keep backup

200-300 words about topic of the week

10 minute Presentation end of module
Topic of choice from those covered and researched during module
Should be meaningful to me
To the field/s I’m interested in persuing for my Personal Project

Lectures Mondays 10 - 12.00/30

Next weeks topic Peer 2 Peer

Google it
What does it mean to me?
How does it relate to the work that I want to do?
Consider (wider frame)impact on society
Proffessionals in field
Leading software / hardware
What is my field/s?
Other interests I have?

resources locative media

2006 -- online since 1993
ISSN NO : 1071 - 4391

Home > Resources > Active section name here QUICK LINKS : Please select... Current Issue Gallery Resources Archives LEA Home



Locative Media Bibliography
Collaboratively produced by Drew Hemment, Steve Bull, Elizabeth Goodman, Pete Gomes, Derek Hales, Hana Iverson, Paula Levine, Ann Morrison, Teri Rueb, Alison Sant, Leslie Sharpe, Jen Southern, Nick West and Nisar Keshvani

Download Locative Media Bibliography (pdf 57kb)

Locative Media Bibliography
:: Books
:: Articles and Papers
:: Primary Documents and Related Works
:: Websites
:: Blogs and Online Journals
de Certeau, Michel. The Practice of Everyday Life (Berkeley: University of California Press, 1984).

Kastner, Jeffrey (ed.) and Wallis, Brian. Land & Environmental Art: Themes and Movements (London, UK: Phaidon Press, 1998).

Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity (Cambridge, MA: MIT Press, 2004).

Lefebvre, Henri. The Production of Space (Oxford: Blackwell, 1999 edition).

McCullough, Malcolm. Digital Ground - Architecture, Pervasive Computing, and Environmental Knowing (Cambridge: MIT Press, 2004).

Mitchell, William J. Me++: The Cyborg Self and the Networked City (Cambridge: MIT Press, 2003).

Rheingold, Howard. Smart Mobs: The Next Social Revolution (Cambridge, MA: Basic Books, 2002). Or Rheingold's website -

Rogoff, Irit. Terra Infirma: Geography’s Visual Culture (London and New York: Routledge, 2000).

Tuan, Yi-Fu. Space and Place: The Perspective of Experience (Minneapolis: University of Minnesota, 1977).

Tuters, Marc (ed.). + Rasa Smite, Acoustic Space: Trans Cultural Mapping (Riga: The Center for New Media Culture RICX, 2004). Also available online -

Wilson, Stephen. Information Arts: Intersection of art, science and technology (Cambridge: MIT Press, 2002) In particular 1.1: Art and Science as Cultural Acts; 1.2: Elaboration on the Approach of Art as Research; 3.4: Space; 3.5: Global Positioning System; 6.1-6.3: Telecommunications.

back to top

Articles and Papers
Benford, Steve and others. “Coping with uncertainty in a location-based game,” IEEE Pervasive Computing Journal (July - September 2003).

Debord, Guy. “Theory of The Dérive, Internationale Situationniste #2,” Ken Knabb (trans.) Situationist International Anthology (1958).

Dunne, Anthony and Raby, Fiona. “Tunable Cities,” Architectural Design 68, no. 11/12 (November-December 1998).

Foucault, Michel. "Panopticism" (Chapter 3 online excerpt from From Discipline and Punish: The Birth of the Prison):, Alan Sheridan (trans.) From Discipline & Punish: The Birth of the Prison (NY: Vintage Books, 1995).

Foucault, Michel. "Heterotopias," originally entitled "Des Espace Autres," based on a lecture by Michel Foucault in March 1967 and later published; Jay Miskowiec (trans). Architecture /Mouvement/ Continuité (October 1984).

Deleuze, Gilles. "Postscript on the Societies of Control," originally published from _OCTOBER_ 59, (Cambridge, MA: MIT Press, Winter 1992).

Hemment, Drew. "The Locative Dystopia" (2004). (Originally published in nettime: Fri, 9 Jan 2004 18:23:20 +0100 (CET)) and “Locative Dystopia 2" in Marc Tuters (ed.) + Rasa Smite, Acoustic Space: Trans Cultural Mapping (Riga: The Center for New Media Culture RICX, 2004).

Manovitch, Lev. “The Poetics of Augmented Spaces – Learning from Prada” (2002)

Pope, S. “The Shape of Locative Media,” Mute Magazine Issue 29 (9 February 2005). Available online at:

Russell, Ben. Headmap Manifesto (1999). Available online at (accessed October 2005).

back to top

Primary Documents and Related Works
Hight, Jeremy. “Narrative Archeology” (essay)

Rueb, Teri. Conversation with Sabine Breitsameter online at

Smithson, Robert. "A Tour of the Monuments of Passaic New Jersey" in Jack Flam (ed.) Robert Smithson: The Collected Writings (Berkeley: University of California Press, 1996).

