Pub Date : 2018-08-31DOI: 10.17011/HT/URN.201808103817
Thomas Meneweger, D. Wurhofer, Verena Fuchsberger, M. Tscheligi
: Experiences with technology often are described as exciting and outstanding, for instance, in relation to novel technologies at home or at work. In this article, we aim to complement this perspective by emphasizing people’s mundane and ordinary experiences with technology, that is, unremarkable experiences happening in the background of people’s attention. Based on our investigations of user experience in a semiconductor factory, we show how such ordinary experiences are substantial in workers’ everyday interactions with technology, which are mainly shaped by repetitive activities and routines. However, current conceptions of user experience seem to overlook those mundane experiences and how they can contribute to positive experiences with technology, as well as work engagement in the factory. In this article, we describe how ordinary experiences can be understood and described to amend current user experience conceptions by discussing theoretical, methodological, and design consequences.
{"title":"Factory Workers' Ordinary User Experiences: An Overlooked Perspective","authors":"Thomas Meneweger, D. Wurhofer, Verena Fuchsberger, M. Tscheligi","doi":"10.17011/HT/URN.201808103817","DOIUrl":"https://doi.org/10.17011/HT/URN.201808103817","url":null,"abstract":": Experiences with technology often are described as exciting and outstanding, for instance, in relation to novel technologies at home or at work. In this article, we aim to complement this perspective by emphasizing people’s mundane and ordinary experiences with technology, that is, unremarkable experiences happening in the background of people’s attention. Based on our investigations of user experience in a semiconductor factory, we show how such ordinary experiences are substantial in workers’ everyday interactions with technology, which are mainly shaped by repetitive activities and routines. However, current conceptions of user experience seem to overlook those mundane experiences and how they can contribute to positive experiences with technology, as well as work engagement in the factory. In this article, we describe how ordinary experiences can be understood and described to amend current user experience conceptions by discussing theoretical, methodological, and design consequences.","PeriodicalId":37614,"journal":{"name":"Human Technology","volume":"48 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86573363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-31DOI: 10.17011/HT/URN.201808103815
Katharina M. Zeiner, M. Burmester, Kristin Haasler, Julian Henschel, Magdalena Laib, Katharina Schippert
Experience categories describe repeatedly occurring qualities of positive experiences that can be used for the analysis and generation of new/further/more positive experiences. This paper describes experience categories for the workplace. Based on 345 reports of positive user experiences in the workplace, we identified 17 experience categories through qualitative content analysis and describe their necessary and optional attributes. We believe that experience categories can support analysis and design activities for the work place in three ways: (a) using the questions derived from experience interviews to analyze existing positive experiences in work contexts, (b) explaining the potential of positive experiences in work contexts as a formal analysis tool, and (c) showing the ways in which experience categories can inform the design of software concepts to foster/generate positive user experience. The experience category approach is thus a more actionable addition to other, mainly theory-driven, approaches.
{"title":"Designing for Positive User Experience in Work Contexts: Experience Categories and their Applications","authors":"Katharina M. Zeiner, M. Burmester, Kristin Haasler, Julian Henschel, Magdalena Laib, Katharina Schippert","doi":"10.17011/HT/URN.201808103815","DOIUrl":"https://doi.org/10.17011/HT/URN.201808103815","url":null,"abstract":"Experience categories describe repeatedly occurring qualities of positive experiences that can be used for the analysis and generation of new/further/more positive experiences. This paper describes experience categories for the workplace. Based on 345 reports of positive user experiences in the workplace, we identified 17 experience categories through qualitative content analysis and describe their necessary and optional attributes. We believe that experience categories can support analysis and design activities for the work place in three ways: (a) using the questions derived from experience interviews to analyze existing positive experiences in work contexts, (b) explaining the potential of positive experiences in work contexts as a formal analysis tool, and (c) showing the ways in which experience categories can inform the design of software concepts to foster/generate positive user experience. The experience category approach is thus a more actionable addition to other, mainly theory-driven, approaches.","PeriodicalId":37614,"journal":{"name":"Human Technology","volume":"460 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86687851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-31DOI: 10.17011/HT/URN.201805242753
Tore Gulden
The aim of this paper is to rethink games and game design within the theory of self-producing interaction systems. With this research, I seek to identify several dynamics of play and engagement elicited by games that, by extension, can serve as game design parameters. The research is oriented toward an analysis of football (soccer) and Pokémon GO within the context of Niklas Luhmann’s (2002/2012) theoretical framework of autopoiesis (i.e., self-producing interaction systems). The theoretical discussion of play situations in the two games reveals five concentric interaction systems through which games motivate play and engagement. These game dynamics are continuing simultaneous communication, multiple observations, double expectations, system autonomy, and unexpectedness through system coupling. The study further shows that when a game succeeds in eliciting these dimensions, functional, continuous, and changing structures allow for the emergence of numerous behaviors and the production of new interaction systems.
