Building Mood, Building Community: Usage Patterns of an Interactive Art Installation

To examine the processes by which appropriation happens around an interactive art installation in an organizational context, this paper presents a qualitative, longitudinal study of an interactive art installation called mood.cloud. While designed to collect and to visually display building occupants' collective emotion, the installation was not necessarily used or interpreted in this way. Instead, building occupants saw the sensory experience of mood.cloud and the ability to change the display as a way to influence their own feelings, the feelings of others, and the overall workplace ambience. We found that interaction with mood.cloud fostered reflection about the relationship between the individual and the larger collective that the person is a part of. This relationship, between appropriation for individual benefit and appropriation for the benefit of others, afforded participants the opportunity to become more aware of their own contribution as part of a larger community. These findings suggest an opportunity to design systems around the interplay between appropriation for the individual and appropriation for the community.

[1]  Karen Holtzblatt,et al.  Contextual design , 1997, INTR.

[2]  Jonas Fritsch,et al.  Ink: designing for performative literary interactions , 2014, Personal and Ubiquitous Computing.

[3]  Lawrence Lessig,et al.  Remix: Making Art and Commerce Thrive in the Hybrid Economy , 2008 .

[4]  Phoebe Sengers,et al.  The disenchantment of affect , 2008, Personal and Ubiquitous Computing.

[5]  James A. Holstein,et al.  Handbook of interview research :context & method , 2002 .

[6]  Steve Benford,et al.  Ambiguity as a resource for design , 2003, CHI '03.

[7]  Susanne Bødker,et al.  Third-wave HCI, 10 years later---participation and sharing , 2015, Interactions.

[8]  Paul Dourish,et al.  Beyond the user: use and non-use in HCI , 2009, OZCHI.

[9]  Peter Dalsgård,et al.  Performing perception—staging aesthetics of interaction , 2008, TCHI.

[10]  Paul Dourish,et al.  The Appropriation of Interactive Technologies: Some Lessons from Placeless Documents , 2003, Computer Supported Cooperative Work (CSCW).

[11]  A. Strauss,et al.  The discovery of grounded theory: strategies for qualitative research aldine de gruyter , 1968 .

[12]  Yvonne Rogers,et al.  Enticing People to Interact with Large Public Displays in Public Spaces , 2003, INTERACT.

[13]  Toni Robertson,et al.  Proceedings of the 18th Australia conference on Computer-Human Interaction: Design: Activities, Artefacts and Environments , 2006 .

[14]  Jason Cleverly,et al.  Creating assemblies:: aboard the Ghost Ship , 2002, CSCW '02.

[15]  Phoebe Sengers,et al.  Staying open to interpretation: engaging multiple meanings in design and evaluation , 2006, DIS '06.

[16]  K. Charmaz,et al.  Qualitative interviewing and grounded theory analysis , 2012 .

[17]  Yvonne Rogers,et al.  Post-it note art: evaluating public creativity at a user generated art installation , 2011, C&C '11.

[18]  Temple Grandin,et al.  The Way I See It , 2015 .

[19]  Dan Cosley,et al.  ArtLinks: fostering social awareness and reflection in museums , 2008, CHI.

[20]  Margot Brereton,et al.  The lens of ludic engagement: evaluating participation in interactive art installations , 2007, ACM Multimedia.

[21]  Susanne Bødker,et al.  Between Initial Familiarity and Future Use: A Case of Collocated Collaborative Writing , 2014, COOP.

[22]  David Benyon,et al.  Spaces of Interaction, Places for Experience , 2014, Spaces of Interaction, Places for Experience.

[23]  Evangelos Karapanos,et al.  User experience over time , 2008, CHI Extended Abstracts.

[24]  Paul Dourish,et al.  On the importance and implications of studying technology non-use , 2015, Interactions.

[25]  Geri Gay.  Context-Aware Mobile Computing: Affordances of Space, Social Awareness, and Social Influence , 2009, Context-Aware Mobile Computing.

[26]  Ann Morrison,et al.  Bodily Explorations in Space: Social Experience of a Multimodal Art Installation , 2009, INTERACT.

[27]  Eva Hornecker,et al.  Learning from interactive museum installations about interaction design for public settings , 2006, OZCHI.

[28]  John M. Carroll,et al.  Synthesis Lectures on Human-Centered Informatics , 2010 .

[29]  Kristina Höök,et al.  Appropriation and creative use: linking user studies and design , 2011, CHI EA '11.

[30]  Paul Dourish,et al.  A handle on what's going on: combining tangible interfaces and ambient displays for collaborative groups , 2007, TEI.

[31]  Yvonne Rogers,et al.  Mood Squeezer: Lightening up the Workplace through Playful and Lightweight Interactions , 2015, CSCW.

[32]  Clemens Nylandsted Klokmose,et al.  Participatory IT in semi-public spaces , 2014, NordiCHI.

[33]  Tanja Sihvonen,et al.  Not Only a Workplace. Reshaping Creative Work and Urban Space , 2015, Observatorio (OBS*).

[34]  Liam J. Bannon,et al.  Space, Place and the Design of Technologically-Enhanced Physical Environments , 2005 .

[35]  Paul Dourish,et al.  From Interaction to Participation: Configuring Space Through Embodied Interaction , 2005, UbiComp.

[36]  Giulio Jacucci,et al.  Performative roles of materiality for collective creativity , 2007, C&C '07.

[37]  Kenton O'Hara,et al.  Understanding collective play in an urban screen game , 2008, CSCW.

[38]  Alan J. Dix,et al.  Designing for appropriation , 2007, BCS HCI.

[39]  John P. Pollak,et al.  PAM: a photographic affect meter for frequent, in situ measurement of affect , 2011, CHI.

[40]  Steve Howard,et al.  Just what do the youth of today want? Technology appropriation by young people , 2002, Proceedings of the 35th Annual Hawaii International Conference on System Sciences.

[41]  Matthew Chalmers,et al.  Seamful interweaving: heterogeneity in the theory and design of interactive systems , 2004, DIS '04.

[42]  Rob Imrie,et al.  Loose space: possibility and diversity in urban life , 2008 .

[43]  Johan Redström,et al.  Slow Technology – Designing for Reflection , 2001, Personal and Ubiquitous Computing.