Suarez Miranda, J.A. (pseudonym of Jorge Luis Borges and Adolfo Bioy Casares), "Travels of Praiseworthy Men" (1658), in Jorge Luis Borges and Adolfo Bioy Casares, "Of Exactitude in Science," in J.L. Borges, A Universal History of Infamy (London: Penguin Books, 1975).

back to top


Anne Galloway - purse lip square jaw

Dr. Reinhold Grether - Netzwissenschaft

Locative Media Lab

Mirjam Struppek - Documentation of PLAN workshop at ICA




urban cartography

Website for seminal Locative Media workshop in Karosta, Latvia, 16-26 July 2003

we make money not art

back to top

Blogs and Online Journals

Anne Galloway - purse lip square jaw

Dr. Reinhold Grether - Netzwissenschaft

Howard Rheingold - smartmobs

Locative Media Lab





Steve Dietz - yproductions

The Feature

University of Openess - Faculty of Cartography


back to top

DREW HEMMENT is director of Future Everything, a non-profit creative company responsible for Futuresonic International Festival; AHRC Research Fellow in Creative Technologies at University of Salford; Project Investigator in PLAN - The Pervasive and Locative Arts Network. Involvement in music events as DJ and/or organizer since the 1980s. Projects include *Loca* (2003-ongoing), *Futuresonic* (1995-ongoing), *Low Grade* (2005), *Mobile Connections* (2004), *FutureDJ* (2004), *Turntable Re:mix* (2004), *Migrations* (2002/3), *Blacktronica* (2002), *Sensurround* (2001/2), *BrokenChannel* (2001) and *SenseSonic* (2000). Completed an M.A. (Distinction) at the University of Warwick, and a Ph.D at University of Lancaster.

Formerly with Interval Research, STEVE BULL founded Cutlass [], a company that specializes in mobile locative media with applications running on O2, Verizon Wireless, TELUS Mobility, and Orange. Fall 2005 he spoke on pervasive gaming at the Institute For The Future and Digital Storytelling Festival in California, and at CUNY. Recent recipient of a N. Y. State Council for the Arts grant for Cellphonia: In The News, a karaoke cell phone opera, Bull is also collaborating on Phone Me, an interactive locative cell phone history/mystery set on the Lower East Side. The New York Historical Society’s Slavery in New York exhibit will feature his cell phone tour of its downtown locations. He’s taught in the Interactive Telecommunications Program at N.Y.U, Parsons, and currently at Temple University [].

ELIZABETH GOODMAN's design, writing, and research focuses on critical thinking and creative exploration at the intersections of new digital technologies, social life and urban spaces. She has a Bachelor of Arts in Fine Art from Yale University and a Masters in Interactive Telecommunications from New York University. Most recently, her *Familiar Stranger* project was part of Spectropolis: Mobile Media, Art and the City. Her work has been shown at Paris' la Cite des sciences et de l'industrie, as well as at a number of international academic conferences such as CHI, DIS and Ubicomp. She is now a design researcher at Intel’s User Centered Design group.

PETE GOMES is a Writer-Director and Artist. His work has been screened and shown internationally, in galleries and festivals including, Tate Modern, Whitechapel Art Gallery, Gimpel Fils, Barcelona Museum for Contemporary Culture, Stedelijk Museum Amsterdam, Vienna Museum of Contemporary Art, Leeds International Film Festival, South Bank Centre London, Sonar and also in USA, India, Russia, Iceland and Europe. He is known for his innovative visual work and collaborations with contemporary architects, choreographers, musicians and composers including: Throbbing Gristle, Shobana Jeyasingh, Luciano Berio, Donnacha Dennehey, Jocelyn Pook, and Michael Nyman. He explores intersections between cinema and technology which manifests itself in a wide range of projects encompassing installation to film drama. Current projects include a 'geo-cinematic' film shot in southern Madagascar, and his first feature film as Writer-Director. He has taught at the Architectural Association since 1999 and is working on 'Urban Mirage'; an international workshop examining drawing, location, and cinema.

DEREK HALES is Subject Leader for Multimedia and Research Leader for Creative Technologies in the School of Art and Design, University of Huddersfield, UK. As Research Director of the Digital Research Unit, Derek works in partnership with Creative Director Tom Holley at the Media Centre, Huddersfield to support practice-based research through an Artist in residence programme, a series of Creative Labs and a newly established Mphil/PhD group. Derek is a chartered architect and chairs the Emerging Technology Group for the Royal Institute of British Architects in Yorkshire.

