29 Matching Annotations
  1. Aug 2018
    1. A promising approach that addresses some worker output issues examines the way that workers do their work rather than the output itself, using machine learning and/or visualization to predict the quality of a worker’s output from their behavior [119,120]

      This process improvement idea has some interesting design implications for improving temporal qualities of SBTF data: • How is the volunteer thinking about time? • Where does temporality enter into the data collection workflow? • What metadata do they rely on? • What is their temporal sensemaking approach?

  2. Jul 2018
    1. How do we understand such mosaictime in terms of striving for balance? Temporal units are rarely single-purpose and their boundaries and dependencies are often implicit. What sociotemporal values should we be honoring? How can we account for time that fits on neither side of a scale? How might scholarship rethink balance or efficiency with different forms of accounting, with attention to institutions as well as individuals?

      Design implication: What heuristics are involved in the lived experience and conflicts between temporal logic and porous time?

    2. Our rendering of porous time imagines a newperspective on time, in whichthe dominant temporal logic expandsbeyond ideals of control and mastery to include navigation(with or without conscious attention) of that which cannot be gridded or managed: the temporal trails, multiple interests, misaligned rhythms and expectations of others.

      Design implication: How to mesh temporal logic with porous time realities?

    3. Yet, thepromise of social control affordedby information and communication technologies belies the inadequacy ofthe dominant temporal logic.

      Design implication: Re-aligning real time needs/pressures/representations with temporal logic.

    4. Aligned with chunk-able time is the assumption that each chunk of time, or its particular gridded arrangement, is allocated to a single purpose.

      Definition of single purpose time.

      Design implication: How does single-purpose time align or conflict with multitasking and/or blurred task types that overlap home vs office, personal vs professional.

    5. The expectation that time is chunk-able is conditioned by an understanding that time exists in units (a second, a minute, a year) and that temporal units are equal–that can be swapped and exchanged with relative ease.

      Definition of chunkable time.

      Design implication: Time is experienced in consistent, measurable, and incremental units.

      Ex: 60 minutes is always 60 minutes no matter what part of the day it occurs or in any social context, such as calendaring/scheduling an event.

      Using a chunkable time perspective, we conform our activities/appointments to clock-time increments rather than making the calendar conform. Per Mazmanian, et al., this perspective "perpetuates a sense that time is malleable and responsive" with little concern about how changing an appointment time can affect the rest of the calendar.

    6. A temporal logicoperatesat multiple levels. It is perpetuated insocialand cultural discourse; is embedded in institutional expectations and policies; drivesthe design and implementation of technologies;establishes resilient social norms; and provides a cache of normative, rational examples to draw on when individuals needtomake sense of their everyday engagements with time. When a tool like Microsoft Outlook is designed, presented, and justified in a marketing campaign it is both reflecting and perpetuating atemporal logic.

      Design implication: How temporal logic informs and influences other behaviors.

    7. What would it look like to more explicitly acknowledge power dynamics in information and communication technologies? In the tradition of critical and reflective design [50], how might CSCW scholarship think about designing technologies that ‘protect’ users from temporal obligations and render messiness and disorganization a possible way of engaging with time?

      Design implication: What if porous time was considered a feature not a bug?

      How to better integrate personal agency/autonomy and values into a temporal experience?

      How could a temporal artifact better support a user flexibly shifting/adapting temporal logic to a lived experience?

    1. Consequently, efforts to design for temporal experience must do more than simply build desirable temporal models into technologies.

      Quote this for CHI paper.

    2. Designing for an alternative temporal experience means understanding the ways in which multiple temporali-ties intersect, whether these frame a person’s working day, or allow a family to spend time together. While scheduling technologies do of course have a role to play here [see e.g. 31], many of the temporal structures that frame everyday life are not so much scheduled as unfold in a way that isunremarkable [54], or are so firmly established that they are no longer seen as alterable.

      Design implication: To integrate multiple temporalities into technology we need to reconsider temporal structures -- or the patterns of social coordination that we use as rules, rhythms, habits, and practices that guide activity.

    1. sregarded. Temporal Design attempts to counteract these effects by drawing attention to social practices of time. Time is a social process, tacitly defined through everyday practices. It is rehearsed, learned, designed, created, storied, and made. This aspect however is often overlooked not only by designers, but also by society in general. Designers can have a key role in unlocking the hegemonic narratives that restrict cultural understandings of time and in opening up new ways of making, living and thinking

      Description of temporal design and its purpose.