{"title":"Engagement by lamination of autopoietic concentric interaction systems in games: A study of football and Pokémon GO","authors":"Tore Gulden","doi":"10.17011/HT/URN.201805242753","DOIUrl":"https://doi.org/10.17011/HT/URN.201805242753","url":null,"abstract":"The aim of this paper is to rethink games and game design within the theory of self-producing interaction systems. With this research, I seek to identify several dynamics of play and engagement elicited by games that, by extension, can serve as game design parameters. The research is oriented toward an analysis of football (soccer) and Pokémon GO within the context of Niklas Luhmann’s (2002/2012) theoretical framework of autopoiesis (i.e., self-producing interaction systems). The theoretical discussion of play situations in the two games reveals five concentric interaction systems through which games motivate play and engagement. These game dynamics are continuing simultaneous communication, multiple observations, double expectations, system autonomy, and unexpectedness through system coupling. The study further shows that when a game succeeds in eliciting these dimensions, functional, continuous, and changing structures allow for the emergence of numerous behaviors and the production of new interaction systems.","PeriodicalId":37614,"journal":{"name":"Human Technology","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79076064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-31DOI: 10.17011/HT/URN.201805242752
Rebekah A. Rousi, Johanna M. Silvennoinen
In human–technology interaction, the balance between simplicity and complexity has been much discussed. Emphasis is placed on the value of simplicity when designing for usability. Often simplicity is interpreted as reductionism, which compromises both the affective nature of the design and usability itself. This paper takes a cognitive–semiotic approach toward understanding the dynamics between the utilitarian benefits of simplicity in design and the art of something more: considerate complexity. The cognitive–semiotic approach to human–technology design experience is a vehicle for explaining the relationship between simplicity and complexity, and this relationship’s multisensory character within contemporary art-design, information technology product design, and retail design. This approach to cognitive semiotics places emphasis on the design, object, mental representation, and the qualitative representation. Our research contributes on the levels of theoretical development and methodology, having direct design implications through articulating that simplicity exists as the careful organization of complex elements.
{"title":"Simplicity and the art of something more: A cognitive-semiotic approach to simplicity and complexity in human-technology interaction and design experience","authors":"Rebekah A. Rousi, Johanna M. Silvennoinen","doi":"10.17011/HT/URN.201805242752","DOIUrl":"https://doi.org/10.17011/HT/URN.201805242752","url":null,"abstract":"In human–technology interaction, the balance between simplicity and complexity has been much discussed. Emphasis is placed on the value of simplicity when designing for usability. Often simplicity is interpreted as reductionism, which compromises both the affective nature of the design and usability itself. This paper takes a cognitive–semiotic approach toward understanding the dynamics between the utilitarian benefits of simplicity in design and the art of something more: considerate complexity. The cognitive–semiotic approach to human–technology design experience is a vehicle for explaining the relationship between simplicity and complexity, and this relationship’s multisensory character within contemporary art-design, information technology product design, and retail design. This approach to cognitive semiotics places emphasis on the design, object, mental representation, and the qualitative representation. Our research contributes on the levels of theoretical development and methodology, having direct design implications through articulating that simplicity exists as the careful organization of complex elements.","PeriodicalId":37614,"journal":{"name":"Human Technology","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73832182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-31DOI: 10.17011/HT/URN.201805242749
Rebekah A. Rousi