HANA IVERSONis a new media artist, whose work crosses between digital, video and sound media. She currently is Director of the New Media Interdisciplinary Concentration at Temple University. Her work was recently exhibited at the International Center of Photography, Dorfman Projects, Mary Anthony Gallery, Pulse Art, Art in General, and 494 Gallery in New York; the Museo Universitario del Chopo, Mexico City; and in Canada. Her long-term installation and multimedia project, View from the Balcony, was on view at New York’s Eldridge Street Synagogue from 2000-03. She has received support for her work from the Covenant Foundation, TU Vice Provosts Research Initiative, the Memorial Foundation for Jewish Culture, the New York Foundation for the Arts (NYFA) and Tisch School of the Arts. Ms. Iverson holds a Masters Degree from the Interactive Telecommunications Program, Tisch School of the Arts, New York University.

PAULA LEVINE is a media artist and Associate Professor of Art in Conceptual/Information Arts, at San Francisco State University. Her current research and art practice is in GPS, remote and locative media. As a participant in the 2004 IntraNation Residency, The Banff Centre, Levine produced SpeakingHere and Shadows from another place: San Francisco ß->Baghdad. She presented a paper on these locative projects at MIT:4 – The Work of Stories, as a Mobile Narrative panelist. Levine is currently working on a series of projects and essays based on her ideas of transpositional mapping: using coordinates of distant events as templates that are overlaid locally. Collapsing the safety of distance, these hypothetical maps ground foreign events in local terms. Security Wall, a transpositional mapping of the Israeli barrier, is a work in progress. In April, 2006, she will exhibit Signature, a GPS triggered sound installation, as part of Sonoma County Museum’s centennial commemoration 1906 California earthquake.

ANN MORRISON lectures studio process, physical computing interactive environments and information visualisation within The Information Environments Program, School of ITEE, at The University of Queensland. Morrison is an installation and new media artist, currently working with alt reality and locative projects, writing and constructing a context containment interactive environment. [~morrison/]

TERI RUEB’s large-scale responsive spaces and location-aware environments explore intersections of architecture and urbanism, landscape and human movement, and sonic and acoustic space. She was an early pioneer in using GPS to create location-aware responsive installations and environments in urban and remote landscapes. She has received grants and commissions from The Banff Centre New Media Co-Productions, (with funding from LEF and the Jerome Foundation), Artslink, the Maryland State Arts Council, and The Puffin Foundation. Her work has been presented internationally and reviewed in diverse publications including "Information Arts: Intersections of Art, Science and Technology", edited by Stephen Wilson, MIT Press, 2001. Rueb received her master’s degree from the Interactive Telecommunications Program at New York University and a B.F.A. in Sculpture, Painting and Literary and Cultural Studies from Carnegie Mellon University. She is a professor in the graduate Department of Digital + Media at the Rhode Island School of Design.

ALISON SANT is a media artist, with a background in digital media and architecture. Her work explores the city as both a site for investigation and intervention and has often focused on the hidden dynamics of the urban landscape. She has exhibited nationally and internationally including the San Francisco Museum of Modern Art, VIPER Basel, and ISEA. Sant teaches classes at the San Francisco Art Institute, Mills College, and the California College of the Arts. She has been awarded artist residencies at the Djerassi Resident Artists Program, Headlands Center for the Arts, and the Tryon Center for Visual Art. Sant is also a recipient of a Creative Work Fund Grant. She received her BFA from New York University in 1993 in the Departments of Photography and Interactive Telecommunications and received her Masters in Design at the College of Environmental Design, University of California Berkeley in 2004. Sant is currently an Artist in Residence at the San Francisco Exploratorium.

LESLIE SHARPE is Assistant Professor and Area Head of Digital Art in the Hope School of Fine Arts at Indiana University, Bloomington, and previously taught at UCSD as a Faculty Fellow and at Pratt Institute in New York. She works in Digital Media and Installation, with a focus on Mobile and Wireless Technologies. Sharpe's recent work employs the genre of ghost narrative in projects using cellphone and PDAs to explore questions about subjectivity, embodiment, social networks, wireless histories and place.

JEN SOUTHERN is an artist and lecturer based in Huddersfield, UK. Her work involves investigating everyday journeys between virtual and physical spaces, which are navigated through socially embedded technologies such as video games, mobile phones and locative media. With a particular interest in personal and specific relationships with technology in everyday life and ordinary places her work investigates real experiences of game spaces through learning and navigation. Her use of technology is specific to each project and has included robotics, wearables, shipping containers, CD ROMs and currently GPS (Global Positioning System).
Jen's practice is installation based and has been both process led and collaborative, exploring the many grey areas between shared authorship, audience participation and interaction. She has also written and curated, and run technical and creative workshops as part of her own work and in other contexts. These modes of operation are integral to a practice that is rooted in social processes and the relationship between people and local environment.

