Interpolated Editorial design A THESIS PROJECT PROCESS BOOK submitted in partial fulfillment of the degree of Master of Design × ADAM CRISTOBAL, Bachelor of the Arts (Hons), English literature, Minor in Publishing, Simon Fraser University 2012 × EMILY CARR UNIVERSITY OF ART + DESIGN 2014 Abstract Established practices of editorial design for fiction and non-fiction primarily focus on the visual communication and curation of meaning to a user of a given text. This is usually accomplished via art direction, delivery platform, and overall form as defined by a designer. While within these parameters exist opportunities for designers to make significant interventions in a text, a text’s content proper is primarily defined by editors earlier in the book publishing process. According to this model, the relationship between editorial and design is vertical and linear in nature: editors handle initial publishing interventions in the text, while designers later intervene as facilitators of form and production. This thesis project challenges these established industry practices with regards to the publishing process of new editions of long-form literary classics: it defines new editorial roles for designers and proposes a collaborative and cyclical publishing process wherein the designer further defines the meaning of the text. Moreover, through consultation with professionals in literary education, extensive case studies, user group interviews and profiles, and experimental prototyping, this thesis defines new ways for designers to serve contemporary users of textual artifacts; these users engage in an increasingly multimedia environment of texts, images as texts, and texts as images. Prototyping of this project has yielded a new edition of Oscar Wilde’s The Picture of Dorian Gray, and an editorial design system that the researcher calls Interpolated Editorial Design, or InterED. Table of contents Abstract 3 Table of contents 5 List of figures 8 Acknowledgments 12 Epigraph 15 Keywords & definitions 16 1.0 Project rationale 1.1 Problem statement 20 1.2 Thesis statement 21 1.3 Design objectives 22 2.0 Literature review TA B L E O F CO N T E N T S 6 19 23 2.1 Designer as shaper of meaning 26 2.2 Contemporary shifts in reading behavior 28 2.3 Case study: Pottermore 30 2.4 Case study: The Waste Land App 39 3.0 Research methodology 45 I N T E R P O L AT E D E D I TO R I A L D E S I G N 3.1 Interviews in literary education 47 3.2 User interviews 51 3.3 User personae 61 3.4 In-studio prototype experimentation 69 3.4.1 Traditional editorial design approach 70 3.4.2 Physically embodied social reading 72 3.4.3 Blending gamified UX with editorial design 82 4.1 Interpolated Editorial Design system overview 105 4.2 Interpolated Editorial Design system map 112 4.3 Application of system to final prototype 114 4.4 User experience design & low-fidelity wireframing 116 4.5 User interface design & development 139 4.6 Usertesting: preliminary trials 136 5.0 Final prototype 143 6.0 Project assessment 151 6.1 Evaluation of project 152 6.2 Future directions 154 Bibliography 156 Appendices 178 TA B L E O F CO N T E N T S 103 7 ADAM CRISTOBAL 4.0 Design process List of figures 8 I N T E R P O L AT E D E D I TO R I A L D E S I G N 1. Tree of Codes 25 2. Harry Potter & the Philosopher's Stone 29 3. Harry Potter & the Philosopher's Stone 29 4. Harry Potter & the Philosopher's Stone 29 5. MuggleNet Home Screen 33 6. HarryPotterFanfiction Home Screen 33 7. Harry Potter Community @ LiveJournal home screen 33 8. Harry Potter tag search on Tumblr 33 9. Pottermore home screen 33 10. Pottermore reading screen with text panel 33 11. Pottermorereading screen with parallax illustration. 34 12. Potion brewing screen 34 13. Dueling club screen 34 14. Comment and drawing interfaces 34 15. Comment and drawing interfaces 36 16. Pottermore art: The Boy Who Lived. 36 17. Sorting hat placement into Gryffindor House 36 18. The Waste Land App home screen 39 19. Poem reading screen 39 20. Highlighting of line to reveal audio-recordings of poem 39 21. Scholarly annotations and highlighting 39 22. Image of scanned original manuscript 40 23. Image of scanned original manuscript, zoomed-in 40 24. Image gallery screen 40 25. Commentary video screen featuring Seamus Heaney 40 26. The Rape of the Lock 71 27. The Rape of the Lock 71 28. Jabberwocky user test activity 75 29. Jabberwocky user test activity 75 30. Jabberwocky user test activity 75 31. Jabberwocky user test activity 75 32. Jabberwocky user test activity 75 33. Jabberwocky user test activity 75 34. Jabberwocky user test activity 75 35. Jabberwocky user test activity 75 36. Jabberwocky user test activity 75 Jabberwocky user test activity 75 38. Playing with text via multiple tablet interfaces 79 39. Playing with text via multiple tablet interfaces 79 40. Playing with text via multiple tablet interfaces 79 41. Shakespeare² 80 42. Shakespeare² in-use 81 43. Shakespeare² in-use 81 44. Shakespeare² in-use 81 45. Form refinement for Quest mobile interface 83 46. Playing with Arthurian literary texts and images 85 47. Playing with Arthurian literary texts and images 85 48. Playing with Arthurian literary texts and images 85 49. Playing with Arthurian literary texts and images 88 50. Playing with Arthurian literary texts and images 88 51. Playing with Arthurian literary texts and images 88 52. Quest prototype version 1 90 53. Quest prototype version 1 90 54. Quest prototype version 1 90 55. Quest prototype version 1 90 56. Quest prototype version 1 90 57. Quest userflow development 94 58. Quest userflow development 94 59. Quest prototype version 2 wireframes 95 60. Quest prototype version 2 96 61. Quest prototype version 2 96 62. Quest prototype version 2 97 63. Quest prototype version 2 97 64. Quest prototype version 2 98 65. Quest prototype version 2 98 66. Quest prototype version 2 99 67. Quest prototype version 2 99 68. Quest prototype version 2 100 69. Quest prototype version 2 100 70. Quest prototype version 2 101 71. Quest prototype version 2 101 72. Dorian Gray system maps model 1 116 73. Dorian Gray system maps model 1 117 74. Dorian Gray system maps model 2 118 75. Dorian Gray system maps model 2 119 76. Dorian Gray system maps model 3 120 77. Dorian Gray system maps model 3 121 9 ADAM CRISTOBAL 37. LIST OF FIGURES 10 I N T E R P O L AT E D E D I TO R I A L D E S I G N 78. Dorian Gray low fidelity wireframes 124 79. Dorian Gray low fidelity wireframes 124 80. Dorian Gray low fidelity wireframes 124 81. Dorian Gray low fidelity wireframes 124 82. Dorian Gray low fidelity wireframes 124 83. Dorian Gray low fidelity wireframes 124 84. Dorian Gray low fidelity wireframes 125 85. Dorian Gray low fidelity wireframes 125 86. Dorian Gray low fidelity wireframes 125 87. Dorian Gray low fidelity wireframes 125 88. Dorian Gray low fidelity wireframes 125 89. Dorian Gray low fidelity wireframes 125 90. Dorian Gray low fidelity wireframes 125 91. Dorian Gray low fidelity wireframes 125 92. Dorian Gray low fidelity wireframes 126 93. Dorian Gray low fidelity wireframes 126 94. Dorian Gray low fidelity wireframes 126 95. Dorian Gray low fidelity wireframes 126 96. Dorian Gray low fidelity wireframes 126 97. Dorian Gray low fidelity wireframes 126 98. Dorian Gray low fidelity wireframes 127 99. Dorian Gray low fidelity wireframes 127 100. Dorian Gray low fidelity wireframes 127 101. Dorian Gray low fidelity wireframes 127 102. Dorian Gray low fidelity wireframes 127 103. Dorian Gray low fidelity wireframes 127 104. Dorian Gray low fidelity wireframes 127 105. Dorian Gray low fidelity wireframes 127 106. Dorian Gray analog prototype 129 107. Dorian Gray analog prototype 129 108. Dorian Gray analog prototype 129 109. Dorian Gray prototype version 1 130 110. Dorian Gray prototype version 1 131 111. Dorian Gray prototype version 1 131 112. Dorian Gray prototype version 1 131 113. Dorian Gray prototype version 1 132 114. Dorian Gray prototype version 1 132 115. Dorian Gray prototype version 1 132 116. Dorian Gray prototype version 1 133 117. Dorian Gray prototype version 1 133 118. Dorian Gray prototype version 1 133 119. Dorian Gray preliminary user testing 135 120. Dorian Gray preliminary user testing 135 121. Dorian Gray preliminary user testing 135 122. Dorian Gray prototype version 1 140 123. Dorian Gray prototype version 1 141 124. Dorian Gray prototype version 1 142 125. Dorian Gray prototype version 1 143 126. Dorian Gray prototype version 2: landing screen and navigation 144 127. Dorian Gray prototype version 2: landing screen and navigation 144 128. Dorian Gray prototype version 2: landing screen and navigation 144 129. Dorian Gray prototype version 2: reading screen 146 130. Dorian Gray prototype version 2: reading screen 146 131. Dorian Gray prototype version 2: interpolated stories 147 132. Dorian Gray prototype version 2: interpolated stories 147 133. Dorian Gray prototype version 2: interpolated stories 147 134. Dorian Gray prototype version 2 editorial history reveal 148 135. Dorian Gray prototype version 2: interpolated story 149 This journey is more than me. Two very big hugs for Mom and Dad. How can I even begin to express my gratitude for everything they have freely given to me? They have patiently encouraged me to go where there is no path, and carve out a trail. One of the great tasks of my life will be to repay them for their unending love, support, and sacrifice. I hope I prove worthy to the challenge. My supervisor, Celeste Martin, has offered me the most sober critique, useful direction, and enlightening encouragement I could ask for — peppered with good humour. Without her, I would not have enjoyed this project as much as I have, nor would I have been able to pursue this project with zeal and depth of inquiry. I could not have asked for a more dedicated and effective mentor. 12 Since the day I knocked on his office door about research assistantships and classes to audit, Jonathan Aitken has graciously looked out for my academic I N T E R P O L AT E D E D I TO R I A L D E S I G N and professional interests at Emily Carr. Beyond the call, he has helped at nearly every hurdle of this process. For that I am extremely grateful. Several other faculty members have enriched me with their expertise in the classroom: Haig Armen, Bryce Ashdown, Tom Becher, Hélène Day Fraser, Louise St. Pierre, and Bonne Zabolotney. As a young designer, I owe them my comprehensive understanding of the discipline’s roots, applications, and many futures. Despite my sometimes snide remarks in class, these people taught me the real work of design. Thanks them, I will always remember my time at Emily Carr as some of the most transformative, fun, and challenging years of my life. Two faculty members have patiently helped and watched me grow as a teacher. I am exceptionally lucky to have taught in both Peter Cocking and Roman Izdebski’s classrooms. I can only hope to inspire any future students I might have as they have inspired theirs. I’d also like to thank my own students, from first-year to fourth-year, whose talents and insights have humbled me and kept me in-check throughout my time at Emily Carr. I owe a great deal of insight, coffee, tea, chocolate, popcorn, and other snacks to my two stalwart M.Des cohort classmates, Hoda Hamouda and Melanie Waddell. Their unique abilities and sharp minds never failed to amaze me. To share classes with the current first-year M.Des cohort was an extreme privilege. I owe Andreas Eiken, Bree Galbraith, Michael Peterson, Caylee Raber, and Christina White for their laughs, consistently intelligent comments, and indulgence of my joke-filled tangents. I have also had the fortune to connect, commiserate, and forge friendships with several undergraduates design students outside of the classroom. Thanks to Emanuel Ilagan, Jacquie Shaw, and several other friendly folks in the Communication Design common area, I have managed to have some fun and find a life beyond the myopic world of a graduate student. I would not have survived without my friends in the M.A.A. Visual Arts cohort across the studio. Madeleine Campbell, Amiel Logan, Michelle 13 much needed life into Mitchell Press and shown me new ways of thinking. A substantial portion of my professional development is thanks to my internship and research assistantship at Loud Crow Interactive. Their generous staff, both past and present, have pushed my practice beyond that which I thought possible. Two close friends have put up with my antics and misadventures during this entire business on a weekly and sometimes daily basis: Nicole Lim and Mira Valdes. They are some of the most wonderful people I know. I owe them my sanity. ADAM CRISTOBAL O’Byrne, Patryk Stasieczek, and Pascale Théoret-Groulx have injected some L’aspetto in cui l'amplesso e la lettura s’assomigli no di più è che al loro interno s’aprono tempi e spazi diversi dal tempo e dallo spazio misurabili. What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different measurable time and space. — Italo Calvino S E U N A N OT T E D ’ I N V E R N O U N V I A G G I ATO R E translated by William Weaver If on a Winter’s Night a Traveler Keywords & definitions Long-form literary classics Text Prose and poetry of quantifiable A linguistic composition of words as length that the field of literary audible or cognitive units of speech, criticism generally acknowledges as both static and kinetic. part of the canon; the canon being “a body of literary works traditionally Image regarded as the most important, A visual composition of optical significant, and worthy of study; those shapes and forms, both static works of esp. Western literature and kinetic. considered to be established as being 16 of the highest quality and most Multimedia enduring value; the classics” (OED). The use of more than one means of For the purposes of further communication. The simultaneous constraints within this project, I combination of text and image. have narrowed my focus to the I N T E R P O L AT E D E D I TO R I A L D E S I G N western canon. These works are Paratext common taught in European and Information directly related to a North American secondary and primary text and/or its publication. post-secondary institutions in a This information may be made variety of disciplines. manifest as images, text, and other media, and cover a range of topics including sociocultural context, editorial revisions, and biographical information of the author. Deep attention Media intake behaviour As defined by N. Katherine Hayles, The mental and material process by “the cognitive style traditionally which users ingest information via associated with the humanities, is text and image. characterized by concentrating on a single object for long periods . . . Publishing process ignoring outside stimuli while so The preparation of information engaged, preferring a single as textual and visual artifacts information stream, and having a for dissemination to a given high tolerance for long focus audience. Distinct from publishing times . . . is superb for solving industry, which implicates the complex problems represented in a dissemination of information for single medium, but it comes at the monetary remuneration. flexibility of response” (Hayles, Delivery platform “Hyper and Deep Attention” 187-88). The material manifestation of information in the publishing process; the Hyper attention artifact through which information is As defined by Hayles, “characterized disseminated to a given audience. by switching focus rapidly among different tasks, preferring multiple information streams, seeking a high level of stimulation, and having a low tolerance for boredom . . . excels at negotiating rapidly changing environments in which multiple foci compete for attention; its disadvantage is impatience with focusing for long periods on a noninteractive object such as a Victorian novel or complicated math problem” (Hayles, “Hyper and Deep Attention” 187-88). ADAM CRISTOBAL 17 price of environmental alertness and 1.0 Project rationale 1.1 Problem statement 20 I N T E R P O L AT E D E D I TO R I A L D E S I G N How can digital publishing strategies and technologies adapt long-form literary classics to changing media intake behaviours of the 21st-century? Thesis 1.2 statement 21 ADAM CRISTOBAL A careful synthesis of media that harness deep and hyper attention, and a process of collaborative research and production between editorial and design, can facilitate deeper user engagement with long- form literary classics. 1.3 Design objectives 1 . 0 P R O J E C T R AT I O N A L E 22 Objective #1 Synthesize media in order to facilitate a symbiotic relationship between a user’s deep attention and hyper attention (Hayles, “Hyper and Deep Attention: The Generational Divide in Cognitive Modes” 187-8). Objective #2 Focused curation of content as one I N T E R P O L AT E D E D I TO R I A L D E S I G N overarching theme or principle through multiple media forms, approaches, and connections. Place premium of experience on discovery (Guthrie, “Reading Motivation and Engagement in Middle and High School” 7 and Douglas and Guthrie, “Meaning Is Motivating: Classroom Goal Structures” 19). Objective #3 User-determined path of content intake through the tactile discovery, and triangulation of multiple sources in media forms (Piper 157). 