Where there is technology, there is semiotics. Semiotics refers to the science of signs; the study of symbols, markings, and their meanings in the way people interpret them. The human and, arguably, animal worlds are literally littered in signs, both natural (Eco, 1976; Peirce, 1958, p. 172) and artificial (i.e., intentional; de Saussure, 1916/1983). How these are understood and studied depends on the context, purpose, and individual. The built and designed human world can be equated to a massive sign system, in which every form, color, quantity, material, and logic has a communicative function. Architecture, for example, is a classic realm of technology in which form, style, material, and scale have been systematically used to impose societal hierarchy and order upon those who encounter it (Crouch, 1999). Architecture, as with any form of art, design, or technological form, communicates the logic, the values, and the actions of the times. In other words, from a technological perspective, designs are only available at certain periods of time if they serve a purpose, whether functionally through operation or from the perspective of societal ideologies and systems, through style. What is more, the physical nature in which they are realized is also instrumentally linked to public, political, and historical discourses that reinforce their meaning and significance in relation to the public that receives them (Crouch, 2010). When considering contemporary consumption, and that of information technology, this is particularly evidenced in regard to brand value, for instance. That is, bountiful significance and meaning can be obtained from design form through analyzing the technological items’ forms, materials, scale, style, and functions as compositions. The meaning derived from these elements, in connection to brand recognition, act in a very similar way to that of architecture over the centuries. That is, messages inherent in the technology shape people’s lives through molding their behaviors and exposing them to aesthetic compositions that contribute to formulating peoples’ worldviews and norms.
哪里有技术，哪里就有符号学。符号学指的是符号科学;符号学研究符号、标记以及人们对它们的理解方式。人类世界和动物世界，可以说是到处都是自然的标志(Eco, 1976;Peirce, 1958, p. 172)和人为的(即有意的;索绪尔，1916/1983)。如何理解和研究这些取决于背景、目的和个人。人类世界的建造和设计可以等同于一个巨大的符号系统，在这个系统中，每一种形式、颜色、数量、材料和逻辑都具有交流功能。例如，建筑是一个经典的技术领域，其形式、风格、材料和规模都被系统地用于将社会等级和秩序强加给那些遇到它的人(Crouch, 1999)。建筑与任何形式的艺术、设计或技术形式一样，传达着时代的逻辑、价值观和行为。换句话说，从技术的角度来看，设计只有在特定的时期才可用，如果它们是出于某种目的，无论是从功能上通过操作，还是从社会意识形态和制度的角度，通过风格。更重要的是，它们被实现的物理性质也与公共、政治和历史话语联系在一起，这些话语强化了它们与接受它们的公众相关的意义和重要性(Crouch, 2010)。当考虑到当代消费和信息技术消费时，这一点在品牌价值方面尤为明显。即通过对工艺项目的形式、材料、尺度、风格、构成功能的分析，从设计形式中获得丰富的意义和内涵。从这些元素中衍生出来的意义，与品牌识别有关，与几个世纪以来的建筑非常相似。也就是说，技术中固有的信息通过塑造人们的行为来塑造人们的生活，并将他们暴露在有助于形成人们世界观和规范的美学作品中。
{"title":"Exploring aethetics, design, and experience in the age of semiotic technology","authors":"Rebekah A. Rousi","doi":"10.17011/HT/URN.201805242749","DOIUrl":"https://doi.org/10.17011/HT/URN.201805242749","url":null,"abstract":"Where there is technology, there is semiotics. Semiotics refers to the science of signs; the study of symbols, markings, and their meanings in the way people interpret them. The human and, arguably, animal worlds are literally littered in signs, both natural (Eco, 1976; Peirce, 1958, p. 172) and artificial (i.e., intentional; de Saussure, 1916/1983). How these are understood and studied depends on the context, purpose, and individual. The built and designed human world can be equated to a massive sign system, in which every form, color, quantity, material, and logic has a communicative function. Architecture, for example, is a classic realm of technology in which form, style, material, and scale have been systematically used to impose societal hierarchy and order upon those who encounter it (Crouch, 1999). Architecture, as with any form of art, design, or technological form, communicates the logic, the values, and the actions of the times. In other words, from a technological perspective, designs are only available at certain periods of time if they serve a purpose, whether functionally through operation or from the perspective of societal ideologies and systems, through style. What is more, the physical nature in which they are realized is also instrumentally linked to public, political, and historical discourses that reinforce their meaning and significance in relation to the public that receives them (Crouch, 2010). When considering contemporary consumption, and that of information technology, this is particularly evidenced in regard to brand value, for instance. That is, bountiful