NICK WEST is an information architect and researcher with Proboscis, a London-based creative studio. He has 15 years’ experience in designing experimental prototypes for new media research, including work with Apple Computer, Paramount Pictures, the National Fine Arts Museum in Rio de Janeiro, and New York University. He holds a BA in Political and Economic Systems from Yale University, a Masters in Interactive Telecommunications from New York University and is currently working on a PhD in Cultural Studies at Goldsmiths College.

Singaporean NISAR KESHVANI is a consultant, Internet journalist, web developer, educator and new media specialist. In the last decade, he has worked across five continents (Asia, Africa, Europe, North America and Australia/Oceania). He is editor-in-chief of the Leonardo Electronic Almanac ( and International Co-Editor of fineArt forum ( - one of the Internet's longest runing arts publication. He has worked for various international magazines and newspapers since 1993. Keshvani sits on the board of the Art, Science, Technology Network (ASTN), Leonardo/International Society for the Arts, Sciences & Technology; fineArt forum and on SIGGRAPH's Singapore Chapter Management Committee. He is Program Advisor (Asia Pacific) of the Brisbane Multimedia Art Asia Pacific (MAAP) Festival. Keshvani has extensive experience developing and maintaining websites and was an online journalism educator at Queensland University of Technology, Australia, examining internationalization issues and changing work practices in the online newsroom. He was also Digital Media Lecturer and module leader for Web Design Applications with Ngee Ann Polytechnic's School of Film & Media Studies in Singapore. In 2003 - 2004, Keshvani was on consultancy with the Aga Khan Development Network (a group of international development agencies working in health, education, culture and rural and economic development, primarily in Asia and Africa).

Advanced Search

SUBSCRIBE to LEA | Site Guide | Contact
© Leonardo Electronic Almanac | All Rights Reserved 1993 - 2006 | Disclaimer | Copyright |

Monday, October 16, 2006

Design for Interaction Brief 3 - UCI

On Wednesday 11th October we visited the Amusement arcade the UCI complex in Cardiff Bay. Our mission - to spend time observing, recording, analysing and participating in Human interaction with computer games interfaces.

The environment at UCI was very noisy and there were lots of flashing lights and sounds trying to entice you to part with your cash. Due to the time of our visit there were no children at the arcade but there were a few adults which told me that the games are designed with both adults and children alike.

The exhibit I chose to explore was called "The Hillbillies"

The Hillbillies is a target shooting game which can be played by up to six different players at any one time. The object of the game is to get as many points as you can by successfully hitting the targets with a life sized plastic replica of a rifle. There are sixteen targets in total which are situated around the scene of a Hillbillies shack with a life sized hillbilly with a gun in his hand. As you will see from the photo below the targets are square in shape and have a circle with inners inside.

There are also archery arrows illustrated to look like they’re coming out of the targets. The metaphor of the arrows in the target confirms to the user that it is indeed the target. The user would use previous knowledge in this cognitive process to recognise the targets.

When you insert money in the slot the simple interface displays your score, the number of shots remaining and the amount of credits you have left. There is also a start button on the interface.

This is a photo of the interface.

The player gets twenty shots for one game and each target successfully hit scores ten points. To start the game you need to press the start button. There is no flashing light on the start button and there is no signal to indicate the game had started or any indication that you are firing shots apart from a minute click that is emitted from the gun. When I played I found that hearing the gun firing was impossible to hear especially with all the noise and commotions going on in and around the arcade. I only realised I’d taken any shots when I looked on the interface and saw I had only 15 shots remaining. I think the noise should be louder so you know the game has started and is working. The simple interface has limited information and does not converse with the user or instruct the user in any way.

The game uses infra-red beams and sensors, infra-red beams are fired from the rifle to the targets. When the beam successfully hit’s a sensor on one of the sixteen targets it triggers a reaction from the object in the scene that the target is on. All targets reactions are different e.g. the cuckoo pops out of the clock., the shack door opens and a monkey squirts water at you, the bell rings and the Hillbilly stands up and shoots water at you out of is gun. All the reactions make a noise too egg the Hillbilly shouts and the monkey laughs. There is no time limit on the game and it finishes when all 20 shots have been taken

The design of the game uses some of Gestalt design recommendations. It has easily distinguishable objects, good affordances e.g. the rifle affords to be fired.. HCI principles that are applied are that it’s enjoyable and entertaining for the user to play. The bright flashing lights and the moving objects and loud sounds ejected from the game entice the user to part with the cash. Many people enjoy this kind of simulation game because they get to fire a rifle which is not something that they can do in the real world. The chance to shoot without consequence appeals to the user.