2.0 Literature review Established practices of editorial design for fiction and non-fiction primarily focus on communication and curation of meaning through art direction. This includes typography, photography, illustration, and other inherently visual modes of communication. Meaning is also communicated and curated through media platform, including print and digital delivery modes; and overall form as defined by a designer. While within these parameters exist opportunities for designers to make significant interventions in a book (see fig. 1), a book’s text and content proper is primarily defined by editors earlier in the publishing process. This, of course, varies from publisher to publisher and project to project, but even the processes of designerly publishers, like McSweeney’s, begin with editors. Dave Eggers notes, “no one at McSweeney’s has any formal training in book design or production” (The Art of McSweeney’s 5). This is also the case at similar publishers with formal training and an emphasis in design. Anna Gerber and Britt Iversen are pedigree communication designers by trade and training, and run the Visual Editions publishing house in London. Jonathan Safran Foer’s Tree of Codes, published by Visual Editions, depends on die-cut techniques to manipulate meaning (see fig. 1). Yet the project 24 began with Foer’s editorial direction of the book, and Sara De Bondt Studio’s design followed. The hierarchy in the book publishing process is clear: I N T E R P O L AT E D E D I TO R I A L D E S I G N editors handle initial publishing interventions in the text, while the designer later intervenes as a facilitator to form, production, and distribution. This is particularly the case with new editions of a seminal or so-called “classic” texts, whose authors are no longer living. I look to Penguin as a precedent for publishers of “serious literature” (Joicey 28), and while Penguin’s distinctive brand is ubiquitous enough and retain a degree of popular interest and commodification (Rylance 54), the publisher’s initial success was due a larger system design. In a study of the firm’s social and economic influence, Rick Rylance writes that Penguin developed “innovative outlets that bypassed the old arterial blockages of ‘the trade’ and found a new public on Exeter station or in Woolworth’s” (Rylance 54). Penguin enhanced the accessibility of its content not only via the media in which the literature was made manifest, but the physical and social means by which this content was delivered. Penguin designed a new kind of retail space. Rylance continues, “Penguin carefully developed and encouraged [a] web of semi-formal reading networks” including the Penguin reading groups, the Puffin Club for Children, the Forces Book Club, and Penguin’s Progress magazine (Rylance 54). Indeed, Joicey argues that Figure 1 has been removed due to copyright restrictions. The information removed is an image of Jonathan Safran Foer’s Tree of Codes laser-cut book. Fig. 1: Jonathan Safran Foer, Tree of Codes, 2010; Visual Editions; Web. Penguin demonstrated “a market for serious literature beyond the traditional bookshop” (Joicey 28). If one’s market is not in the traditional bookshop, it logically follows that one should not design for the traditional bookshop: Rylance also notes that Penguin harnessed the relatively new prominence of the vending machine in order to produce the Penguincubator, “the world’s first vending machine for books” (Rylance 54). Thus, the effectiveness of Penguin’s design was derived from a drive towards retail and social 25 This project, Interpolated Editorial Design, is a new editorial design system for user accessibility for long-form literary classics. Reading behaviour has radically changed within the latter half of the twentieth century, and publishing models for long-form literary classics remain stagnant. Penguin’s system design for this literature was effective in the early twentieth century, but it is now time for the next overhaul. Editorial, both scholarly and popular, continues to almost exclusively enrich and research the textual content of classic texts with their expertise of content. I argue that it is now time for a systematized designerly intervention beyond distribution and beyond the cover. I propose the subversion of the vertical editorial/design hierarchy in order to shape, clarify, and enhance the meaning of a long-form literary classic. Here, editorial and design exist in horizontal collaboration, with editors acting as curators of content, and designers acting as shapers of meaning. In part, Interpolated Editorial Design remakes the publishing process for designers to become active manipulators of content. ADAM CRISTOBAL accessibility to these works. 2.1 Designer as shaper of meaning As part of the 1913 Manifesto of Futurism, Filippo Marinetti’s “typographical 2 . 0 L I T E R AT U R E R E V I E W revolution” (Marinetti 7) articulated the impact that a text’s visual representation had on a text itself. In broad terms, this gave way to a number of movements in early 20th-century schools, including Dadaism, that deconstructed and reconstructed texts through form. Later in the 20th century, designers began to intervene as evident manipulators and crafters of meaning, and these designers serve as early precedents of Interpolated Editorial Design. The work of Wolfgang Weingart and later work at the Cranbrook Academy of Art employed typographic form as a means to editorialize meaning beyond the parameters usually afforded to designers in visual communication design. These approaches challenge Beatrice Warde’s 26 “crystal goblet” notion of visual communication design as a transparent practice (Warde), and instead prioritize the designer’s manipulation of I N T E R P O L AT E D E D I TO R I A L D E S I G N form and — in turn — manipulation of meaning. Both Weingart and designers at Cranbrook developed their practices in reaction against an established system of typography and visual communication design. Caught in the socioeconomic heat of post-WWII Europe, Weingart’s own irreverence for and criticality of the dominant Swiss school led him to “challenge revered conventions and still respect the traditions” (Weingart 112, 103-4). Weingart eschewed formal grids in favor of expression, and harnessed form as a means to establish a greater sense of meaning than that offered by formal aesthetics. Meaning is communicated not only by the words themselves, but also the qualitative distortion of their letter forms. Similar reactions against established typographic systems, particularly “the universal use of ‘Helvetica-on-a-grid’ for everything from corporate communications to the covers of avant-garde jazz albums” (Wild 31-2), occurred at Cranbrook in the ‘60s and ‘70s. Under Katherine McCoy’s leadership, the Cranbrook approach enabled the visual communication designer to become a “participant in the delivery of the message, not just the translator” (Wild 34-5). Like Weingart, these methods at Cranbrook harness form as a language in and of itself. Objectivity is eschewed for enhanced meaning. This line of ‘80s and ‘90s by Neville Brody and David Carson. Similar to this earlier work, the Interpolated Editorial Design system implicates the designer’s creation and definition meaning beyond the scope usually afforded to them according to current paradigms of the book publishing process. However, where Weingart, designers at Cranbrook, Brody, and Carson used typographic form as a means to determine, disintegrate, and develop meaning subjective to the designer, InterED intervenes and manipulates meaning beyond form: the designer not only determines and develops the 2 . 0 L I T E R AT U R E R E V I E W thought in visual communication design can also be seen in later work in the book as image, but also shapes the book as text in collaboration with an editor. In that regard, InterED is an inherently interdisciplinary system. It draws from media and recent research methods found in both visual communica- 27 humanities-based research methods in collaboration with editors. With that in mind, InterED does not discard or minimize the important work of editors, but rather emphasizes that its practicing designers are uniquely situated to execute humanist concerns, enriched by editors’ curation of content. Editorial designers, particularly those that work with long-form literary classics, should be conscious that designers engaged in the humanities are to be conscious that an artifact’s meaning is contingent upon its surrounding web of “social activities, and actions of the people who engage with it” (Murray 1). Indeed, the today’s users of textual artifacts engage in an increasingly interactive and multimedia environment, and it is within this epochal moment that I situate the Interpolated Editorial Design system. ADAM CRISTOBAL tion and interaction design. It can challenge designers to work with older 2.2 Changes in contemporary reading behaviour 2 . 0 L I T E R AT U R E R E V I E W It is obvious that our media intake habits have changed from those of the mid-twentieth century. Today’s youth, however, as so-called digital natives (Prensky 1), exhibit a particular change. This change in behavior has long been the subject of much scrutiny. “The degree of change experienced by the last three generations rivals that of a species undergoing mutation,” Douglas Rushkoff argued in as early as 1996, albeit somewhat melodramatically, in Playing the Future: What We Can Learn from Digital Kids (Rushkoff 5). Rushkoff’s book is a broad discussion of “children born into our elec- 28 tronically mediated world of computer and television monitors,” whom he called screenagers (Rushkoff 5). Rushkoff illustrates these screenagers as a I N T E R P O L AT E D E D I TO R I A L D E S I G N near next-species of human evolution. He writes, “While the members of every generation experience some degree of tension with their own children, today’s screenagers have been forced to adapt to such an extent that many of their behaviors are inscrutable to their elders” (Rushkoff 5). Although today’s older demographic are increasingly adopting these behaviors, Rushkoff’s screenager generation remains an epochal generation. Scholarly studies in psychology, psychiatry, pedagogy, communication, and media studies have noted this generation as the first generation to grow up with mobile phones (Walsh et al 196), to inhabit digital communities such as Facebook and YouTube and call them “home” (Luschen and Bogad 451), to seamlessly incorporate interactive media into their everyday lives (Van den Beemt et al. 103), and to use online channels as a means for political engagement and interaction (Bridges et al 163, McGrath 42-43). Rushkoff’s broad treatment of this shift in behaviour is optimistic and receptive. Beyond his approach, the overall critical reactions to this shift are mixed, specifically in their comparison of old to new modes of media intake. My discussion of this shift also draws from four other works in the field: Nicholas Carr’s The Shallows: What the Internet is Doing to Our Brains, Figure 2 has been removed due to copyright restrictions. The information removed is the poster for the Harry Potter and the Philosopher’s Stone film, directed by 2 . 0 L I T E R AT U R E R E V I E W Christopher Columbus. Figure 3 has been removed due to copyright restrictions. The information removed is due to copyright restrictions. the cover image for Harry The information removed is Potter and the Philosopher’s the cover image for Harry Stone by J.K. Rowling. Potter and the Sorcerer’s Stone video game, published by Electronic Arts. 29 Figs. 2-4: Christopher Columbus, Harry Potter and the Philosopher's Stone, 2001; J.K. Rowling, Harry Potter and the Philosopher’s Stone, 1997. Harry Potter and the Sorcerer’s Stone, EA Games, 2003. Andrew Piper’s Book Was There: Reading in Electronic Times, and N. Katherine Hayle’s “Hyper and Deep Attention: The Generation Divide in Cognitive Modes” and “How We Read: Close, Hyper, Machine.” Carr argues that the change in media intake behavior will come at a price. He suggests that the inherent qualities of the Internet and our current use of the technology will diminish the practice of what he calls “deep reading” (Carr 108). Deep reading is a mode of qualitative, critical, and prolonged engagement with a single text (Carr 108). “No doubt the connectivity and other features of ebooks will bring new delights and diversions,” he admits. “But the cost will be a further weakening, if not a final severing, of the intimate intellectual attachment between the lone writer and the lone reader” (Carr ADAM CRISTOBAL Figure 2 has been removed 108). He further suggests that the online environment is that of “cursory reading, hurried and distracted thinking, and superficial learning,” and argues that though it is possible to be engage in deep reading online, the Internet specifically prescribes and “rewards” cursory behavior, and is therefore not an optimal platform for deep reading (Carr 116). Piper makes less of a diatribe against the Internet, and more a sober critique of the history of reading culture and our future relationship to the book as a technology. Yet he too notes, “skimming is the new normal” (Piper 18). He discusses the prevalence of screens, and criticizes youth as a generation of “distracted readers,” or “people who simply cannot pay attention long enough to finish a book” (Piper 46). These discussions have polarized opinions and cat2 . 0 L I T E R AT U R E R E V I E W alyzed absolutist rhetoric. Both popular and scholarly critics have suggested, “teens are not reading” (Moyer 253). But what, then, of literary phenomena like J.K. Rowling’s Harry Potter, which screenagers read with such zeal? Although Harry Potter began as a book, this was not its final media iteration. It was also film, video game, and fanfiction and fan-rendered illustration within less than a decade of its original publication date (see figs. 2-4). Although many readers were exposed to the films, video games, and fanfiction after their initial exposure to the books, the overlap was such that the last three books of the series were published during the release of the initial four films. 30 As such, the generation that grew up with Harry Potter was thereby almost immediately exposed to the Harry Potter narrative through multiple stories I N T E R P O L AT E D E D I TO R I A L D E S I G N across several media forms. Given this intensity and media ubiquity, the Harry Potter experience is far from Carr’s “intimate intellectual attachment between the lone writer and the lone reader” (Carr 108), and more akin to Rushkoff’s notion of surfing across multimedia (Rushkoff 50). Many screenagers were wholly engrossed in the Harry Potter narrative via material and cognitive means otherwise not available — or at least not as readily available — for other narratives, particularly long-form literary classics. This multimedia storytelling is a stark contrast to long-form literary classics, which, while adapted to film overtime, remain largely relegated to the print codex as their dominant delivery platform for contemporary readers. Under the Harry Potter model, skimming texts and images is reading, and if seminal texts of cultural weight are to maintain said cultural weight, the editorial designer’s new responsibility is to respond to the needs of contemporary reading behaviour. If this generation of “people who simply cannot pay attention long enough to finish a book” (Piper 46), as Piper argues, how is the designer to reconcile this apparent inability with literary texts that maintain a substantial degree of cultural weight? To put it bluntly: what of Shakespeare and his lot? If, as Carr argues, “the linear, literary mind has been at the center or art, science, and society” and served as “the imaginative mind of the Renaissance, the rational mind of the Enlightenment, the inventive mind of the Industrial Revolution, even the subversive mind of Modernism” (Carr 10), how can screenagers engage with specific texts produced by this mind? How can designers adapt old content to a new audience, and can Carr’s deep reading still occur with these texts, as it has with Harry Potter? With regards to these questions, N. Katherine Hayles provides a useful framework of definitions. She distinguishes between two kinds of attention engaged in reading behaviour: ities, is characterized by concentrating on a single object for long periods (say, a novel by Dickens), ignoring outside stimuli while so engaged, preferring a single information stream, and having a high tolerance for long focus times. Hyper attention is characterized by switching focus rapidly among different tasks, preferring multiple information streams, seeking a high level of stimulation, and having a low tolerance for boredom . . . Each cognitive mode has advantages and limitations. Deep attention is superb for solving complex problems represented in a single medium, but it comes at the price 2 . 0 L I T E R AT U R E R E V I E W “Deep attention, the cognitive style traditionally associated with the human- of environmental alertness and flexibility of response. Hyper attention excels at negotiating rapidly changing environments in which multiple foci compete for attention; its disadvantage is impatience with focusing for long periods 31 problem” (Hayles, “Hyper and Deep Attention” 187-88). As such, Hayles argues that deep and hyper attention possess their own distinct advantages and are not necessarily in competition with each other. How can deep attention and “the literacy traditionally associated with print” (Hayles, “How We Read” 62) contribute and feed into hyper attention, and vice versa? This symbiotic relationship between deep and hyper attention is one of the prime criteria for the Interpolated Editorial Design system. From hereon I will discuss InterED in more concrete terms. “Now is the time to understand the rich history of what we have thought books have done for us and what we think digital texts might do differently,” Piper suggests (Piper xi, my emphasis). It is with this in mind that I bring the InterED system into contemporary design, but as my case studies demonstrate, innovation is already underway to adapt old texts to new reading behaviours, and a variety of new delivery platforms for these behaviours currently exist. ADAM CRISTOBAL on a noninteractive object such as a Victorian novel or complicated math 2.4 Case study: Pottermore Harry Potter’s ubiquity is, in part, due to a dedicated fan audience that continues to contribute to fan-produced websites including MuggleNet and Harrypotterfanfiction.com, in addition to communities on LiveJournal and Tumblr (see figs. 5-8). These web-based communities thrive on an engaged fan audience, 2 . 