    2. As the original visions for Slow Design and Slow Technology suggest, the world is comprised of multiple temporal expressions, which play important roles in our lives, even if disregarded within dominant accounts of what ti

      What are the "multiple temporal expressions?" Examples would help here.

      Note to self: Use more explicit language, case examples, etc., to avoid reviewers' incorrectly filling in the gaps or misinterpreting an already cagey subject that's hard to pin down.

    3. The documentation of routines invited the students to reflect on the multiplicity of practices that shape temporality inside the school community, making the social layering of time more perceptible. Far from being restricted to timetables, buzzers and timed tasks, school time is a fusion of personal times, rhythms and temporal force

      This graf and the next, might be helpful for the Time Machine Project study. Cites: Adam on description of "school time."

    4. While the Printer Clock focused on emphasising the embodied and situated nature of time, pointing to the mesh of activities and characters that come together to create time, the TimeBots drew attention to personal rhythms and how they played out within the context of the classroom

      Pschetz, et al., also use idea of "situated time."

    5. e students. The TimeBots interacted with each other on a different level, revealing the subjective timescap

      Adam's timescape concept as applied to a group during social coordination.

    6. 4.3.3 TimeBotsWhile the Printer Clock focused on emphasising the embodied and situated nature of time, pointing to the mesh of activities and characters that come together to create time, the TimeBots drew attention to personal rhythms and how they played out within the context of the classroom. The aim was to challenge the idea that the world is in a state of constant acceleration by inviting children to reflect on the multiple speeds of their day. In contrast to the slow movement, which assumes acceleration as a universalised condition and attempts to counteract this condition by promoting opportunities to slow down, the intention here was to invite the students to explore the variant speeds at which they l

      Does this idea map with Reddy's premise about temporal trajectories, rhythms, and horizons?

    7. ast. Moving from a quantitative time to a qualitative one, the Printer Clock tells time through the activities of others and the variety of pictures reveals the multiplicity of rhythms within that

      Qualitative time as a way to express a new present in some one else's past.

    8. Temporal Design could thereforeinvolve:•Identifying dominant narratives, including the forces and infrastructures that sustain them or which they help to support;•Challenging these narratives, e.g. by revealing more nuanced expressions of time;•Drawing attention to alternative temporalities, their dynamics and significance;•Exposing networks of temporalities, so as to illustrate multiplicity and variety.The approach would bring several benefits:•Acknowledging that slow and fast rhythms co-occur and are often interdependent would challenge the assumption of universal acceleration,•Acknowledging that the times of some are more invested in than others, would enable challenges to temporal inequalities.•Acknowledging that the natural world has multiple rhythms would change the assumption that ittherefore provides a stable background for human-made ‘progress’(McKibben, 2008

      Highlighting this section to return to it later with more concrete application to sociotemporal representations/expressions in crises and response to crises.

    9. LARISSA PSCHETZ, MICHELLE BASTIAN, CHRIS SPEED 6With this in mind we propose Temporal Design as a shift within design towards a pluralist perspectiveon time. Temporal Design attempts to identify and challenge expressions of dominant narratives of time, as it recognises that everyday rhythms are composed of multiple temporalities, whichare defined by both direct and indirect factors. It also seeks to empower alternative notions that are neglected by these narratives. It suggests that designers should start looking at time as something that emerges in relation to a complexity of cultural, social, economicand political forces.Temporal designers wouldtherefore observe time in the social context, investigating beyond narratives of a universal time and linear progression, and beyond simple dichotomies of fast and slow. This is not to simply negate dominant notions but acknowledging that they co-exist with several other expressions in all aspects of life. There is a multiplicity of temporalities latent in the world. Designers can help to create tools that disclose them, also revealing the intricacies of temporal relationships and negotiations that take place across individuals, groups, and institutions. They would then consider a network of times that accommodates the multiplicity of temporalities in the everyday, the natural world, and in intersections between these re

      Further description of the idea around Temporal Design. But still lacks clarity about what "multiple temporalities" are and how they manifest in social coordination.

      Note to self: Use the template margins to offer concrete examples in my paper. The lack of specificity is frustrating and will surely draw the wrath of the reviewers.

    10. Despite a clear social motivation, the alternative approaches to time in design described above have been constrained by dominant narratives of time. Further they have often only considered time in terms of pace, direction and flow rather than the more complex ways that it is involved in social life (e.g. Gre

      Look up Greenhouse 1996 paper.