By allowing six players to play at one time adds a competitive edge to the game and encourages players to part with more cash for the chance to get a higher score than the others. The exhibits reflect this in their design. They are designed so they are addictive to play therefore getting you to keep putting more and more money in as you try to complete the game

This is me playing the Hillbillies

The main differences between the exhibits here at UCI and those at Techniquest are

You are required to put money in the games at UCI to be able to play them. The exhibits reflect this in their design. They are designed so they are addictive to play therefore getting you to keep putting more and more money in as you try to complete the game

The exhibits at Techniquest are educational and teach children about science but the exhibits at UCI do not have an educational aspect to them.

Many of the games at UCI represent real life in some way but most of them are based on weapons, violence and fighting. Promoting violence is not a good message to be going out to children.

The environment at UCI was very dark and noisy and there were lots of flashing lights and sounds trying to entice you to part with your cash. The atmosphere at Techniquest wasn’t as noisy and it had large floor to ceiling windows with views of the bay.

Even though I enjoyed both the trip to Techniquest and the trip to the UCI amusement arcade my favourite had to be Techniquest. Techniquest was great fun and being a parent myself I was impressed in the various innovative and exciting ways that science was illustrated by the exhibits.

Saturday, October 14, 2006


The product I have chosen to investigate is the Kodak EasyShare V610 Digital Camera. My reasons for chosing this are that it's a portable device that has a multimedia interface.As I’d only purchased the camera the day before I was given this breif I had no prior knowledge of its functionality, interface or the location of the buttons essential for operating the camera.


The Kodak Easyshare V610 is a well built digital camera with a high quality slim metal body and controls. The camera uses Kodak Retina Dual Lens technology the two lenses give it a total focal range of 38 - 380 mm (10x optical zoom) and it boasts a 2.8inch high resolution (230,000 pixels) LCD screen and 28MB internal memory. There’s also wireless Bluetooth onboard so photos can be shared instantly with P.D.A’s , mobile phones, P.C’s and Picture Kiosks. The camera has Easyshare which means it can be connected direct to a Kodak printer dock without the need for a p.c.

The Kodak V610 takes photos either in a chosen pre programmed mode eg auto, sport, night-time etc or can be programmed to suit your needs with desired flash and aperture settings. The camera also shoots videos It is designed to be used in many different environments, there are modes for indoor / outdoor , sunny and snow. As it’s purely a point and shoot camera it’s interface is not overloaded with external controls.


Figure 1. The top veiw of the camera

The top plate of the camera (fig 1) is home to the shoot (shutter release), flash mode and main power switch. To the left of these are three mode buttons giving one-touch access to stills (auto), movie and favourites modes. You can see at a glance what mode you are shooting in as the three mode buttons have a blue light inside them.

The rear right of the camera (fig 2) hosts a navigation pad and centre button combination which controls the display, scene and landscape modes and to change exposure. It is also used for zooming and selecting pictures in review mode. Above this is the zoom contol which is used for zooming in/out whilst shooting.

The rear left houses the 5 main buttons (Fig 2)

This button displays a tidy screen of Scene options. Three rows of Scene icons are neatly arranged in the bottom half of the screen, leaving the top half available for a text explanation of the currently selected one. Options in this mode are Portrait, Panoramic L-R, Panoramic R-L, Sport, Landscape, Close-up, Night Portrait, Night Landscape, Snow, Beach, Text, Fireworks, Flower, Manner/Museum, Self-portrait, Party, Children, Backlight, Panning Shot, Candle light, Sunset, and Custom preset shooting modes.

This button calls up the Delete menu in Review mode. You can delete individual images or all images on the card. There's also an option to cancel.

This button displays the settings menu in Playback or Record modes.

This button activates Playback mode when pressed in any Record mode. Once in Playback mode, pressing the button again, or the
Shutter button, returns to the Record display..

This button lets you tag images for printing, emailing, or as a favourite image. (The metaphor of a heart appears on "favourite" images).
Pressing this button in Record mode automatically enables Playback mode, and displays the Share menu with the following options:
E-Mail: E-mails a low-resolution copy of the image to a recipient, based on a saved address book.
Favourite: Marks the current image as a "favourite."
Bluetooth: Accesses the Bluetooth controls, allowing you to send images and set up Bluetooth options.
Print All: Sets the camera to print all images, and allows you to set how many copies.
Cancel Prints: Clears all checkmarks from images currently marked for printing.
Select All: Allows you to quickly select all images for printing, emailing, sending to Favourites, or sending via Bluetooth.