0 L I T E R AT U R E R E V I E W and J.K. Rowling now attempts to harness the power of this very fan community. However, she does so within her and her publisher’s own terms and parameters. In the summer of 2011, Rowling released the beta version of Pottermore, an interactive and illustrated reading experience that offers a host of supplementary information regarding the Harry Potter canon (see fig. 9). Pottermore attempts to respond to the multimedia intake behaviour of the Harry Potter usergroup via an all-in-one web-based platform. This platform is a synthesis of text (see fig. 10), illustration (see fig. 11), and gameplay interactions (see figs. 12-13) that supposedly interweaves the multimedia storytelling of the various Harry Potter modes of delivery: book, film, game, et al. With that 32 in mind, Pottermore may seem unnecessary given Harry Potter’s established multimedia narrative. The Harry Potter narrative is already accessible to Pot- I N T E R P O L AT E D E D I TO R I A L D E S I G N termore’s usergroup, yet it exhibits some precedents for my project, particularly with regards to its multimedia content within a single delivery platform. So, what is its function, and how does this function differ from my project? Pottermore enables Rowling to perpetuate and further exploit her production of the Harry Potter narrative through multimedia means despite the conclusion of both the book and film series. It is unique publishing venture insofar that it has provided a new model for authors and publishers to interact with and control a large and dedicated user group. 2.3.1 Weakness: hyper-editorial approach to a reader community that strongly relies on fan-generated content Rowling appears to be the sole producer of text in Pottermore. Pottermore Insider, the official Pottermore blog, explains that it is a means to “discover all the additional information that J.K. Rowling has written” (“You ask, we answer,” Pottermore Insider). Pottermore is less an environment for user-generated content, and more an interactive editorial repository for Rowling’s “backstory, behind the scenes information, and expanded encyclopedia-like Figure 5 has been removed due to Figure 6 has been removed due to copyright restrictions. The infor- copyright restrictions. The information mation removed is a screenshot of removed is a screenshot of harrypot- MuggleNet’s home screen. terfanfiction.com’s home screen. Figs. 5-8: “MuggleNet home screen.” MuggleNet, 2014. Author’s screenshot; “HarryPotterFanfiction home screen.” harrypotterfanfiction.com, Figure 7 has been removed due to Figure 8 has been removed due to 2014. Author’s screenshot; “Harry Pot- copyright restrictions. The infor- copyright restrictions. The information ter Community @ LiveJournal home mation removed is a screenshot of removed is a screenshot a Harry Potter screen.” Harry Potter Fans, 2014. Harry Potter Fan’s home screen. tag search on Tumblr. Author’s screenshot. “Harry Potter tag search on Tumblr.” Tumblr, 2014. 2 . 0 L I T E R AT U R E R E V I E W Author’s screenshot. Figure 9 has been removed due to copyright restrictions. The information removed is a screenshot of Pottermore’s home screen. Fig. 9: “Pottermore home screen.” Pottermore, 2014. Author’s screenshot. Figure 10 has been removed due to copyright restrictions. The information removed is a screenshot of Pottermore’s reading screen. Fig. 10: “Pottermore reading screen with text panel.” Pottermore, 2014. Author’s screenshot. ADAM CRISTOBAL 33 Figure 11 has been removed due to copyright restrictions. The information removed is a screenshot of Pottermore’s reading screen. Fig. 11: “Pottermore reading screen with parallax illustration.” Pottermore, 2014. Author’s screenshot. 2 . 0 L I T E R AT U R E R E V I E W Figure 12 has been removed due to copyright restrictions. The information removed is a screenshot of Pottermore’s reading screen. 34 I N T E R P O L AT E D E D I TO R I A L D E S I G N Fig. 12: “Potion brewing screen.” Pottermore, 2014. Author’s screenshot. Figure 13 has been removed due to copyright restrictions. The information removed is a screenshot of Pottermore’s dueling club screen. Fig. 13: “Dueling club screen.” Pottermore, 2014. Author’s screenshot. entries” (Young). Its strength is a curated collection of officiated context beyond the initially published narrative, but it is also an affront to the active Harry Potter fanfiction community. Fanfiction “is about wresting control away from the makers of the source text” and “contributes to the sense of ownership and investment fans have in the fictional worlds they write about” as Bronwen Thomas argues (Thomas 146). Fanfiction writers restructure and reinvent initially published narratives via the same media as the author of the source text. That is, text. Fanfiction functions as a direct narrative manipulation, and although the Insider states, “Pottermore isn’t trying to compete with sites like Facebook or we answer,” Pottermore Insider), Pottermore demotes user-generated content by keeping such content as supplementary to Rowling’s own additions to her initially published work (see figs. 14-15). The Pottermore Insider answered several questions posed by fan sites, one question of which specifically pertained to user-generated content: “How much will I, as a Pottermore user, be able to affect the story? After all, hasn’t Harry’s story already been told?” In response, the Insider did not comment on the degree to which a user would be able to manipulate the Harry Pot- 2 . 0 L I T E R AT U R E R E V I E W the Harry Potter forums and fan sites that are already out there” (“You ask, ter text, but instead mentioned that Rowling “wanted to create a site where her stories could live on and where readers could explore them in a new way” (“You ask, we answer,” Pottermore Insider, my emphasis). Full-fledged 35 the aforementioned question is: very little. Users of Pottermore are instead encouraged to produce artwork and limited commentary that function as condiments to Rowling’s official supplements (“Pottermore art: The Boy Who Lived,” Pottermore Insider, see fig. 16). Rowling and the publisher then curate this user-generated paraphernalia, thus Pottermore is thereby a tool by which Rowling and the publisher may editorialize user-generated content. This fan-produced content is limited in comparison to much user-generated Harry Potter fanfiction. Users will not, in Thomas’s words, be “fleshing out characters, exploring their innermost thoughts, and providing a space wherein plot enigmas and intricacies may be worked through” (Thomas 153). Instead, they may “jabber on the site about the benefits of dragon heartstring vs. Thestral tail hair wand cores to their heart’s delight” (Van Gilder Cooke). Given the strength of the Harry Potter user-generated content community, Pottermore is a misapplication of an author and editors’ intervention into a text. With that in mind, what is Pottermore’s appeal to Rowling’s usergroup? ADAM CRISTOBAL user-generated stories and narratives are left unmentioned. The answer to Figure 14 has been removed due to copyright restrictions. The information removed is a screenshot of Pottermore’s comment interface Figure 15 has been removed due to copyright restrictions. The information removed is a screenshot of Pottermore’s drawing interface 2 . 0 L I T E R AT U R E R E V I E W Figure 16 has been removed due to copyright restrictions. The information removed is a screenshot of Pottermore’s Art viewing screen 36 Figs. 14-16: “Comment and drawing interfaces.” I N T E R P O L AT E D E D I TO R I A L D E S I G N Pottermore, 2014. Author’s screenshot; “Pottermore art: The Boy Who Lived.” Pottermore, 2011. Author’s screenshot. Figure 17 has been removed due to copyright restrictions. The information removed is a screenshot of Pottermore’s sorting hat placement into Gryffindor screen Fig. 17: “Sorting hat placement into Gryffindor House.” Pottermore, 2014. Author’s screenshot. 2.3.1 Strengths & opportunities: immersive appeal & independent delivery platform Apart from Rowling’s supplementary canonical content, Pottermore’s immersive qualities (Young) appeal to a particular user impulse that contributes to the production of fanfiction. That is, the impulse to “re-inhabit . . . a fictional world” (Thomas 149). Pottermore is a tool by which both Rowling and her publisher are able to address this desire for immersion in a manner that has, up until now, been the province of user-generated content. users are practically citizens of a “digital world” (Solon) who are sorted into Hogwarts houses by the “Sorting Hat” (Grossman) and granted all the trappings of a Hogwarts student save for actual magical abilities (see fig. 18, Young). In Rowling’s own (and somewhat cryptic) words, “it’s the same story, with a few crucial additions; the most important one is you” (Rowling, my emphasis). Pottermore’s visual language builds the world of Harry Potter around its 2 . 0 L I T E R AT U R E R E V I E W The site is structured in such a manner that users are no longer spectators, readers, or writers of the Harry Potter world. Instead, Pottermore users through various treatments as established by the Harry Potter brand, and illustrates that an immersive experience is possible through a cross-device browser window and URL, rather than a native app specifically engi- 37 Olivia Solon has noted that Pottermore, as an independent and web-based delivery platform, “isn’t tethered to a device,” which in turn implies, “it can be enjoyed by readers of the meatspace books as well as the ebooks—meaning that the potential audience is much bigger” (Solon). Although Amazon, Apple, and Google’s hardware and software channels suggest that authors and publishers must conform to their specifications in order to deliver this kind of immersive experience to users, Pottermore demonstrates that an app-like user experience akin to enhanced ebooks can be designed and engineered for the web. Although many enhanced ebooks have been produced for iOS and Android and released on the Apple App Store and Google Play, the web remains extremely flexible and a first-point-of-access, I see an opportunity to prototype further web-based delivery platforms of this content. Moreover, Pottermore’s visual language clearly communicates its intended use for younger audiences. I see an opportunity for communication of text and paratext within the same delivery platform for older users of a mature text, which brings us to my next case study. ADAM CRISTOBAL neered for a particular operating system and device. 2.5 Case study: The Waste Land First published in 1922, T.S. Eliot’s 434-line poem The Waste Land is often cited by literary historians as a cornerstone of modernism, and occupies a well-established place in the English literary canon as a seminal work. The poem is a dense interweaving of references to a myriad of Western literary and artistic 2 . 0 L I T E R AT U R E R E V I E W works as well as historical and fictional figures, and while Eliot’s references may have been understood by the average English gentleman of the late 19th and early 20th centuries, these references are often not immediately obvious to the average educated Western person of the 21st-century (Kenna 212). In 2011, Hilary Kenna designed The Waste Land App for Touch Press and Faber & Faber of the UK. Kenna, then a PhD student specializing in screen typography, designed this app in order to elucidate some of the aforementioned references for 21st-century users via direct access to intensive and academic literary glossing of passages, along with a host of other multimedia content (Kenna 212). As Kenna’s primary criteria outline, The Waste Land App sepa- 38 rates these multimedia and additional textual content from the primary text as discrete experiences, rather than a single experience of multimedia (Kenna, I N T E R P O L AT E D E D I TO R I A L D E S I G N 211). Moreover, Kenna’s overall effort is that of basic translation of the poem to an ebook delivery platform (Kenna 208). Given the early nature of this work and the production technologies available at the time, these basic goals are fair criteria. That being said, Kenna’s work is explicitly skeuomorphic, as it seeks to emulate “an on-screen reading experience akin to a paper book” (Kenna, 211). While this approach may have been appropriate for users at a time when tablet devices and e-readers were first being introduced, this skeuomorphism has confined Kenna to work within the conceptual constraints of print media. 2.4.1 Weaknesses: skeuomorphic limitations & arbitrary user experience The Waste Land, as an editorial design project, is much less capacious than Pottermore, and its primary goal is form and production. However, within these parameters, The Waste Land App’s hierarchy, grid, and use of colour collectively build a confusing and arbitrary user experience, and this experience begins on the home screen. The home screen grid’s data portals are identical in size and composition Figure 18 has been removed due to copyright restrictions. The information removed is a screenshot of The 2 . 0 L I T E R AT U R E R E V I E W Waste Land App’s home screen Figure 19 has been removed due to copyright restrictions. The information removed is a screenshot of The Waste Land App’s poem reading screen ADAM CRISTOBAL 39 Figure 20 has been removed due to copyright restrictions. Figs. 18-21: “The Waste Land App home screen .” The Waste Land App, 2011. Author’s screenshot; “Poem reading screen.” The Waste Land Figure 21 has been removed due to App, 2011. Author’s screenshot; copyright restrictions. The informa- “Highlighting of line to reveal au- tion removed is a screenshot of The dio-recordings of poem.” The Waste Waste Land App’s scholary annota- Land App, 2011. Author’s screenshot; tions screen with highlighting “Scholarly annotations and highlighting.” The Waste Land App, 2011. Author’s screenshot. Figure 22 has been removed due to copyright restrictions. The information removed is a screenshot of The Waste Land App’s original manuscript viewing screen Figure 23 has been removed due to copyright restrictions. The information removed is a screenshot of The Waste Land App’s original manuscript viewing screen Figure 24 has been removed due to copyright restrictions. The information removed is a screenshot of The Waste Land App’s performance video viewing screen Figure 25 has been removed due to copyright restrictions. The information removed is a screenshot of The Waste Land App’s image gallery screen Figs. 22-26: “Image of scanned original manuscript.” The Waste Land App, 2011. Author’s screenshot; “Image of scanned original manuscript, zoomed-in.” The Waste Land App, 2011. Author’s screenshot. “Image gallery screen.” The Waste Land App, 2011. Author’s screenshot. “Commentary video screen featuring Seamus Heaney.” The Waste Land App, 2011. Author’s screenshot. Figure 26 has been removed due to copyright restrictions. The information removed is a screenshot of The Waste Land App’s video commentary viewing screen (see fig. 19). This layout does not establish a clear hierarchy among data portals other than a left-to-right and top-to-bottom order. Perhaps this was an intentional attempt to establish some kind of equality among these portals in order to promote exploration, however, more choices for users may result in fewer decisions made. Most of these data portals lead to nearly identical screens that employ the same grid and typography with nearly the exact same text, which is perhaps even more confusing for users. In actuality, these portals lead to different modes of reading the text, but the visual delivery of these modes remains so similar that it is difficult to distinguish between each mode. This homescreen is, for the most part, blue, and this colour choice is extreme“guide the reader’s eye to something of note or to something that is interactive (touchable)” (Kenna, citation). However, blues flood The Waste Land App, so much so that Kenna’s use of colour ironically fails to communicate touchability. If blue were the prime communicator of touchability, a secondary colour to suggest untouchability or static content might have been implemented. From the home screen, the user may move to a number of screens that present the poem (see fig. 20). Once the user highlights a line, they are given access to audio recordings of the author himself, various actors, and a video 2 . 0 L I T E R AT U R E R E V I E W ly dominant. Kenna substantiates her colour choice as a highlight in order to performance by Fiona Shaw (see fig. 21). More importantly, users are also given access to scholarly annotations (see fig. 23), and may use a search function that searches both text and annotations. To facilitate immediate access to these 41 annotations rather than forcing the user to scanning for corresponding annotations as they might in a print codex. Despite this affordance, the annotation type’s small pixel size, further tightened by the close leading, mimic the marginal notes of a print codex. This mimicry of print codex has prevented The Waste Land App’s poem-reading screen to make far departures from a PDF of a scholarly print edition, and is epitomized by the app’s particular delivery of Eliot’s original manuscript (see figs. 23-24). This original manuscript comprises several images of the scanned manuscript, which enables the user to view editorial changes to the text in Eliot’s own hand along with that of Ezra Pound. However, these editorial changes might be typeset within the typography of the poem screen itself, in order to directly reveal the words’ own history. Fiona Shaw’s video-recorded performance of the text is completely isolated experience from text itself: the video encompasses the entire screen, and the text itself disappears (see fig. 25). This isolation of video-recorded performance from primary text separates the two as entirely different modes of communicating the text. While Kenna’s prime objective was to focus on the primary text (Kenna 212), and this video does bring the text to life, this separation means does not make any particular interventions with regards to accessi- ADAM CRISTOBAL annotations, the app highlights lines of the poem that correspond to particular bility. The app does not permit users to experience both modes in unison as one might during an actual performance of the text while reading along. This lack of accessibility also the case with the app’s included archival images related to the text (see fig. 26). These images are separated from the poem itself and the glosses as a separate gallery screen. The commentary videos, however, are provided alongside the text. Here, we have academics (Seamus Heaney), actors (Fiona Shaw), and post-hardcore punk musicians (Frank Turner) providing personal commentary on the poem (see fig. 27). This video commentary screen may only be accessed through a single portal entitled “Perspectives” on the home screen, rather than within the poem reading screen itself. Thus, despite the evident link between the pri2 . 