significance and meaning can be obtained from design form through analyzing the technological items’ forms, materials, scale, style, and functions as compositions. The meaning derived from these elements, in connection to brand recognition, act in a very similar way to that of architecture over the centuries. That is, messages inherent in the technology shape people’s lives through molding their behaviors and exposing them to aesthetic compositions that contribute to formulating peoples’ worldviews and norms.","PeriodicalId":37614,"journal":{"name":"Human Technology","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88774497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-31DOI: 10.17011/HT/URN.201805242751
L. Urquhart, A. Wodehouse
This paper introduces a new model of form, emotion and semantics through a process of form abstraction utilising lines. Understanding the emotional and semantic value of form is a complex task and many theories have been developed. Analyzing the visual arts through line relationships and interactions is a conceptually novel approach and offers new avenues for advancing studies in form theory, theories of emotion and perception, and design generally. By examining literature in visual perception, form theory, emotion, historically analyzing changes in form through the aesthetic arts and reducing these aesthetic elements into basic linear foundations, we present the Line Model of Form and Emotion. This preliminary model sets out form at its structurally most abstract, simplifying three dimensionally defined shapes into line relationships and visualizing their emotive and semantic associations for human observers. The model also visualizes the historical changes in form and emotional and semantic meaning across time, from the 18th century through to the present day.
{"title":"The line model of form and emotion: Perspectives on Western design","authors":"L. Urquhart, A. Wodehouse","doi":"10.17011/HT/URN.201805242751","DOIUrl":"https://doi.org/10.17011/HT/URN.201805242751","url":null,"abstract":"This paper introduces a new model of form, emotion and semantics through a process of form abstraction utilising lines. Understanding the emotional and semantic value of form is a complex task and many theories have been developed. Analyzing the visual arts through line relationships and interactions is a conceptually novel approach and offers new avenues for advancing studies in form theory, theories of emotion and perception, and design generally. By examining literature in visual perception, form theory, emotion, historically analyzing changes in form through the aesthetic arts and reducing these aesthetic elements into basic linear foundations, we present the Line Model of Form and Emotion. This preliminary model sets out form at its structurally most abstract, simplifying three dimensionally defined shapes into line relationships and visualizing their emotive and semantic associations for human observers. The model also visualizes the historical changes in form and emotional and semantic meaning across time, from the 18th century through to the present day.","PeriodicalId":37614,"journal":{"name":"Human Technology","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89259258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-11-30DOI: 10.17011/HT/URN.201711104211
K. Sedig, A. Naimi, Nicole Haggerty
In human–computer interaction (HCI), the human often has been conceptualized as a user. Although this notion has illuminated one aspect of the human–technology relationship, some researchers have argued for the need to explore alternative notions. One such notion becoming increasingly frequent in HCI is the self. In this paper, a study of how the self is described in 88 HCI research publications is presented. Four main aspects of the self are identified: instrumental, communicative, emotional, and playful. These four aspects differ, yet they present the self as stable, coherent, and individual. However, these characteristics have been criticized by several contemporary philosophers. This paper presents arguments from poststructuralist writers as a foundation for advocating the need to develop further these positions within HCI. The theories of Mark C. Taylor, who combines poststructuralism with complexity theory, provide a framework for viewing the self as relational to the extent that interaction becomes an existential process and thus interactive technology constitutes an existential arena.
