Transcript Computer-Mediated Communication

Computer-Mediated
Communication
Hyperpersonal Effect and Visual/Aural
interfaces for CMC
Coye Cheshire
//
April 8, 2016
Hyperpersonal communication
 Receivers overattribute from limited cues
 Assume similarity based on group affiliation
 Senders maintain tight control over cues
 Selective self-presentation —
Little “given off” in text CMC
 Bottom line: Exceptionally favorable
perception in the face of limited information
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“
The sensorial parsimony of plain text
tends to entice users into engaging their
imaginations to fill in missing details while,
comparatively speaking, the richness of
stimuli in fancy [systems] has an opposite
tendency, pushing users’ imaginations
into a more passive role.
— Curtis (1992)
”
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Social affinity
Long-term, no photos
Long-term, photos
Short-term, photos
Short-term, no photos
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“
The study of CMC effects is not best served by
blanket statements about technology main
effects on social, psychological, and
interpersonal processes, nor by proclamations
that online relationships are less rewarding
than FTF ones. Rather, qualities of CMC are …
more often the product of interesting and
predictable interactions of several mutual
influences than main effects of media.
— Walther et al. (2001)
”
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Faces
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What are faces good for?
Conveying, among other things:
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Individual identity
Social identity
Expression
Gaze
By means of:
Source: galante.com
 Structure
 Dynamics
 Decorations
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Basic emotions
Anger
Disgust
Fear
Joy
Sadness
Surprise
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Ekman (1999)
Ekman, Friesen, & Ellsworth (1972)
(and many others)
Characteristics of basic emotions
1. Distinctive universal signals
2. Distinctive physiology
3. Automatic appraisal
4. Distinctive universals in antecedent events
5. Distinctive appearance developmentally
6. Presence in other primates
7. Quick onset
8. Brief duration
9. Unbidden occurrence
10. Distinctive thoughts, memories images
11. Distinctive subjective experience
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Facial muscles
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Action units
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Representing the face:
“Being close
may be worse.”
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The “Uncanny Valley”
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Designing with faces and bodies
 We read meaning in lots of things,
but especially human forms!
 There is no such thing as neutral.
 If you’re going to use faces (or anything
socially salient) in a design, consider:
 Appropriate semantics
 Appropriate precision
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Eyes
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4/8/2016 & Kohshima 2001
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Kobayashi
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Kobayashi & Kohshima 2001
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Video conferencing
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The gaze angle problem, or…
Why so glum?
Source: http://staffx.webstore.ntu.edu.sg/personal/astjcham/Web/Research/percepter.htm
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Source: http://www.freepatentsonline.com/7126627.html
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Yang & Zhang 2004
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Source: D. Nguyen
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Cameras
Projectors
MultiView
Display
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Source:
D. Nguyen
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Visual social
interfaces
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Babble social proxy
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Social translucence:
To design digital systems that support coherent behavior by making
participants and their activities visible to one another (Erickson and
Kellogg)
 Visibility: make social information apparent
 Awareness: knowing based on what you see
 Accountability: knowing that I know you know
 Why? To recreate a “social physics.”
 Why not “social transparency”?
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Chat Circles 2
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Auditory interfaces
(We have no “earlids”)
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Talking in Circles
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Designing visual social interfaces
 Create affordances with social translucence
 Use rich media deliberately, when warranted
 Represent humans and their faces carefully
 Be ambiguous: users can interpret just fine
 Reflect users’ actions back to them
 Let the big picture emerge from details
 Consider whether customization is worth it
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