0 L I T E R AT U R E R E V I E W mary text and context, the scholarly glossings and commentary are segregated as two separate modes and experiences. 2.4.1 Strengths & opportunities: receptive user group, popularity, & wider applications Despite these shortcomings, Kenna’s work serves as a precedent for this project insofar that The Waste Land App caters to a similar user group to that of my project and attempts to deliver similar content in addition to the primary text. This usergroup craves to interact with similar text artifacts through sim- 42 ilar means: however short its reign may have been, The Waste Land App was the best-selling app in the Books category of the UK App Store in July 2011. I N T E R P O L AT E D E D I TO R I A L D E S I G N Feedback from this user group has indicated that Kenna’s work has “enabled them to appreciate and access Eliot’s difficult but brilliant work” (Kenna 233). However, Kenna’s project is still slanted towards academics (Kenna 208). As such, she did not consider the moderation of this editorial in order to accommodate a wider user group. Kenna’s project leaves the textual content proper to the complete discretion of T.S. Eliot scholars. I see an opportunity to involve designers earlier in the publishing process alongside editors in order to facilitate wider access to content beyond an academic usergroup. Kenna has avoided interventions with the text herself, but I argue that designer’s interventions fundamentally change the nature of the text proper. If the designer is left as a facilitator to form and production, and the editor merely preserves the content rather than intervenes in the content, the text is left as it always was while its readership moves on. By this model, the text be silenced for ever. Indeed, The New York Times has praised Kenna for “honor[ing] the silence of the text itself,” but what could be more silent than a print codex? This is the fundamental paradox of The Waste Land App. Together, Pottermore and The Waste Land App serve as design precedents that respond to contemporary reading behaviour. Both platforms deliver works originally published in print in a new, digital form for digital readers, and employ multimedia content as a means to enhance this reading experience. Indeed, today’s users of textual artifacts do not read in silence. My own research suggests that today’s users read while accompanied by multiple voices and media, the outcomes and ramifications of which further compli- 2 . 0 L I T E R AT U R E R E V I E W cate the matter. ADAM CRISTOBAL 43 3.0 Research methodology At the start of this project, I defined my broad field of research interest as young adult engagement with the English literary canon. I modeled my thesis question: “How might I design a system that encourages and facilitates the public at large to continually construct their own informed, recursive, and iterative discourse of canonical works of English literature? How do I facilitate popular access to works that are increasingly lost in the cultural landscape?” My intent was to design a platform by which users could interact with legacy texts in such a way that provoked a critical 46 yet social discussion of a given text. I completed a concept prototype for an ebook intended for classroom study purposes, and immediately realized that I N T E R P O L AT E D E D I TO R I A L D E S I G N this problem space contains many smaller problem spaces: different texts respond to designerly interventions in different ways, and interface affordances for leisure reading might be radically different from interface affordances for classroom use. More importantly, depending on the ultimate goal of the project, the designer would be afforded a greater or lesser degree of content intervention in the editorial design process. This led me to articulate my thesis question within narrower constraints. I began by narrowing my focus via iterative prototyping. These were prototypes were not specific to texts that are commonly identified as part of the English literary canon. They were instead intensely focused on the facilitation of social and didactic engagement with a given text, and were made manifest in both analog and digital forms. I supplemented these prototypes with secondary research, interviews with education professionals, interviews with my user group, and the development of user personae in order that I might identify further design opportunities and a more specific problem space. Interviews 3.1 in literary education In January and February 2013, I conducted three interviews with professionals in literary education in order to define a narrower problem space. These interviews were conducted with a flexible outline of questions in order to ease in discussion and pursue further topics and issues. Given the expertise of these professionals and their exposure to young adults engaged with longform literary classics, I saw their insight as crucial to the development of this project, as they would be able to provide me with more specific information or insight regarding this user group’s behaviour. While these interviews did not define the project itself, I used the information gathered from these interviews to inform my approach and provide further constraints. Staff at the Vancouver Public Library’s Central Branch forwarded my inquiry to Patti Mills, the Popular Reading Librarian. Tom Becher, one of my 47 British Columbia’s School of Library, Information and Archival Sciences. I contacted my own previous English teacher, Diana Mattia at North Vancouver’s St. Thomas Aquinas High School. I began each interview by open-endedly asking the interviewee to comment on the reading habits of contemporary youth. I then moved into more specific questions regarding their professional interventions into youth reading behaviour. For Patti Mills, I asked her to comment on the structure and efficacy of the youth reading clubs at the VPL. For Eric Meyers, I asked him to explain his research findings regarding youth’s information seeking abilities in pedagogy. For Diana Mattia, I asked her to comment on and explain the methods she uses to engage students with literary classics. ADAM CRISTOBAL teachers, directed me to Eric Meyers, Assistant Professor at the University of 3.1.1 Select quotes These select quotes not only reflect the interviewees concerns with their field, but also identify many different problem spaces within which I situate my project. 3.0 RESEARCH METHODOLOGY 48 Prompt. How critically engaged are Prompt. Could you please identify youth in their reading material? the major challenges faced by What are they reading, and how are youth when evaluating information they reading? from a variety of sources in the contemporary climate of informa- I N T E R P O L AT E D E D I TO R I A L D E S I G N “Youth attention span is increasingly tion abundance? limited . . . How do they evaluate information? I think that’s critical . . . “Our ability to find ‘facts’ has in- Kids can get information. But are they creased, but the depth of our engage- still skimming? Or are they actually ment with our findings has decreased. applying any sort of critical thinking We need more complex questions that to the information?” demand the synthesis of facts and the application of this synthesis to — Patti Mills real-world problems.” Popular Reading Librarian VA N CO U V E R P U B L I C L I B R A R Y 16 January 2013 — Eric Meyers Assistant Professor U N I V E R S I T Y O F B R I T I S H CO L U M B I A S C H O O L O F L I B R A R Y, I N F O R M AT I O N A N D A R C H I VA L S C I E N C E S . 26 February 2013 you and your colleagues need to encourage pleasure reading? “The culture of reading has become cooler — that does amazing things for reading in general. It’s part of popular culture. When I first started, 20 years ago, there was nothing really that generated that kind of buzz . . . Now, if you’re an author that can tap into something like that, you’ve got it made. You’ve got reading and willing parents and kids that are ready to spend money on your series of book . . . I think a lot of reluctant readers did pick up Harry Potter to be part of the action.” — Diana Mattia Literature 12 Teacher & Librarian S T. T H O M A S A Q U I N A S H I G H S C H O O L 16 January 2013 3.0 RESEARCH METHODOLOGY “The culture of reading has become cooler — that does amazing things for reading in general. It's part of popular culture.” 49 ADAM CRISTOBAL Prompt. To what extent do you find 3.1.2 Summary & further direction From these interviews, I defined two issues: 3.0 RESEARCH METHODOLOGY 1. This new generation of text-artifact users are engaged in their reading material, and maintain a popular culture of reading. 2. Critical thinking of reading material is lacking. I thereby defined a unique opportunity for a communication design project. How can a popular reading culture be facilitated for a classic text? How can this popular reading culture contribute to the understanding of a text? For this reason, many of my prototype explorations explored the notion of social reading. While social reading has become a less prominent concern of my project, my explorations of social reading contributed to my research methodology. 50 I N T E R P O L AT E D E D I TO R I A L D E S I G N Interviews 3.2 with users Leisure reading is a personal activity, and while my interviews in literary education provided me with several insights and an array of information gain direct insight to the user group itself via personal and candid ethnography. These interviews are the basis for my user personae, and informs most technical issues regarding appropriate delivery platform, further editorial interventions into the text, and visual language. 3.2.1 Group interview In June 2013, I conducted a group interview with five user group members — three females and two males — in order to better understand their reading 3.0 RESEARCH METHODOLOGY from professionals engaged with the user group, I saw it as imperative to habits, behaviours, and interests. I was referred to this group of interviewees through my instructor, Louise St. Pierre, and conducted the group interview in a local cafe with a script from which I deviated in order to ease the flow 51 individuals aged 20-24, were mostly in post-secondary education or had completed post-secondary education, and are self-identified regular readers. I began the interview by asking about the frequency of their pleasure reading, the genres of books they regularly read for pleasure, and the reasons behind their pleasure reading. I later probed their propensity and reasons for speaking to friends and peers about their reading, the role of their imagination during reading, forays into book clubs, online reading habits, and preferred delivery platforms. The goal of this interview was to learn what they read, why do they read, and how do they move between different delivery platforms at different reading moments? ADAM CRISTOBAL of discussion and pursue further topics and issues. These interviewees were 3.2.1.1 Select quotes & insights These following select quotes exemplify particular issues which I sought to address in my thesis project, and are the basis for my later developed user personae. 3.0 RESEARCH METHODOLOGY On the role of imagination in reading 52 I N T E R P O L AT E D E D I TO R I A L D E S I G N “I think most of my favorite books are “Books that I’ve read that have been often all about world building. So it turned into movies, and then you is setting development, but it’s not watch it but are like, ‘what that necessarily descriptive setting devel- character doesn’t look like that,’ and opment . . . You’ve got your charac- you have to go back and check the ters and their story and their arch, description in the book to be like, which are usually hero journeys or ‘what colour was their hair again, ac- the same thing, but you also have cording to the author?’ I’ve done that this world that’s affecting that and a couple of times. I’ve been like, ‘No, how their journey works within their this doesn’t match.’ Wherein the illus- setting is really what I find compel- trator of the cover clearly never read ling. Mostly that’s the escapism, the the book. Those bothered me so much sci-fi, the fantasy stuff. For me, it’s all because the book had a very strong world-building and learning about visual image of usually just the main a setting and different cultures that characters, but if they were portrayed someone has invented, and weird by someone who had a completely animals, and stuff.” different interpretation of it.” 3.0 RESEARCH METHODOLOGY “The illustrator of the cover clearly never read the book. Those bothered me so much because the book had a very strong visual image of usually just the main characters, but if they were portrayed by someone who had a completely different interpretation of it.” “If I want a book to get into my dreams, Insight. Like the Pottermore experi- and have me remember it five years ence, an immersive effect should be later, I have to have a creative hand a crucial component for the design. in it. So, making my own world in my Unlike the Pottermore experience, head.” however, this design should enable the user’s visual imagination to participate more actively, rather than spoon-feed the text’s imagery to the user. ADAM CRISTOBAL 53 3.0 RESEARCH METHODOLOGY On reading online articles & webcomics 54 I N T E R P O L AT E D E D I TO R I A L D E S I G N “I would say, probably on average, “With longer articles online, I just around an hour and a half a day? It’s found one earlier today that I got a commitment thing for me. I won’t halfway through and started doing acknowledge that I’m going to just something else. I left the tab open, but sit down for an hour on the computer because it was one of those longer and just like read articles because articles, I was like, ‘That was really each of them just take five minutes. interesting and I want to read the rest And so I’m like, ‘Oh! I can commit to of that, but I’m like this far down the that.’ Whereas if I sit down to read page and there’s a whole lot more . . . my book, I know I’m going to want there’s too much more to read right to read for longer. So it’s more of just now.’ It’s not even that I had anything a mind-game. The pieces that you’re specific in like time-crunchy to do, it reading are so short that it’s kind of was just getting really long and I instant.” wasn’t ready to make that commitment to like spending a long time with an in-depth article.” 3.0 RESEARCH METHODOLOGY “It's a commitment thing for me, I won't acknowledge that I'm going to just sit down for an hour on the computer and just like read articles because each of them just take five minutes.” “I once read all of Hark A Vagrant Insight. Like the UX of vignette at once.” webcomics, I might look for solu- “Me too.” tions that further compartmentalize “Started it, finished it.” the story beyond the chapter, and “It’s really good when you find a good es that the user can gradually digest. break the story into bite-sized piecnew webcomic and then read the entire thing until you’re caught up; with some of them it’s more impossible than others.” “I like to do it where I go all the way back to the beginning, after it’s been a long time. And I can go through it again. But I would say that the timeframe for me to do that kind of thing is probably like an hour.” ADAM CRISTOBAL 55 3.0 RESEARCH METHODOLOGY On preferred delivery platforms 56 I N T E R P O L AT E D E D I TO R I A L D E S I G N “I like my tablet” “It’s difficult to digest, sometimes on “Laptop, for sure.” my laptop because I usually have like “I haven’t really used a tablet so I’m six tabs and a movie playing, but kind not sure. With my smartphone, I’m of a lot of how I consume my articles find it’s just too small to read anything and stuff, is while I’m in a bunch of conveniently, so that’s a bit of a pain, other things.” so over that, a laptop or a desktop.” “Headlines. Smartphones are good “I was just about to say—I definitely for headlines.” like the laptop for the multi-tasking “Yeah! Headlines.” capacity, but if I’m going to read “Tablet for sure.” something that requires focus and attention, and I just want to read like a PDF, like an article for school or something, I want that on my tablet, because I can’t as easily see as many things at the same time. It’s more like a book, so that’s the focus. But then if I’m just consuming social media, or consuming information, I like to have multiple tabs.” 3.0 RESEARCH METHODOLOGY “With my smartphone, I find it's just too small to read conveniently, so that's a bit of a pain, so over that, a laptop or a desktop ... headlines. Smartphones are good for headlines.” “I feel like recently I’ve totally re- Insight. Cross-device browser deliv- shaped my life to able to continue ery platform may be the best-case reading stuff . . . mostly online stuff. scenario for most users, even if only I’ll start it in the morning, reading a select few read the same material articles on my tablet. And I’ve got it set from device to device. up so that when I stop reading that, it automatically saves where I am, on either my PC or my phone, so I can keep reading it out of the house, and onto the bus, and into work, where I can open up a tab, and finish it off. And that is my new life! Non-stop, constant reading. It’s super easy! Too easy!” ADAM CRISTOBAL 57 3.2.1.2 Summary & further directions From this interviews, I surmised three behavioural constraints upon which I found my project: 1. Despite its cursory nature, online reading is the dominant behaviour. 2. Tablets and laptops are preferred for long-form reading. Smartphones, while sometimes used, are secondary reading instruments. 3. 