在人机交互(HCI)中，人通常被概念化为用户。尽管这一概念阐明了人类与技术关系的一个方面，但一些研究人员认为有必要探索其他概念。一个这样的概念在HCI中变得越来越频繁，那就是自我。本文对88篇HCI研究出版物中如何描述自我进行了研究。他们确定了自我的四个主要方面:工具性、沟通性、情感性和游戏性。这四个方面各不相同，但它们将自我呈现为稳定、连贯和独立的自我。然而，这些特征受到了一些当代哲学家的批评。本文提出了后结构主义作家的论点，作为主张在HCI中进一步发展这些立场的基础。马克·c·泰勒(Mark C. Taylor)将后结构主义与复杂性理论相结合，提供了一个将自我视为关系的框架，在某种程度上，互动成为一个存在的过程，因此互动技术构成了一个存在的舞台。
{"title":"Aligning information technologies with evidence-based health-care activities: A design and evaluation framework","authors":"K. Sedig, A. Naimi, Nicole Haggerty","doi":"10.17011/HT/URN.201711104211","DOIUrl":"https://doi.org/10.17011/HT/URN.201711104211","url":null,"abstract":"In human–computer interaction (HCI), the human often has been conceptualized as a user. Although this notion has illuminated one aspect of the human–technology relationship, some researchers have argued for the need to explore alternative notions. One such notion becoming increasingly frequent in HCI is the self. In this paper, a study of how the self is described in 88 HCI research publications is presented. Four main aspects of the self are identified: instrumental, communicative, emotional, and playful. These four aspects differ, yet they present the self as stable, coherent, and individual. However, these characteristics have been criticized by several contemporary philosophers. This paper presents arguments from poststructuralist writers as a foundation for advocating the need to develop further these positions within HCI. The theories of Mark C. Taylor, who combines poststructuralism with complexity theory, provide a framework for viewing the self as relational to the extent that interaction becomes an existential process and thus interactive technology constitutes an existential arena.","PeriodicalId":37614,"journal":{"name":"Human Technology","volume":"3 1","pages":"180-215"},"PeriodicalIF":0.0,"publicationDate":"2017-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78615669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-11-30DOI: 10.17011/HT/URN.201711104212
Anne Puolakanaho, Juha Latvala
The aim of this pilot study was to explore the predictive accuracy of computerbased assessment tasks (embedded within the GraphoLearn digital learning game platform) in identifying slow and normal readers. The results were compared to those obtained from the traditional paper-and-pencil tasks currently used to assess school readiness in Finland. The data were derived from a cohort of preschool-age children (mean age 6.7 years, N = 57) from a town in central Finland. A year later, at the end of first grade, participants were categorized as either slow (n = 11) or normal readers (n = 46) based on their reading scores. Logistic regression analyses indicated that computer tasks were as efficient as traditional methods in predicting reading outcomes, and that a single computer-based task—the letter–sound knowledge task,—provided an easy method of accurately predicting reading achievement (sensitivity 95.7%; specificity 81.8%). The study has practical implications in classrooms.
{"title":"Embedding Preschool Assessment Methods into Digital Learning Games to Predict Early Reading Skills","authors":"Anne Puolakanaho, Juha Latvala","doi":"10.17011/HT/URN.201711104212","DOIUrl":"https://doi.org/10.17011/HT/URN.201711104212","url":null,"abstract":"The aim of this pilot study was to explore the predictive accuracy of computerbased assessment tasks (embedded within the GraphoLearn digital learning game platform) in identifying slow and normal readers. The results were compared to those obtained from the traditional paper-and-pencil tasks currently used to assess school readiness in Finland. The data were derived from a cohort of preschool-age children (mean age 6.7 years, N = 57) from a town in central Finland. A year later, at the end of first grade, participants were categorized as either slow (n = 11) or normal readers (n = 46) based on their reading scores. Logistic regression analyses indicated that computer tasks were as efficient as traditional methods in predicting reading outcomes, and that a single computer-based task—the letter–sound knowledge task,—provided an easy method of accurately predicting reading achievement (sensitivity 95.7%; specificity 81.8%). The study has practical implications in classrooms.","PeriodicalId":37614,"journal":{"name":"Human Technology","volume":"18 1","pages":"216-236"},"PeriodicalIF":0.0,"publicationDate":"2017-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83051967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-11-30DOI: 10.17011/HT/URN.201711104210
Henrik Åhman
In Human–Computer Interaction (HCI), the human often has been conceptualized as a user. Although this notion has illuminated one aspect of the human–technology relationship, some researchers have a ...
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