The camera follows the 9 step guidelines set out by Jakob Neilson
  1. The camera uses simple and natural dialogue - All the displayed messages are easy for even a technophobic person to follow
  2. The camera speaks the user's language - Icons of common metaphors are used in the menus. In particular the scene menu uses metaphors for icons (fig 3) for the following Shooting modes

    • Portrait
    • Panorama left-right
    • Panorama right-left
    • Sport
    • Landscape
    • Snow
    • Beach
    • Text
    • Fireworks
    • Flower
    • Manner/Museum
    • Self portrait
    • Party
    • Children
    • Back light
    • Panning shot
    • Candlelight
    • Sunset
    • Custom
    • AE compensation +/- 2.0EV in 0.3EV steps

    Figure 3

    A metaphor of a runner is is used to symbolise sport mode and moving targets. A tulip is used to symbolise taking close up pictures. This a common metaphor used on digital camera. Amoving car is used for panning mode.
  3. Minimise user memory load
  4. There is good screen management and different users abilities have been taken into account in its design.
  5. The cameras interface provides feedback at every stgep. Conversing with user so that they know they are following the correct procedure for what function is desired.
  6. The exits are clearly marked and it is easy to navigate your way through the menus
  7. The error messages are clear and informative
  8. When a selectable mode is active it is displayed at the top of the interface.
  9. Prevent errors


I used Norman's Action - cycle model for this task

Goal: To send a photo via Bluetooth from my camera to my mobile phone

  • Locate photo on camera I wish to send
  • Activate blue tooth on my mobile phone
  • Find device (mobile phone) with my cameras bluetooth
  • Choose image size
  • Send photo to mobile phone
  • Receive photo on my mobile phone
  • Press review button on camera
  • Use < > keys on the navigation pad to scroll through and locate image
  • Select image by pressing OK button
  • Press the share button
  • Use navigation pad to scroll down to the Bluetooth menu
  • With the Bluetooth menu highlighted press OK
  • message displayed "camera is searching for devices
  • All devices that are displayed are then shown
  • Use navigation keys to highlight my mobile phone device
  • Press OK
  • Select size - QVGA - fast transfer by highlighting it in the transfer menu
  • Press OK
  • message displayed "sending to device mobile phone" displayed
  • Accept transfer on my phone
  • message displayed "sent to mobile phone

I found the task relatively easy to carry out as it was not the first digital camera I have operated. I used my prior knowledge, common sense and the recognition of metaphor to assist me. I knew from previous knowlege that pressing the review button would show me all the pictures that were stored in my cameras memory. Common sense told me i'd have to press the share button to carry out the task. The Bluetooth option had the familiar metaphor of a network icon which is commonly used for this hardware. I used my prior knowledge take from the similar task of sending photos from mobile phone to mobile phone with Bluetooth to assist me with the transfer.

Sunday, October 08, 2006

Brief 1 - Techniquest Visit

Visited Techniquest, Cardiff Bay Wednesday on a field trip with DIFM course. Techniquest is an interactive science discovery centre. The purpose of our visit was to observe how visitors (mainly children between the ages of 8-16) interacted with the exhibits and to record our findings.
Techniquest boasts over 150 interactive exhibits, a science theatre where children can enjoy exciting live shows and a planetarium that simulates the night sky.

After an hour of observation and interaction with the exhibit’s we went into the science theatre. There the Head of Research and Evaluation - Dr Sue Cavell gave us a talk about Techniquest and then we had the opportunity to ask her any questions we had about Techniquest and the exhibits.
As we had only had an hour to observe the exhibits Dr Cavell kindly offered us the opportunity of a complimentary return visit. I took her up on her offer also taking my 10 year old son and his friend along with me.

For the purpose of the exercise I decided to concentrate my studies on one particular exhibit.

The exhibit I chose was named “Mixing Beats”

The “Mixing Beats“ exhibit’s scientific aim is to educate children about musical beats. The exhibit is designed to look like a modern DJ booth. By using a design that the children are already familiar with they are promted to use prior knowledge to aid their interaction. The design makes learning fun, which promotes greater retention of information and higher learning. The design also uses affordances the record affords to be turned the play button affords to be pressed.
”Children in the concrete operational stage (ages 7 to 11) are maturing on the brink of adult cognitive abilities. Though they cannot formulate hypothesis, and though abstract concepts such as ranges of numbers are often still difficult, they are able to group like items and categorize”
(Schneider, 1996).
These are old enough to use relatively sophisticated software, but young enough to still appreciate a playful approach.

The exhibit consist of two mixing decks each have a play/pause button, and a pitch and there is a cross fader between the two.

Above the decks is a large screen which displays a media player library containing two songs. To the left of the decks is an instruction panel which is universally used on all of the music exhibits. Using the same panel throughout makes it easier for the child to interact with the computre interface as they use their cognitive skills to perform the tasks and navigate through the menu.

The interface has four buttons with a display in the centre. The top left button gives instructions for the mixing decks. The top right hand putton changes the text to Welsh, the bottom left hand button is “Why Science” - which explains the science of musical beats and beat matching, they learn that all music has a beat but the speeds of the beat will differ. That the beats are measured in BPM (beats per minute). The bottom right hand button is the “Why Music” which explains to the user about how DJs use beat matching for smooth crossover between mixing records and about hip-hop and scratching. By using modern music examples it makes the exhibit more interesting for the user and is geared toward the 8 - 16 age groups.