3.0 RESEARCH METHODOLOGY 58 Consider the structure of webcomics while designing this experience. While I did not entirely discount the possibility of delivering this experience via a native application and began to prioritize tablet-based delivery, I remained cognizant of the frequency of desktop use. Native applications do not easily translate over from mobile devices to desktop devices, so I still considered web as an accessible and ubiquitous delivery platform. Although my project itself is not a webcomic, I looked to the overall experience established by webcomics as a precedent. I N T E R P O L AT E D E D I TO R I A L D E S I G N 3.2.2 Individual interviews After I developed my first iteration of the final prototype in December 2013, I conducted individual interviews with test subjects prior to user testing the interface. These interviews were less conversational than the group interview, and purpose of these interviews was to ratify the three behavioural constraints I identified from the group interview. In addition to webcomics, I inquired as to the frequency of specific interfaces, including Tumblr, mobile and video communication design of my project. Interviewees were individuals aged 2227 and were either in post-secondary education or had completed post-secondary education. I gained access to these individuals via personal networks. Participant 1. 27-year-old male, Textiles student Participant 2. 26-year-old female, Assistant Editor Participant 3. 22-year-old female, Design student Participant 4. 22 -year-old female, Communication student 3.2.2.1 Select insights 3.0 RESEARCH METHODOLOGY games, and a variety of online news portals. This was to further ground the Common & prefered delivery articles per day: 1 hour platforms: laptop & smartphones Is this an opportunity? Perhaps I If this system is to have any life or should aim for a solution within this longevity, it should cater to these existing ecology of everyday online needs and use behaviours. Unsure reading. This implicates a web-based as to this is an experience appro- delivery platform. priate for smartphones, but assume desktop and tablet usage constraints. Binge-reading of webcomics: sporadic & infrequent Commonly used UI for Binge-reading behaviour of webcom- leisure purposes: Tumblr ics not as often as previous research Sporadic use, but safe to assume that suggests. May need to re-evaluate most users are familiar with UI cues this as a model. used on Tumblr. May incorporate some of this visual language into UI. ADAM CRISTOBAL 59 Time spent reading online 3.2.2.2 Summary & further directions From these interviews, I was able to ratify that online reading is still domi3.0 RESEARCH METHODOLOGY 60 nant and the use of native apps is currently inconsistent. While some users use smartphones for long-form reading, tablets and laptops remain preferred modes of information intake. Most importantly, not all users read web comics, but Tumblr remained a consistent interface on which to base my communication design and retains some similarities to the webcomic user experience. I N T E R P O L AT E D E D I TO R I A L D E S I G N User 3.3 personae My understanding and particular use of this method is derived from About Face 3: The Essentials of Interaction Design. The purpose of this method in this human target of the design” and “encapsulat[e] a distinct set of behaviour patterns regarding the use of a particular product (or analogous activities if a product does not exist).” While not real people themselves, their traits are derived from specific observations gained from my user interviews. They characterize possible experience goals (how users want to feel), end goals (what users want to do), and life goals (who users want to be). The primary persona represents the epitomized user whose needs are fully met by the design, while the two secondary personae represent other possible users whose needs are mostly satisfied by the design. While not all of the needs and goals specified by 3.0 RESEARCH METHODOLOGY project is to “engage the empathy of the design and development towards the the personae play a distinct role in the design, these needs and goals inform the underlying context and framework for the design. ADAM CRISTOBAL 61 3.2.1 Primary persona Name. Gregory Gender. Male Age. 26 Occupation. Law student Experience goals • Feel a sense of discovery and 3.0 RESEARCH METHODOLOGY engrossment while he is reading. • “Get lost” while exploring a story and information related to a story. End goals • Find other books or sources that are relevant or of interest to his reading. • visual reader Nerd out over a book with fellow readers. 62 • Wants to be able to talk about I N T E R P O L AT E D E D I TO R I A L D E S I G N Behavioural complex topics in an map accessible way. Life goals interested in paratexts only interested in primary text • Desires some degree of literary intellectual cachet, but probably won’t admit it explicitly. • Wants to live up to his degree in the liberal arts, and to be perceived as well-read. textual reader Gregory is a 3rd-year law student a local university. Although he was exposed to many literary classics as an undergraduate liberal arts student, he rarely read these works for the purposes of pleasure and intellectual exploration. He is currently attempting to engage with this material, and hopes to dip into “classics” as much as he enjoys fantasy and sci-fi novels. He usually reads long-form literary fiction once a week, and these sessions last anywhere from thirty minutes to two hours each, depending on how engrossed he becomes in the story. This he couples with reading webcomics, often reading through the archives of a given webcomic. He reads webcomics more often than literary fiction, mostly because he can commit to a few pages of discrete episodes 3.0 RESEARCH METHODOLOGY Gregory rather than an extensive narrative. This is also the case with online news, which Gregory reads for an hour on a near-daily basis. It took Gregory several years to break out of reading a solitary activity, but 63 es his reading material (both online and offline) — usually once or twice a month. He often makes book recommendations for the purposes of having someone with whom he can discuss a book. He has once attempted to start a book club, but the logistical and committal demands were too difficult to coordinate into student schedules. Gregory regularly browses the internet on his desktop, tablet, and sometimes on his smartphone. He enjoys video games at social gatherings. That being said, he rarely has time for serious gaming, as his schedule primarily spent between school, work, and friends. He finds it difficult to commit to much else. He is fairly tech-savy, and has configured his Chrome browser and RSS feeds in such a way that permits him to read an article on his tablet in the morning, seamlessly continue reading it on his phone while commuting, and finish it on his desktop at work or laptop at school. Interfaces used • Tumblr • Feedly & Pocket • A variety of webcomics. ADAM CRISTOBAL he now has a circle of friends with whom he occasionally shares and discuss- 3.2.2 Secondary persona #1 Name. Anna Gender. Female Age. 23 Occupation. Student & barista Experience goals • Feel a sense of escapism 3.0 RESEARCH METHODOLOGY while reading. • Feel the magic of the story — i.e.: simply enjoy the narrative — without picking it apart via intensive literary analysis. End goals • Learn about a story in broad thematic terms and resonance in a wider context. visual reader • 64 Use a story as a jumping off point for discussion with friends. Behavioural I N T E R P O L AT E D E D I TO R I A L D E S I G N map Life goals • Is still figuring things out career-wise, but has some vested interested in paratexts interest in the humanities and only interested in primary text social sciences. Wants a career that pushes social and political change. • Increasingly seeking to define herself less in relation to her textual reader friends and social circle and more as an individual person. Still seeking a better sense of self. Anna is a fourth-year student at a local college’s geography department. She finds it difficult to incorporate pleasure reading into her schedule. Anna is a fourth-year student at a local college’s geography department. She finds it difficult to incorporate pleasure reading into her schedule. However, when she does, she does so in short albeit intense bursts wherein she will finish an entire novel in two to three days, returning home from school or work to engross herself in a story. She explains her behavior in relation to 3.0 RESEARCH METHODOLOGY Anna her level of interest in her current reading material — the moment she picks up something exciting, she commits to the story 100%. However, the moment she picks up something disappointing, she might not engage in pleasure read- 65 more frequently than long-form fiction, which she usually reads before bed. Anna reads long-form literary fiction as a means to escape, and enjoys cognitively building a story world by envisioning a character’s interactions with said story world. She has only begun to receive book recommendations from friends within the last year, and has yet to reciprocate book recommendations to friends. She likes the idea of book clubs in principle, but has yet to find the opportunity to join one that suits her schedule and tastes. Her friends are regular readers, but Anna herself is less so. As a teenager, she read fanfiction but never produced any herself. Anna is not particularly tech-savvy, but she has recently begun to read longform fiction and webcomics on a tablet. Prior to this purchase, she exclusively read long-form fiction on print codices, but now mixes the two channels. Interfaces used • Facebook • Tumblr • Twitter • Instagram ADAM CRISTOBAL ing for another month or two. She usually finds herself reading webcomics 3.2.3 Secondary persona #2 Name. Derek Gender. Male Age. 25 Occupation. Computer engineer Experience goals • Be immersed in a story world 3.0 RESEARCH METHODOLOGY that is conceptually or visually compelling enough that he will naturally talk about it at length. • Feel that his relationship with fellow readers extends beyond the immediate context of reading. End goals • Be able to establish potential points of conversation from a visual reader story without feeling as if it is a 66 performance or a forced activity Behavioural — intellectual points of interest. I N T E R P O L AT E D E D I TO R I A L D E S I G N map • The more visual the media, the larger the screen he wants to view it on. interested in paratexts only interested in primary text Life goals • Established career, but trying to meet new people and expand his social network. Is aware of the fact that he can easily engage in small talk, but has a difficult textual reader time discussing larger ideas in social situations. • Is just beginning to experience independence and life on his own. Wants to have new social and intellectual experiences after being cooped up for most of his university career. Derek spent most of his early twenties in school. He spent a considerable amount of his free time during those years playing fantasy RPGs on a near-daily basis for two to three hours. This activity was primarily for cognitive escapism after school or work, and often occurred while eating dinner or just before going to bed. He now plays less video games and is trying to read more literary fiction. He enjoys experiencing a rich story world, but is more interested in character development 3.0 RESEARCH METHODOLOGY Derek than world building. A recent graduate, Derek is lucky enough to land an established job and has a clear idea of his career path. As such, he is concentrating on other aspects of life, and intends to grow his existing friendships 67 Derek is an introvert and finds it difficult to talk to others about his reading, mostly because he’s not entirely sure how to do so. He prefers to talk about facts rather than stories because facts are more easily incorporated into social conversations; he often finds himself overwhelmed with the entire story and has a difficult time breaking the narrative down into digestible components for others. He would prefer to talk about stories if he could, as he reads more fiction than nonfiction. He has a small network of friends compared to most people his age. Few of his friends read as much as he does, but all of them play video games. Derek exclusively reads on his tablet and plays video games on a desktop PC. He isolates these tasks to a specific device, and usually does not read fiction or news on his desktop anymore. He prefers to browse on his tablet, particularly while in bed or relaxing outside. Interfaces used • BBC news app • Feedly • Twitter ADAM CRISTOBAL and expand his social circle. 3.4 In-studio prototype experiments 3.0 RESEARCH METHODOLOGY I quickly and iteratively explored and refined a wide and deep array of solutions that experiment with different modes of delivering long-form literary classics. These models and prototypes were made manifest through both analog and digital means. Some began with direct experiments with user-behaviour using human test subjects, while others began with exploration with materials and structure. The turnover for each individual prototype was a matter of days or weeks from ideation to production, and each of these prototypes save for the first were made tangible, i.e.: developed beyond video prototypes to such an extent that a user could physically engage with the prototype. On-screen gestures may have been substituted for paper or simpler HTML interactions, 68 but the fundamental userflows were as high-fidelity as possible. The tangible nature of these prototypes remains an important component of my meth- I N T E R P O L AT E D E D I TO R I A L D E S I G N odology; I argue that the only way to gauge the efficacy of an interface or system is to actually use it, hence my early forays into code. I iterated from these prototypes, and refined these interactions to a discernible outcome, be it a critical design piece or an actual product. Over the course of eight months, I explored a variety of texts from Alexander Pope’s The Rape of the Lock, Beowulf, Geoffrey Chaucer’s Canterbury Tales, Charles Dickens’s Bleak House, a range of Arthurian texts, and selections from William Shakespeare’s work. This was in order to demonstrate and understand how different texts are better-suited to different modes of interaction, and therefore might be made manifest through particular interfaces. While the design is an attempt to accommodate most long-form literary classics, I remain cognizant of the fact that these texts present different design opportunities, and such is demonstrated in my prototypes. ADAM CRISTOBAL 69 3.0 RESEARCH METHODOLOGY 3.0 RESEARCH METHODOLOGY 70 I N T E R P O L AT E D E D I TO R I A L D E S I G N The Rape of the Lock 3.4.1 A traditional editorial design approach 3.0 RESEARCH METHODOLOGY This video prototype was an initial exploration into my research, and its shortcomings are the basis for my more radical interventions and later prototypes. My process here is a traditional approach as exemplified by Kenna’s Waste Land App, with little to no direct designer interventions into text content of a scholarly edition of a long-form literary classic. Like Kenna’s content relegation of existing critical material as provided by editors (Kenna 208), I excluded myself from the editorial process itself and simply imported text and paratext from the Bedford Cultural Edition of Alexander Pope’s Rape of the Lock, as edited by Cynthia Wall. Although I did select archival images for the prototype, the design process of this prototype was an imitation of the linear publishing process wherein the designer acts as 71 facilitator to form and production. The broad structural grid is an approximation of Kenna’s, but this pro- ADAM CRISTOBAL totype also presents several solutions that are essentially improvements of Kenna’s design. It blends multiple media within the same experience, rather than isolating video, image, and text as discrete experiences. Relevant images are presented alongside the text, and relevant music from the historical period is also played to further enhance the experience. The annotation system and navigation system through the poem is, however, essentially identical to that of Kenna’s. While this prototype may have been suitable for pedagogical purposes, Figs. 27-28: Adam the innovation here is no further than Kenna’s Waste Land App. I knew I Cristobal, The Rape of the had to look further into the content itself, and to find further opportunities Lock: a reading tool for for design to restructure, represent, and enrich the content itself in order in-class and pedagogical to facilitate leisurely reading. This prototype also led me to realize that the applications, 2012. project I desired was one of true exploration beyond the existing paradigms of the publishing industry. 3.0 RESEARCH METHODOLOGY 72 I N T E R P O L AT E D E D I TO R I A L D E S I G N 3.4.2 Physically embodied social reading 3.0 RESEARCH METHODOLOGY Jabberwocky & Shakespeare² Publishers, designers, developers, and editors at Kobo and Amazon Kindle have attempted to unlock the secret to social reading. Social reading is de- 73 While threaded and in-line commenting have proved to be an effective tool in online journalism and blogging, this application does not quite cross over to literary fiction: meaningful literary discussions are not easily facilitated online. This was an exploration into communal reading synthesized with informal gameplay structures in order to facilitate the critical discussion of and engagement with a text. ADAM CRISTOBAL fined as user/user interaction as an affordance within their user experience. 