    11. Thus in developing a theoretical framework which could support an understanding of time as multiple, heterogeneous and deeply entangled within various social formations (which may be discrete or overlapping), work in the social sciences, particularly anthropology and sociology, has proven to be more useful. Such approaches enable us to ask different questions about what time is and how it works. Rather than seeing time as a flow between past, present and future (whether this be linear or nonlinear), it becomes possible to ask how time operates as a system for social collaboration (Sorokin and Merton 1937), how it legitimates some and ‘manages’ others (Greenhouse 1996), or how it works within systems of exclusion (Fabian 1983). We thus move from time as flow to time as s

      Describes how time bridges into the concept of social coordination.

      Look up the Sorokin and Merton (1937). Greenhouse (1996) and Fabian (1983) papers to get a better handle on how "social coordination" is defined.

    12. tries (Prado 2013). Here again, instead of looking at the present as a heterogeneous context, the present isconsidered as uniform and following a linear trajectory toward

      This is an important caveat for the study of sociotemporality in humanitarian crises. Need to stay grounded in the present and how even some immediate, incremental steps toward improving the representation of time in the data and in the data gathering process can be serve the larger, future goals of attaining real-time situational awareness.

    13. (Dunne, 1999). The call has influenced movements such as Critical Design (Dunne and Raby, 2001), Design Fictions (Bleecker, 2009) and Design for Debate (Dunne and Raby, 200

      Unclear as to how these movements differ:

      Critical Design Design Fiction Design for Debate

    14. Design has also taken a critical approach to time in its attempt to anticipate the impacts of present actions in the future, particularly those concerning the introduction of new technologies. This attitude may be generally identified in particular design projects but is most evident in speculative design movements such as Design Fictions, Critical Design and Design for Debate.Since design is often focused on yet-to-exist interventions in a given context, it is often said to be invariably future-oriented (e.g. in Dunne & Rab

      Look up Dunne & Raby's 2013 paper. This could be helpful to frame/cite in the virtual participatory design study.

    15. evices. Similarly, Phoebe Sengers (2011) reflects on the way slower attitudes could be promoted by ‘‘making fewer choices, accessing less information, making productivity less central, keeping our lives less under formal control’’; she further considers how this attitude could be reflected in the design of communication technologies. Instead of reinforcing dichotomies, Fullerton (2010) and Sengers (2011) draw attention to practices that emphasise alternative expressions

      Look up Sengers 2011 paper on ICT design.

      What are the alternative expressions of time she references?

    16. The association of alternative approaches to time with a rejection of technology reinforces dichotomies that do not reflect the way people relate to artefacts and systems (Wajcman 2015). As a result, these proposals not only risk being interpreted as nostalgic or backward looking, but also leave little space for integrating more complex accounts of time (particularly those arising in the social sciences) or for discussing more nuanced rhythms, as well as more complex forces and consequences related to temporal decisions. As a result, instead of challenging dominant accounts of time, these proposals arguably reinforce the overarching narrative of universalised acceler

      Argument that slow technology is not anti-technology but should encourage different perspective on how people relate to artifacts and systems via time, rhythms, and other forces that help drive temporal decisions.

    17. gs done. Accepting an invitation for reflection inherent in the design means on the other hand that time willappear, i.e. we open up for time presence” (Hallnas & Redstrom 2001). A slow technology would not disappear, but would make its

      The idea of making time more present/more felt is counter-intuitive to how time is experienced in crisis response as urgent, as a need for effiicency, as an intense flow (Csikszentmihalyi) that disappears.

    18. In Slow Technology, Hallnas & Redstrom (2001) advance the need for a form of design that emphasises reflection, the amplification of environments, and the use of technologies that a) amplify the presence of time; b) stretch time and extend processes; and c) reveal an expression of presenttime as slow-paced. Important here is the concept of “time presence”: “when we use a thing as an efficient tool, time disappears, i.e. we get things done. Accepting an invitation for reflection inherent in the design means on the other hand that time willappear, i.e. we open up for time presence” (Hallnas & Redstrom 2001). A slow technology would not disappear, but would make its

      Definition of "slow technology" and its purpose to make time more present for the user.

    19. Argument for the need for Temporal Design and how it could lead to broader notions/ideas/solutions of time's role in social coordination.