The main instruction menu's HCI interaction drives the user. They are instructed to press the play button on one of the decks and to move the pitch up and down so that they learn that the pitch changes the records speed. They are then instructed to press the play buttons on both mixing decks at the same time and move the cross-fader side to side. All instructions are illustrated for ease of use by target audience.

They are then driven to try to match the BPM of the two tracks. The wave track on the main screen above the tracks helps them to match the beats visually. The beats can be matched by either moving either record and my changing the pitch (speed which it is played).

I noticed that 95% of the children didn’t read the instructions before experimenting by pressing the buttons on the decks. They used a trial and error approach and because they get an instant result of music being played it keeps them interested. At the exhibits that didn’t produce any result from a child pressing the buttons the child got bored after 10-15 seconds and rather than read the instructions they run on to the next exhibit. It seems the ability to capture a childs attention at the very start of the interactivity is extremely important.

Tuesday, October 03, 2006

Design For Interaction - S.Neil and D. Lamont

Today (weds 27 sept)
We had an introduction to our assessment for Design for Interaction with Debbie Lamont
There are 3 aspects to the assessment
  1. Assignment and presentation#
  2. Contribution to this course through seminars and tutorials
  3. personal progress journal

Design breifs attract the following marks

Brief 1 -15 % - Blog report

Brief 2 - 20% - Blog report

Brief 3 - 15% - Blog report

brief 4 - 10% - Presentation

Monday, October 02, 2006


Session2 : Stars of C.C.T.V.




Data Protection Act – limits the sharing of information

Everywhere you go you are recorded
You can ask for the footage of yourselves - legal right
In spain (Working as a journalist if your in the streets anyone can tape you)

Shoot a movie – sites where cctv – ask for footage – valid way of making tv

If want to produce tv

Michelle terrain

takes tv monitors

Wireless video / audio receivers (£26.99)

Surveillance camera players

Could shoot movie from one

Audio scanners

How do we get images out of the network and utilising them

Hi-fi stereo Signals (simon bringing it in next week)

FM transmitters - Broadcast onto network that is transmitting

New media Gorilla marketing advertising

Advertising on Bluetooth

Using Bluetooth to hijack peoples phones

Make promo videos and broadcast over Bluetooth

Server from Bluetooth
Build a schedule on it
Eg a soapopera episode transfer it broadcast
Broadcasting scheduling and produceing

Ways of distributing images easily




Originally uploaded by kustard99.

notes for ccs

Chatted about what info we’d found out about peer-to –peer

Napster or a link – unstructured – p2p
Tapestry – structured p2p

Discreet (closed to outside world) networks for specialised areas
Another social network

History of internet – internet is simply inter networks –

How computer networks mirrored social net

6% of separation we’re all only 6 connections away from each other

Trace through address books 6 times to get to who you want


Small world theory

The hub would be the most likely to know others in different groups

GOOGLE – searches Documents are most trustworthy if there are lots of links to them

Dark net (underground)

Nutella napster – issues behind them p2p – legal issues

List of companies of people are not happy with p2p
E.g. Sony, MGM

Copydex – underground movement – giving music away free
Embrace – play to enjoy music not to make money – hold secret gigs
Don’t believe in the copyright for music – just on name

Pre internet copyright movement

Music Industry

Producers (view) - people listening , merchandising, press & promotions,
How to get known
PureVolume – can lead to record deals
My space –

Distributors – charge – approx 50% of profits

Strategy of promotion
Maintaining brand of the band
Most of the revenue is through merchandising and live events
Self Distribution
Internet promotion
Pod casts
I Tunes 99p download
New bands have pop up of samples
Mass protest against record companies (people power)
Donate money to the band
Using the networks to promote
E.g. DJ’s / bands if you listen \ download a set and you like them you’ll be likely to pay to go and see there next gig/ dj set

Technical p2p
Social p2p
Cultural impact
Marketing – Significant word of mouth

In a peer 2peer networks if you can find the hub you can contact them for their contacts

If you want something rare important it is hard to get into the closed social networks
Spys undercover


Wednesday, September 27, 2006

Sites of Interest

this looks an informative site with regards to my personal project


Tuesday, September 26, 2006

my designs

Contemporary Contextual Studies

Simon Pope is my lecturer for Contemporary Contextual Studies which is fundamentally all things that happen that are contemporary
Definition of CONTEMPORARY
Top Web Results for "CONTEMPORARY"