3.0 RESEARCH METHODOLOGY 3.4.2.1 Paper prototype: Jabberwocky In order to model the discussion of a text and the interactions therein, Lewis Carroll’s “The Jabberwocky” was chosen for the purposes of paper prototyping in-studio as a particularly generative text due to its nonsense words. The core 74 mechanic of this Jabberwocky model was designed to motivate participants to I N T E R P O L AT E D E D I TO R I A L D E S I G N Figs. 29-32: create their own meanings for said nonsense words, and to observe how these Adam Cristobal, kinds of interactions can take place physically without the formal structure of Jabberwocky user test an literary studies classroom. Three participants were involved in this activity, activity, 2013. and they were to read the poem prior to the start of the activity. Components Component #1 Lewis Carroll’s “Jabberwocky” in large type, each stanza printed on an on a wall. Component #2 The poem’s nonsense words printed on individual cards and disarrayed on a table near the wall where the 3.0 RESEARCH METHODOLOGY individual sheet of paper, and posted poem was posted. Component #3 A few paragraphs of Alice in Wonderland with select words removed as a fill-in-the-blank activity, accompanied by a die. Component #4 Images of animal parts that could be horizontally assembled and rendered into a variety of chimeras as defined by the user. ADAM CRISTOBAL 75 Activity description Step #1 Participants were to read Lewis Carroll’s “Jabberwocky” poem prior to the start of the usertesting session. 3.0 RESEARCH METHODOLOGY Step #2 Using the nonsense words cards on the table, participants were to communally categorize the nonsense words as nouns, verbs, or adjectives based on their readings 76 Step #3 I N T E R P O L AT E D E D I TO R I A L D E S I G N Participants were to select a word and roll the die, which detailed particular activities for participants if the selected word was a noun, adjective, or verb. Step #4 Figs. 33-38: If the word was a noun, and hypoth- Adam Cristobal, esized to be an animal, participants Jabberwocky user test were to render the animal using the activity, 2013. animal parts. Step #5 If an adjective, participants were to use the adjective in a sentence. If a verb, participants were to act out the verb. A fill-in the blanks activity was also provided for verb or adjectives as another randomized activity as Step #6 Once the word was processed through any of these activities, its 3.0 RESEARCH METHODOLOGY determined by the die. definition was revealed. Observations • Participants worked very silently through the activity, despite existing familiarity and social relationships within the selected participant group. Participants worked through activity as if performing an assignment, though this may have been due to the fact that this activity was run as part of a class. • Participants were more apt to recreate visual components of the text, as opposed to purely textual components of the text. This preference, however, may have been due to the fact that all participants involved worked as designers. • Due to a lack of formal game structures, produced an ecology of conversation that, while engaging, was not particularly generative. ADAM CRISTOBAL 77 3.0 RESEARCH METHODOLOGY 3.4.2.2 Digital prototype: Shakespeare² The social aspect could not be easily addressed through discussion points, so I sought to find new ways to facilitate physical play. I explored new ways 78 Figs. 39-40: Adam Cristobal, to facilitate social reading through embodied interactions with a text. Dirty Playing with text via multiple jokes from Shakespeare’s plays were the perfect opportunity to evoke curiosi- I N T E R P O L AT E D E D I TO R I A L D E S I G N tablet interfaces, 2013 ty from users and facilitate spoken user/user interactions. Sketch explorations How can the enhanced tablet ebook be reimagined as a tiled multitouch interface that facilitates the social interaction between its users in the same physical space? How could a text be delivered via a fluid interface that would permit content to flow from tablet to tablet via on-screen and off-screen gestural affordances? How can digital content bounce from device to device using a paddleboard metaphor? Exhibited prototype 3.0 RESEARCH METHODOLOGY 80 I N T E R P O L AT E D E D I TO R I A L D E S I G N Fig. 41: Adam Cristobal, Shakespeare², 2014 Lines were typeset to face two partner users on opposite ends of the tablet. Users then had to volley lines back and forth to each other in order to progress through the text. I edited a collection of some of Shakespeare’s dirtiest jokes, and wrote some explanatory notes to elucidate the often scatological humour for users. These explanatory notes were hyperlinked within the text. If tapped, the explanatory note would reveal itself to their partner user, who was forced to read the note back to the initial user. Here, a user’s interactions with a word on screen mimic the audible interactions of dramatic dialogue. This interface and its particular exhibition set-up in a public space demonstrate how face-to-face interactions and the verbal back-and-forth volleying of text, are still an effective means to bring a text to life for conversation, critique, and exploration. Recorded use of this prototype as exhibited can be viewed here: https://vimeo.com/84555123 3.0 RESEARCH METHODOLOGY ADAM CRISTOBAL 81 Figs. 42-44: Adam Cristobal, Shakespeare² in-use during Design Principles + Practices Conference Exhibition, 2014 3.0 RESEARCH METHODOLOGY 82 I N T E R P O L AT E D E D I TO R I A L D E S I G N 3.0 RESEARCH METHODOLOGY Quest 3.4.3 Blending gamified UX with editorial design The aim of this paper prototype activity and two digital prototypes was to implement formal gameplay structures into a text as frameworks for engagement. These frameworks function as an affordance for interaction between a user and text, and between a user and another user. While the embodied social reading of Shakespeare² provoked some radically different 83 modes of user/user and user/text interaction via a digital artifact, I sought to find more flexible solutions that could be applied to a wider variety of ADAM CRISTOBAL scenarios, both social and solitary. A variety of texts including T.H. White’s The Once and Future King (c.1958), Alfred Lord Tennyson’s Idylls of the King (c.1885), Thomas Malory’s Morte D’Arthur (c.1485), and Geoffrey of Monmouth’s Historia Regum Britanniae (c.1136) were chosen for prototyping purposes in order to facilitate access the rich network of texts, images, and paratexts that together compose the Arthurian legend. I framed the project as a system to navigate through and read multiple Fig. 45: Adam Cristobal, stories of a single narrative for an editorial user experience, and an explora- Form refinement for Quest tion of gamified modes delivery. mobile interface, 2013 3.0 RESEARCH METHODOLOGY 3.4.3.1 Paper prototype I designed this prototype around T.H. White’s The Once and Future King. Figs. 46-48: 84 This text was specifically chosen as an accessible 20th-century gateway to Adam Cristobal, Playing with a rich network of Arthurian texts and images. This network of content was Arthurian literary texts and implemented into the gameplay,. Three participants were involved in the I N T E R P O L AT E D E D I TO R I A L D E S I G N images, 2013 paper prototype test. Components The first chapter of T.H. White’s Once and Future King was accompanied by print-outs of Edward Burne-Jones’s The Last Sleep of Arthur and Aubrey Beardsley’s Morte D’Arthur illustrations were. Explanatory text was also provided for the activity. Component #2 A triangular game board, accompa- 3.0 RESEARCH METHODOLOGY Component #1 nied by three knight figurines. The objective of the game was to move one’s knight to the center tile before 85 used similar gameplay structures to that of chess, later detailed. Component #3 Cards that specified particular characters, places, or objects out of Arthurian legend could be summoned onto the gameboard as additional game pieces. Each card details the game abilities of these additional game pieces. ADAM CRISTOBAL all other players. This game board Gameplay rules 3.0 RESEARCH METHODOLOGY Goal of the game Movement • • Each player plays as a knight of the round table. Players may receive other game pieces in the middle of the game, but only one piece may occupy • The goal of the game is for your one tile at a time. At each turn, knight to reach the center tile you are given 3 choices: before all other players, mov- • Move a single unit. ing one tile at a time. However, • Establish a supporting reaching the center tile is not board element simply a race to the finish. (to be revealed). • • 86 Each of these knights carries a Attack a single unit of another player. unique key, and in order for you to enter the center tile, you must • Game pieces may only move I N T E R P O L AT E D E D I TO R I A L D E S I G N possess at least two keys. In one tile at a time. Game pieces order for you to attain another may move right, left, forward, or key, you must “attack” another backward. player’s knight and thereby steal their key. If a player’s knight is • • You may attack another play- attacked, they not only lose their er’s game piece only if your key, but must also revert to their attacking unit is a tile next to the last tile. attackee’s game piece. Keys may be stolen back. If a player possesses two keys but their knight is attacked by another knight, they loose their two keys to the attacking player. • You are to derive resources that may serve you strategically in combat from the attached excerpt of prose, painting, and illustration. • Prose: you must identify up to 5 lines (spanning the column width) that may serve you stra- 3.0 RESEARCH METHODOLOGY How to gain advantage tegically on the board. You may only identify these lines once. You may identify fewer than 5 87 • Painting: you must identify a single element in this painting that fits within the provided lens that may serve you strategically on the board. • Illustration: you must identify a single element in this illustration that fits within the provided lens that may serve you strategically on the board. • Once you have identified your lines and elements from the painting and illustration, your abilities will be revealed, and the game will commence. ADAM CRISTOBAL lines. Activity description 3.0 RESEARCH METHODOLOGY Step #1 Each participant was to identify a three places or things from the piece of prose, illustration, and painting that may be useful to them in combat on the board. Step #2 Once a user had identified these components from the given text 88 and images, they were given a set of cards that indicated additional I N T E R P O L AT E D E D I TO R I A L D E S I G N board pieces that they may place and use on the board to their strategic advantage. Step #3 Users were asked to engage in gameplay, the rules of which are outlined Fig. 49-51: in the previous section. Please note Adam Cristobal, Playing with that the actual mechanics of the digi- Arthurian literary texts and tal prototype — if further explored — images, 2013 are to be edited for complexity. • Participants immediately signed the social contract of gameplay and engaged in the gameplay structures. There was a greater sense of play in this particular user testing session than that of the first user testing session, and I hypothesize this was due to formal structures of competition 3.0 RESEARCH METHODOLOGY Observations and advantage, rather than communal play for play’s sake. • Participants were strategic in their choices. Competition was implied. 89 might gain more advantageous game pieces rather than the ones they had initially identified. • Participants were focused in their gameplay and were engaged in the material as tools for gameplay, though not necessarily as a text in and of itself. While effective, this interaction indicated that the system should seamlessly implement the game into the text, as opposed to a two-tier text-to-game system. ADAM CRISTOBAL Participants wished to return to the text mid-game in order that they 3.0 RESEARCH METHODOLOGY 3.4.3.2 Digital prototype version 1 Built via HTML, CSS, PHP, and Javascript, and downloaded to an iPad as a Safari web app for demonstration purposes. An enhanced social ebook and tactics RPG for digital social reading. Apart from paper prototyping, this prototype has not been formally usertested. This prototype uses elements form both tactics role playing games and enhanced ebooks in order to facilitate the critical reading of a text: users are asked to apply their findings of a reading to a game. Users are to read a text and highlight people, places, or things that may serve them advantageously on a digital gameboard. A limited wordcount is given for the number of people, places or things that may be highlighted using a slide or swipe gesture. 90 Highlighted elements reveal additional game pieces that may serve to a user’s strategic gameplay advantage on the previous map through the literal I N T E R P O L AT E D E D I TO R I A L D E S I G N splitting of textual content. Users may also engage in a similar interaction with images. A person, place, or thing may be tapped or cropped — this gesture will in turn cause the image to split in the same fashion as the text in order to reveal an additional game piece. This HTML prototype demonstrates the tapping of a character portrayed in a painting and the highlighting of text to reveal additional game pieces. Although this prototype clearly and dynamically illustrated the functionality of the experience, it also forced me to realize that the userflow should be rethought to accommodate a return to the text mid-game. Users read the text Figs. 52-56: Adam Cristobal, Quest prototype version 1, 2013 to then play the game, yet never returned to the text itself. How could users further bounce back and forth between text and game, so much so that reading becomes part of the game, and vice versa? ADAM CRISTOBAL 91 3.0 RESEARCH METHODOLOGY 3.0 RESEARCH METHODOLOGY 3.4.3.3 Digital prototype version 2 Given that the first prototype facilitated transient reading as a vehicle for gameplay, I decided to push this model further and design a cyclical user experience wherein reading feeds into gameplay, and gameplay feeds into reading. As such, based on similar gameplay structures of the paper proto- 92 type and first digital prototype, I designed a third prototype for a single user engaged in a transient and cursory reading experience on a mobile phone. I N T E R P O L AT E D E D I TO R I A L D E S I G N This prototype took users back to excerpts of King Arthur’s textual origins: Tennyson’s Idylls of the King (c.1885), Malory’s Morte D’Arthur (c.1485), and Monmouth’s Historia Regum Britanniae (c.1136). I developed a user flow that enabled users to dip into a story from one text, and then dip into a story from another within 20-30 minute gameplay sessions. ADAM CRISTOBAL 93 3.0 RESEARCH METHODOLOGY Userflow development 3.0 RESEARCH METHODOLOGY 94 I N T E R P O L AT E D E D I TO R I A L D E S I G N Figs. 57-58: Adam Cristobal, Quest userflow development and system map, 2013 3.0 RESEARCH METHODOLOGY Wireframe development ADAM CRISTOBAL 95 Fig. 59: Adam Cristobal, Quest prototype version 2 wireframes, 2013 Final prototype I built a semi-functioning prototype using HTML, CSS, and jQuery. A screen-recorded playthrough of this prototype via browser window is available here: https://vimeo.com/85005598 3.0 RESEARCH METHODOLOGY 01. Onboarding indicates a frame narrative and immediately establishes the goal of the game/book: to move the knight piece to the Camelot tile in the lower-right corner. 96 I N T E R P O L AT E D E D I TO R I A L D E S I G N 02. This onboarding highlights the vital components of the game, particularly the knight as the central character piece, and the fundamental “summoning” mechanic in the game/book that aids movement of the knight to the Camelot tile. 3.0 RESEARCH METHODOLOGY 03. Onboarding is kept at a minimum, and explained interactions via the context of the story in order to frame the onboarding as calls to action rather than instructions. ADAM CRISTOBAL 97 04. Once the user taps on the tile occupied by the knight, they enter into reading mode. This reading mode consists of an excerpt from one of the three aforementioned texts, de- Figs. 60-63: pending on the tile’s status as castle, Adam Cristobal, Quest forest, or rocks. prototype version 2, 2013 3.0 RESEARCH METHODOLOGY 05. Distributed throughout the excerpt are three callouts that address three particular characters that may be summoned as allies. These callouts vaguely suggest how the character might move through the map. 98 I N T E R P O L AT E D E D I TO R I A L D E S I G N 06. Once summoned, the ally’s movement abilities are revealed from behind the callout. Allies may not be unsummoned. Two out of three characters may be summoned as allies from callouts in reading mode 07. Once two allies have been summoned, the user is prompted to place 3.0 RESEARCH METHODOLOGY their allies on the map, now occupied by two virtual opponent pieces. These enemy pieces are derived from antagonists in the previously read excerpt. Allies may only be placed within a given distance from their knight. Advantageous placement is a central strategy for the player. ADAM CRISTOBAL 99 08. Once ally pieces have been placed, the user moves one piece, and may attack enemy pieces according to similar rules to that of a standard game of chess. The knight may not attack, and must be protect- Figs. 64-67: ed by ally pieces as it moves through Adam Cristobal, Quest the map. prototype version 2, 2013 3.0 RESEARCH METHODOLOGY 09. After the user’s first move, the virtual opponent moves a single enemy piece, and may attack the user’s pieces or attempt to avoid attack and thereby remain on the map after the turn. If enemy pieces are left unattacked, they may later pose a threat to the user’s strategy. 100 I N T E R P O L AT E D E D I TO R I A L D E S I G N 10. After a second round of turns from both the user and virtual opponent, the user must clear their allies from the map. Any undefeated opponent pieces remain on the map. This is part of the challenge for the user’s coming turns. 3.0 RESEARCH METHODOLOGY 11. From here, the user is to move their knight to any given tile within a 1-tile radius, and must read the excerpt therein the summon a second round of allies. ADAM CRISTOBAL 101 12. Depending on the user’s selection of castle, forest, or rock, the excerpt may lead to Le Morte D’Arthur, Idylls of the King, or Historia Regum Figs. 68-71: Britanniae. Upon reading, this user Adam Cristobal, Quest flow repeats. prototype version 2, 2013 4.0 Design process The design process of this project was twofold. I conceptualized the system, but also prototyped the application of this system to the final 4.0 DESIGN PROCESS System 4.1 overview prototype. A variety of methods were used to communicate and explore solutions in this design process, including low-fidelity wireframing, paper prototyping, high-fidelity wireframing, and HTML, CSS, and jQuery de- 105 interface thus far, and was used to inform the further development of the interface into January and February 2014. From a macro-level design standpoint, the InterED system’s users primarily read on a variety of online desktop and tablet platforms. This system comprises four major components collapsed into a single delivery platform. ADAM CRISTOBAL velopment. A user test was conducted in December 2013 to evaluate the Primary story 4.0 DESIGN PROCESS The first of these components is the primary story. This is the text itself. This text may have been subject to any degree of textual intervention on the part of editorial. As I have noted, InterED’s primary subjects are long-form prose artefacts of the literary canon, and maintain a substantial degree of cultural weight. Most of these stories remain outside of copyright. In the InterED publishing system, copyright and licensing concerns are primarily the editor’s responsibility. The selection of a primary story, however, may be a collaboration between editor and designer, as a project using the InterED system still requires a substantial investment of time and creative capital 106 from both parties. InterED relies on a collaborative, horizontal relationship between editor and designer, with the editor acting as a curator of paratextu- I N T E R P O L AT E D E D I TO R I A L D E S I G N al research, and the designer as the interpreter of this paratextual research. Through collaboration with an editor, the designer negotiates and shapes the new re-presentation of the paratexts in what I call interpolated stories, which are the second component of this system. Interpolated stories primarily depend on the curated content of editors and interpretation of designers. These stories may be related to the text in any number of ways. The content of these stories is derived from: A. Texts and archival data contemporary to that of the primary story, including photography, paintings, maps, and other specimens. B. Explication of references contained within the primary story. 4.0 DESIGN PROCESS Interpolated stories Interpolated stories are not footnotes or metadata; the designer editorializes these as paratexts that are wholly integrated into the text’s narrative via its 107 the overall text. Users may access and follow these stories to enter deeper at given points within the text, so much so that users might follow these stories as independent progressions in relation to the primary story. These points are called interpolation points, and interpolation points are determined by the designer, based on the editor’s curation of the content. While these stories serve an explanatory or elucidative purpose vis-a-vis the primary story, they are at once independent from and interwoven with the primary story. These stories have been selected and manipulated via a collaboration of designer and editor. This collaborative relationship between designer and editor is key. Broadly speaking, this collaboration occurs in three activities: ADAM CRISTOBAL placement in the layout. Through these paratexts, the user enters deeper into Activity 1. The editor and designer collectively determine the primary text, the reader profile, and thereby possible avenues of paratextual research for interpolated stories. Activity 2. The editor researches the paratextual content of interpolated stories, and curates this content. This involves traditional research methods derived from the human4.0 DESIGN PROCESS ities, particularly historicist methods found in literary studies. Together, the editor determines the content legally available for adaptive purposes, and the designer makes simultaneous recommendations based on reader profiles, which are effectively user personae. 108 Activity 3. The designer reviews the I N T E R P O L AT E D E D I TO R I A L D E S I G N editor’s curated paratextual research and makes further recommendations. From this curated research, and based on reader profiles, the designer is enabled to determine the interpolated stories’ content. In collaboration with the editor, the designer determines the interpolated stories’ respective forms. The interpolated stories thereby emerge from a collaborative effort between editor and designer. Interpolated stories, derived from editorial content research, are made manifest as a range of visual multimedia, and these multimedia are rendered by the designer. Indeed, this is what Gunther Kress calls “the increasing use of image, even in situations where previously writing would have been used” (Kress). These multimedia include: A. Illustrative infographics B. Typographic representations of excerpts from other texts C. Curated galleries of archival specimens This multimedia articulation of form enables the designer to manipulate a and while form is a factor, the designer’s discernment, integration, and distribution of these interpolated stories further alters the meaning of the text. These techniques are the same techniques used in online journalism, albeit further systematized and applied to long-form literary classics, and offer opportunities for designers to intervene in a text. But why must interpolated stories be graphical? Gunther Kress writes, “an urgent task is understanding the different affordances of writing and image” 4.0 DESIGN PROCESS text’s meaning beyond “arrangement” (Kress) of materials. That being said, (Kress). The affordance here is the differentiation between text and paratext, between text and image. This differentiation enables the designer to choreograph and guide users between media in order to construct a narrative, 109 its paratexts. The user may explore paratexts while maintaining one foot in the text itself. This foregrounding and backgrounding of text and paratext is critical, the literal opening of the text to reveal paratext. This brings us to the third and final component of the InterED system. ADAM CRISTOBAL without usurping the user of their own agency when exploring the text and Editorial history reveals 4.0 DESIGN PROCESS 110 Censored text and editorial revisions comprise the text’s editorial history¹. This history is primarily researched by the editor. Like the interpolated stories, these reveals are placed into the primary story itself, interwoven 1. This is similar to the field of into the text, and accessed through interpolation points. Unlike the interpo- “genetic criticism” that consists lated stories, which synthesize text with image, these paratexts are entirely of the reconstruction and text-based. The text’s own history as a manuscript is communicated using the analysis of the writing process same strike-through annotations and editorial characters used in a copy-edit- (Deppman, Ferrer, and Grode). ed manuscript version of the text. I N T E R P O L AT E D E D I TO R I A L D E S I G N Narrative This fourth and final component of the InterED system depends on the user. This is the narrative. The narrative comprises the primary story, interpolated stories, and editorial history reveals. It is determined by the user, and is the user’s own navigation through primary story and interpolated stories, as based on the interpolation points. This navigation builds a sequential progression that interweaves primary story with the paratexts, or between text and image, via the literal opening of text to reveal paratext. The user’s hyper attention between separate but parallel stories and media streams is a catalyst for deep attention towards the text’s overall narrative. Through exploring interpolated stories, the user enters deeper into the text, while the primary text remains at the foreground. 4.2 System map 4.0 DESIGN PROCESS 112 Content research for interpolated stories Text selection I N T E R P O L AT E D E D I TO R I A L D E S I G N Usercentered research for reader profiles Review of content research & reader profiles Curate content based on reader profiles UI Design: prototype complex interpolated stories 4.0 DESIGN PROCESS Production of digital prototype Deployment and regular live updates User test: Qualitative evaluation of content and UI Adjust content and UI based on user test results Final user test to validate results Due to time constraints and limited resources, the application of this system to the final prototype was simulated by a single designer/editor — that is, the researcher himself. I synthesized both design and editorial roles as a single effort. In actuality, the application of this system would be executed by at least two persons. 113 ADAM CRISTOBAL Research further content if necessary 4.0 DESIGN PROCESS 114 I N T E R P O L AT E D E D I TO R I A L D E S I G N 4.3 Application of system to final prototype Primary text Interpolated stories For the primary text of the final After I had selected the text, I began prototype, I selected Oscar Wilde’s editorial research into the text’s The Picture of Dorian Gray based on social history in order to determine four criteria as derived from user re- interpolated stories. I curated my search and with practical publishing research down to four topics to be purposes in mind: made manifest into interpolated stories: Thematic relevance to the young user group — i.e.: the broad 2. 1. The basics of aestheticism, a follies of youth and the cult of philosophy to which Oscar Wilde youth — as established by my adhered and discusses in The user personae’s age group. Picture of Dorian Gray. Surrounding paratexts of 2. Explications of references to interest including issues of classical myths that are refer- censorship and Wilde’s trial and enced within the text scandal. 3. 3. 4.0 DESIGN PROCESS 1. The sociocultural context of Appropriate reading level and artistic culture in 19th-century complexity of language for the London. 115 works written prior to 1750 were 4. The sociocultural context of not under consideration during editorial censorship of the book, the text-selection process. and Oscar Wilde’s trial and scandal on grounds of the text’s 4. Current status as out-of-copy- homoerotic content. right. Should I publishing this system online, I needed this legal The curation of this editorial re- flexibility. search was conducted alongside the user experience design and Other texts may have also fit this low-fidelity wireframing of the final criteria, but I also selected The prototype, and were not finalized Picture of Dorian Gray owing to my until later in the design process. As own personal interest in the text such, the interpolated stories de- and its paratexts. tailed in the user experience design and low-fidelity wireframing stage do not entirely match the four topics outlined in section 4.1. ADAM CRISTOBAL user group. For this reason, 4.4 User experience design 4.0 DESIGN PROCESS Modeling deep attention & hyper attention 4.4.1 Low-fidelity wireframing During this stage, I established broad structures to frame user interactions with the text and images. The prime objective was to find solutions that synthesize deep attention and hyper attention and to prioritize the delivery of the primary text as the first point of interaction. These structures were 116 made manifest as broad interface and interaction overviews that detail a user’s movement between texts, images, paratexts, and their resulting I N T E R P O L AT E D E D I TO R I A L D E S I G N movement between deep attention and hyper attention. They were also made manifest as low-fidelity wireframes that detail specific screen interactions and content. 4.0 DE SIG N P RO CE SS 117 4.0 DESIGN PROCESS diagram key User. screen & navigation Lens reveal. censored homoerotic content Lens reveal. aesthetic theory & criticism Content. primary text, censored Paratexts. London geography Paratexts. Oscar Wilde’s trial & scandal 4.0 DESIGN PROCESS 118 deep attention hyper attention synthesis of hyper & deep Model 1: interaction overview & wireframe I N T E R P O L AT E D E D I TO R I A L D E S I G N This model first presents the user with the primary text, and provides onscreen ‘lenses’ that reveal coded allusions to two interpolated stories: coded allusions to homosexual culture, and the basics of aesthetic theory and criticism. If certain portions of the primary text were tapped, the user would move to one of two different modes of interacting with the text: via geographic or physical context, or sociocultural context. If the user taps on a phrase or word of geographic relevance or physical context, the user would use a map to navigate through the text. This is a cursory mode of interacting the text, and facilitates hyper attention through its use of an entirely image-based interface for exploration. Portals to particular portions of the text would be linked to their corresponding geographic locations. If the user taps on a phrase or word of sociocultural relevance to Oscar Wilde’s scandal and trial, the user would use a fictional newspaper relating to Oscar Wilde’s trial and scandal to navigate through the text. This is a semi-cursory mode of interacting with the text, and facilitates a synthesis of hyper attention and deep attention through short-form fictional articles and distributed images. Portals to particular portions of the text would be linked to their corresponding articles in the newspaper. 4.0 DESIGN PROCESS ADAM CRISTOBAL 119 Fig. 72-73: Adam Cristobal, Dorian Gray system maps model 1, 2013 diagram key User. screen & navigation Lens reveal. censored homoerotic content Lens reveal. aesthetic theory & criticism Content. primary text, censored Paratexts. London geography Paratexts. Oscar Wilde’s trial & scandal 4.0 DESIGN PROCESS 120 deep attention hyper attention Model 2: interaction overview & wireframe I N T E R P O L AT E D E D I TO R I A L D E S I G N This model again first presents the user with the primary text, and again provides on-screen ‘lenses’ that reveal coded allusions to two interpolated stories: coded allusions to homosexual culture, and the basics of aesthetic theory and criticism. It is an iteration of the first model. However, unlike the first model, this model collapses geographic or physical context into sociocultural context of Oscar Wilde’s trial and scandal. The resulting interface is a map and newspaper hybrid, as demonstrated in the low-fidelity wireframe. This still presents experiences that isolate deep attention from hyper attention as discrete experiences. Deep attention remains within the primary text, whereas hyper attention remains with the map and newspaper. 4.0 DESIGN PROCESS Fig. 74-75: Adam Cristobal, Dorian Gray system maps model 2, 2013 ADAM CRISTOBAL 121 diagram key User. screen & navigation Lens reveal. censored homoerotic content Lens reveal. aesthetic theory & criticism Content. primary text, censored Paratexts. London geography Paratexts. Oscar Wilde’s trial & scandal 4.0 DESIGN PROCESS 122 synthesis of hyper & deep Model 3: interaction overview & wireframe I N T E R P O L AT E D E D I TO R I A L D E S I G N This third model is based of the first and second models, but presents all interpolated stories alongside the text, and reveals these interpolations as part of the text itself. This presentation of interpolated stories alongside the text was an attempt to design a multimedia experience that facilitates both deep attention and hyper attention, but such a mixture may result in an experience that merely promotes cursory or hyper attention. Many media compete for the user’s attention on screen. 4.0 DESIGN PROCESS 123 Adam Cristobal, Dorian Gray system maps model 3, 2013 ADAM CRISTOBAL Fig. 76-77: Modeling the search & collection of ideas 4.4.2 Storyboards During this stage, I blended the insights gained from my first three models. While I may have found several means to blend hyper attention with deep attention, the prime objective at this stage was to find solutions to bring users back to the primary text. I hypothesized that the search and collection of ideas within a text might facilitate this return and focus to the primary text, 4.0 DESIGN PROCESS 124 and would further synthesize deep and hyper attention. These structures were made manifest as walkthrough wireframes that detail screen interactions and content. I N T E R P O L AT E D E D I TO R I A L D E S I G N 4.3.2.1 Model 1: storyboards This first model emulates the structured search of ideas as the transformation of the primary text. Users are engaged in a hands-on activity to search within a text that contains paratextual content. The text thereby functions as a kind of cabinet of curiosities. Non-linear modes of exploring the text are also presented to the user, such as the opening grid of quotations, or the return screens that present the user with other points of interest within the book based on their collected findings. 4.0 DESIGN PROCESS 01 02 03 04 05 06 126 I N T E R P O L AT E D E D I TO R I A L D E S I G N 08 09 10 4.0 DESIGN PROCESS 07 ADAM CRISTOBAL 127 11 12 Figs. 78-91: Adam Cristobal, Dorian Gray 13 14 storyboards, 2013 4.4.2.1 Model 2: storyboards This second model emulates the organic collection, connection, and exploration topics as the transformation of ideas. Users are again engaged in a search activity, but here they are given greater freedom over their collection of ideas. They are enabled to sort, link, and categorize the information as they see fit using a grid of images. Non-linear modes of exploring the text are again presented to the user, such as other points of interest upon page turns. 