3 results for: CONTEMPORARY
View results from: Dictionary | Thesaurus | Encyclopedia | the Web Unabridged (v 1.0.1) - Cite This Source
con‧tem‧po‧rar‧y  [kuhn-tem-puh-rer-ee] Pronunciation Key - Show IPA Pronunciation adjective, noun, plural -rar‧ies.
1. existing, occurring, or living at the same time; belonging to the same time: Newton's discovery of the calculus was contemporary with that of Leibniz.
2. of about the same age or date: a Georgian table with a contemporary wig stand.
3. of the present time; modern: a lecture on the contemporary novel.
4. a person belonging to the same time or period with another or others.
5. a person of the same age as another.
[Origin: 1625–35; < LL contempor- (see contemporize) + -ary]

—Related forms
con‧tem‧po‧rar‧i‧ly, adverb
con‧tem‧po‧rar‧i‧ness, noun

—Synonyms 1. coexistent, concurrent, simultaneous. Contemporary, contemporaneous, coeval, coincident all mean happening or existing at the same time. Contemporary often refers to persons or their acts or achievements: Hemingway and Fitzgerald, though contemporary, shared few values. Contemporaneous is applied chiefly to events: the rise of industrialism, contemporaneous with the spread of steam power. Coeval refers either to very long periods of time—an era or an eon—or to remote or long ago times: coeval stars, shining for millenia with equal brilliance; coeval with the dawning of civilization. Coincident means occurring at the same time but without causal or other relationships: prohibition, coincident with the beginning of the 1920s. Unabridged (v 1.0.1)
Based on the Random House Unabridged Dictionary, © Random House, Inc. 2006.
American Heritage Dictionary - Cite This Source
con·tem·po·rar·y (kn-tmp-rr) Pronunciation Key
Belonging to the same period of time: a fact documented by two contemporary sources.
Of about the same age.
Current; modern: contemporary trends in design.

n. pl. con·tem·po·rar·ies
One of the same time or age: Shelley and Keats were contemporaries.
A person of the present age.

[Medieval Latin contemporrius : Latin com-, com- + Latin tempus, tempor-, time + Latin -rius, -ary.]
con·tempo·rari·ly (-tmp-r�r-l) adv.
Synonyms: contemporary, contemporaneous, simultaneous, synchronous, concurrent, coincident, concomitant
These adjectives mean existing or occurring at the same time. Contemporary is used more often of persons, contemporaneous of events and facts: The composer Salieri was contemporary with Mozart. A rise in interest rates is often contemporaneous with an increase in inflation. Simultaneous more narrowly specifies occurrence of events at the same time: The activists organized simultaneous demonstrations in many major cities. Synchronous refers to correspondence of events in time over a short period: The dancers executed a series of synchronous movements. Concurrent implies parallelism in character or length of time: The mass murderer was given three concurrent life sentences. Coincident applies to events occurring at the same time without implying a relationship: “The resistance to the Pope's authority... is pretty nearly coincident with the rise of the Ottomans” (John Henry Newman). Concomitant refers to coincidence in time of events so clearly related that one seems attendant on the other: He is an adherent of Freud's theories and had a concomitant belief in the efficacy of psychoanalysis.
Usage Note: When contemporary is used in reference to something in the past, its meaning is not always clear. Contemporary critics of Shakespeare may mean critics in his time or critics in our time. When the context does not make the meaning clear, misunderstanding can be avoided by using phrases such as critics in Shakespeare's time or modern critics.

(Download Now or Buy the Book)
The American Heritage® Dictionary of the English Language, Fourth Edition
Copyright © 2000 by Houghton Mifflin Company.
Published by Houghton Mifflin Company. All rights reserved.
WordNet - Cite This Source

adj 1: characteristic of the present; "contemporary trends in design"; "the role of computers in modern-day medicine" [syn: modern-day] 2: belonging to the present time; "contemporary leaders" [syn: present-day(a)] 3: occurring in the same period of time; "a rise in interest rates is often contemporaneous with an increase in inflation"; "the composer Salieri was contemporary with Mozart" [syn: contemporaneous] n : a person of nearly the same age as another [syn: coeval]

We will be exploring new ideas eg:

The learning outcomes of this module are:

Subject-specific skills
· Evaluate issues related to a chosen specialism within the discipline area in written form;
· Undertake scholarly enquiry relevant to personal Lab/Studio practice.
· Evaluate specific contextual issues related the design of interactive media products and systems;
· Synthesize various methods, approaches and theories into a distinct, personal practice;

Cognitive skills
· Understand essential concepts, principles and theories;
· Critically appraise and review a range of practices;· Compare and evaluate various methodologies;
· Think creatively;
· Develop ideas, concepts, proposals and solutions in response to a brief and as self-initiated activity;

Practical Abilities
· Publicly present their own work in a cogent and concise manner;
· Research, write and present a report