4.0 DESIGN PROCESS 01 02 03 04 05 06 128 I N T E R P O L AT E D E D I TO R I A L D E S I G N 08 09 10 4.0 DESIGN PROCESS 07 ADAM CRISTOBAL 129 11 12 Figs. 92-105: Adam Cristobal, Dorian Gray 13 14 storyboards, 2013 4.5 User interface design & development 4.0 DESIGN PROCESS 4.5.1 Analog prototype This paper prototype was a consolidation of the information architectures outlined in the previous wireframes. The objective was to model the actual interactions with the interface in a tangible way, and to demonstrate how the Figs. 106-108: design might be made manifest on-screen and to-scale. The text opens and Adam Cristobal, Dorian Gray closes using tabs, and a series of interpolated stories are made manifest as analog prototype, 2013 130 sliders that move and open through windows in the text. I N T E R P O L AT E D E D I TO R I A L D E S I G N 4.0 DESIGN PROCESS 4.5.2 High-fidelity wireframing and preliminary HTML, CSS, and jQuery development 132 Several insights were made from the analog prototype, and I thereby made I N T E R P O L AT E D E D I TO R I A L D E S I G N several typographic adjustments to the first web-based prototype. For the analog prototype, I had divided chapters into smaller parts of 300-400 words each, and was still exploring different ways of presenting each part to users. Initially, I opted for a three-column layout in order to further compartmentalize the content on a single and unscrolling screen, but this presented several complex architectural issues with regards to column width and layout for responsive grids online. As such, I implemented a single-column and scrolling layout for each part, with a slightly larger font for the purposes of legibility. I developed the first web-based prototype to include an opening grid screen that displayed and linked to various parts from a given chapter in order to facilitate non-linear exploration of the story. I also collected text and images for the interpolated stories. These images did not literally illustrate the interpolated text, but were instead photographic and diagrammatic representations of the text content. This initial prototype was developed in three days, and was intended for the purposes of user testing. 4.0 DESIGN PROCESS ADAM CRISTOBAL 133 Figs. 109-112: Adam Cristobal, Dorian Gray prototype version 1, 2013 4.0 DESIGN PROCESS 134 I N T E R P O L AT E D E D I TO R I A L D E S I G N 4.0 DESIGN PROCESS ADAM CRISTOBAL 135 Figs. 113-118: Adam Cristobal, Dorian Gray prototype version 1, 2013 4.6 Preliminary user test Four participants were involved in a preliminary user test of the interface in December 2013. These are the same participants indicated in section 3.2.2. These user tests were conducted individually, and participants were first presented with an opening grid interface that displayed excerpts from the first chapter. The purpose of this user test was to evaluate the basic efficacy of visual cues, visual language, calls to action, and the user flow, in order to 4.0 DESIGN PROCESS define the further development of the final interface. The prime objective of this user test was to also evaluate communication and navigation of interpolated stories, interpolated stories’ differentiation from the primary text, and interpolated stories’ differentiation from each other. Participants were individuals aged 22-27 and were either in post-secondary education or had completed post-secondary education. I gained access to these individuals via personal networks. These individuals are number 1 through 4 in the user test transcripts, and their profiles are detailed below. 136 I N T E R P O L AT E D E D I TO R I A L D E S I G N Participant 1. 27-year-old male, Textiles student Participant 2. 26-year-old female, Assistant Editor Participant 3. 22-year-old female, Design student Participant 4. 22 -year-old female, Communication student 4.0 DESIGN PROCESS ADAM CRISTOBAL 137 Figs. 119-121: Adam Cristobal, Dorian Gray preliminary user testing, 2013 4.6.1 Select insights & quotes Chapter / part system & hierarchy 4.0 DESIGN PROCESS 138 I N T E R P O L AT E D E D I TO R I A L D E S I G N Procedure. In this prototype, the book’s chapters were further divided into parts. Presented with an opening grid screen to facilitate non-linear explorations into the book, participants were asked to identify the chapter from which these quotes were excerpted. The purposes of this component of the user test was to evaluate the hiearchy between chapters and parts, and to evaluate the particular visual cue of the large “01” as a navigation element to the first chapter. Results. “When it says part x, is this the part of the chapter? Or does it take me to chapter 3?” — Participant 2 Insight. Chapter / part hierarchy needs to be clearer on grid — initial introduction and exposure to this system. Needs to be much clearer that “01” is touchable, and primary interactive element on the page. 4.0 DESIGN PROCESS Basic navigation between parts Figs. 122-123: Adam Cristobal, Dorian Gray 139 Procedure. After participants had navigated to the beginning of the book, they were asked to navigate to the previous page and next page of the book in order to evaluate visual cues and the overall efficacy of the navigation system. Results. Three out of four users attempted to swipe either upwards or sideways, and then used the arrow button to navigate, or attempted to use side menu navigation. Only participant 2 tapped the button provided. Insight. As this was conducted on a tablet interface and without the web browser frame, users may expect swipe interactions. Moreover, arrows may communicate swipe interactions, so unless I integrate swipe interactions, this visual language might be edited in favour of another indication to suggest a tap gesture analogous to a mouse click. ADAM CRISTOBAL prototype version 1, 2013 Differentiation between interpolated stories and primary text 4.0 DESIGN PROCESS 140 I N T E R P O L AT E D E D I TO R I A L D E S I G N Procedure. Participants were asked to tap on highlighted text. This interaction revealed an interpolated story, about which participants were asked to comment. They were asked to identify the information given to them, and to differentiate it from the primary story. Participants were also asked to naviga further into interpolated story. Results. All participants understood that the interpolated story was akin to a footnote, and primarily identified its visual qualities as the prime differentiator from the primary story. However, no participants noticed the flag noting the particular catagory of context (Contemporary Artistic Culture in London). With some proding, all participants understood that they could navigate through the entire primary story using the interpolated story navigation. Insight. Catagory flag and horizontal navigation should be more explicit or more obvious in order to clearly identify the paratextual content’s relationship to primary story. This may be influenced by colour treatment and physical size on screen. 4.0 DESIGN PROCESS Side menu navigation, functionality, and flow Figs. 124-125: Adam Cristobal, Dorian Gray 141 Procedure. The purpose of this side menu was to facilitate non-linear explorations into the book. Users were asked to jump to a specific part of the book, which implicated the discovery and use of this menu. Results. Three out of four users discovered and used the side menu to jump to a specified part of the book. Two of these three users understood the part selection grid. However, the third participant initially attempted to use the chapter menu as the part menu. The fourth user simply used the arrow buttons to navigate to the specified part of the book. Insight. Again, the chapter and part hierarchy needs to be clearer. As this menu is presented differently from the initial opening grid UI, perhaps the two should be merged as a single grid screen to facilitate non-linear explorations into the book under a unified userflow. This may be more effective than two separate grids and menus, and mitigate further user confusion. ADAM CRISTOBAL prototype version 1, 2013 4.6.2 Summary & further development The data gathered from the user test session illustrated three major issues for me to refine during the development of the final prototype. First, the chapter and part hierarchy system should be rethought. Part is sometimes larger than chapter, so another word for this nomenclature might be considered. Second, navigation through the entire book via interpolated stories should be explicit as a horizontal mode of navigation. Navigation through the entire book via primary story should be explicit as a vertical mode of navigation. This might be communicated via scale, contrast, and rethinking the overall grid. Third, differentiation between interpolated stories of different topics should be more explicit as coherent lines that weave through the 4.0 DESIGN PROCESS primary story. Different visual treatments might be considered to emphasize particular silos of paratextual content. While these three issues were the primary focus during the development of the final prototype, I also needed to consider the presentation of the interface as manifest in a browser window. If it were to be delivered via web, would tap gestures on a tablet screen more be more communicable? Another issues to be considered was the basic navigation, which was unclear to the users. When users were asked to navigate to the next section of the story, they did not always instinctively tap on the button indicating the next page, 142 nor did they do so for the button to the previous page. The flow into the side menu navigation was also confusing: users found the jumping interaction I N T E R P O L AT E D E D I TO R I A L D E S I G N useful, but difficult to access. The overall structure — particularly the grid and content structure — needed to further articulate the flow of information within the system to users. 5.0 Final prototype Figs. 126-128: Adam Cristobal, Dorian Gray prototype version 2: landing screen and navigation, 2014 The final prototype was deployed to adamcristobal.com/dorian_gray in mid-April of 2014 for demonstration. This final prototype is comprised of four major components: the landing screen, the primary story, interpolated stories, and editorial history reveals. The text’s original chapters are further divided into subchapters, and numthree, and are initially introduced on a landing screen (see fig. 132) via a series of three callouts that represent the three recently released subchapters. This regularly updated landing screen is the user’s primary entry into the prototype upon introduction and return to the text, and previews recent updates and the displays the text's preface. By clicking on tapping on these callouts, users may read and explore the latest subchapters, or explore earlier into the book. This staggered release of the book — similar to the temporal paradigms of a 5.0 FINAL PROTOTYPE bered as 1.1, 1.2, 1.3 etc. These subchapters are to be released in groups of serialized book or episodic television — is based off of user interviews and preliminary and final user testing trials that indicate preference towards longer content broken into smaller and digestible portions. 145 primary story via a vertical and single column of text, divided into the aforementioned subchapters. Once the user reaches the end of a subchapter, they may access the next subchapter through a callout placed at the bottom of the current subchapter. Similarly, users may also return to a previous subchapter through a callout placed at the beginning of the current subchapter. Once users have read through the content currently available, the callout displays a preview that summarizes the three upcoming chapters, as well as a specific date of release. Users may jump to specific subchapters of the text by clicking or tapping the icon consistently placed at the upper left-hand corner of the page, which reveals a screen identical to that of the landing screen, save for an array of chapter buttons at the top of the page. If the user taps on a chapter button, they may then choose a subchapter from the callouts displayed below the array of chapters, and thereby re-enter the primary story at the desired point. Highlighted text indicates an interpolation point. Users may click or tap an interpolation point to reveal an interpolated story or an editorial history reveal. Both interpolated stories and editorial history reveals split the text of the primary story in order to display paratextual content. ADAM CRISTOBAL The userflow is straightforward. Users may read and scroll through the 5.0 FINAL PROTOTYPE Figs. 129-130: Adam Cristobal, Dorian Gray prototype version 2: reading screen, 2014 Interpolated stories are comprised of a horizontally placed series of layered images and text that parallax based on cursor position or a tablet device gyroscope. These images and texts have been selected based on availability and interest. Form development of the interpolations and overall art direction was 146 based off of data gathered from final user test sessions, but was primarily established via in-studio critique. The art direction uses a two-tone colour treat- I N T E R P O L AT E D E D I TO R I A L D E S I G N ment and filter in order to unify images from many sources under a coherent and consistent visual language. The interpolated stories are divided into portions. After viewing a current portion, users may access the next portion through an arrow indication on the right-hand side of the interpolated story. Alternatively, they may return to a previous portion of the interpolated story through an arrow indication on the left-hand side. Once users reach the end of an interpolated story, they are presented with a double arrow indication on the right-hand side. Upon click or tap, this double arrow indications takes users to the next interpolated story that belongs to same category as the current interpolated story. This also takes users to the location of the next interpolated story as it is situated in the primary story. For example: from Murmerings which belongs to the category of Wilde’s Trial and Scandal and is placed in Chapter 1.2, users are taken to Dorian, placed in Chapter 1.3. Users many continue to navigate the text through the interpolated story category of Wilde’s Trial and Scandal. Users may also access editorial history reveals through interpolation points. This particular edition of The Picture of Dorian Gray contains content that had been censored in the initial 1890 publication. Upon click or tapping an interpo- 5.0 FINAL PROTOTYPE ADAM CRISTOBAL 147 Figs. 131-132: Adam Cristobal, Dorian Gray prototype version 2: interpolated stories, 2014 5.0 FINAL PROTOTYPE 148 I N T E R P O L AT E D E D I TO R I A L D E S I G N Figs. 133-134: Adam Cristobal, Dorian Gray prototype version 2: editorial history reveal, 2014 Adam Cristobal, Dorian Gray prototype version 2: interpolated story, 2014 lation point, the primary text splits to display the censored text, struck-through 5.0 FINAL PROTOTYPE Figs. 135: and typeset into the primary story. The revised text is typeset below the censored text, and specifies if an editor made the revision, or if the author himself made the revision. 149 fica, and ITC Johnston by Richard Dawson and Dave Farey of International Typeface Corporation — as based off of the original 1916 Johnston by Edward Johnston. Body type, callouts, and decks are set in Alegreya, a typeface specifically designed for on-screen reading of literature. Headers, flags, and other navigational elements are set in Johnston, a typeface originally designed and currently used for way-finding and navigation on both the London Underground and various locations in the city. Johnston was also selected for its ambient qualities as a specific and contemporary reference to the city in which the demonstration primary text is set. This prototype was built using HTML, CSS, and Javscript. Edits were made after the defense for exhibition preparation. ADAM CRISTOBAL The typefaces used in this final prototype are Alegreya HT by Juan Pablo del Peral, Carolina Giovagnoli, Sol Matas and Andrés Torresi of Huerta Tipográ- 6.0 Project evaluation 6.1 Evaluation of project The InterEd final prototype is a long-form literary classic made manifest as both text and image for a multimedia experience on both desktop and tablet delivery platforms. Researched, curated, and art-directed paratexts are interpolated into the primary text as a primarily image-based experience in order 6.0 PROJECT ASSESSMENT to modulate users between deep attention and hyper attention. Together with the primary text, these interpolated paratexts accommodate contemporary media intake behaviour with curated content. Due to the particular embedding of interpolated stories into the primary text, users always remain in the primary text but may explore paratexts as components of the text itself. As such, this prototype meets the initial design objectives of the project. The interpolated stories synthesize media in order to facilitate a symbiotic relationship between a user’s deep attention and hyper attention. The art direction and selection of interpolated content curates the prototype’s content under one overarching theme through multimedia forms. The navigational 152 structures that allow the user to read through the book via interpolated story category or the primary text itself enable users to determine their own path I N T E R P O L AT E D E D I TO R I A L D E S I G N of content intake through the discovery of curated content. 6.1.1 Implementation of system and framework The final prototype demonstrates the possible outcome of a proposed publishing process and system. This publishing process is distinct from the final prototype itself, and can be understood in broad terms as a framework or model within which later and similar projects of a similar nature might operate. The primary goal of this framework was to formally provoke the changing relationship between designers and editors in the publishing process. This framework extends beyond this project’s initial design objectives. There are further opportunities such as establishing more robust roles for developers in this publishing process. In a larger extrapolation of this project, the developer’s role might be that of a technical collaborator who further researches, suggests, and actualizes material explorations for interpolated stories or editorial history reveals beyond the technical scope of the designer. 6.1.2 Technical evaluation Built with HTML, CSS, and Javascript, InterEd was initially designed and prolaptop with a minimum of a 1024 px × 768 px screen dimensions with the most recently released Mac or Windows operating system installed, or an iPad tablet with the most recently released iOS installed. Browsers tested include Chrome, Safari, and Mozilla Firefox. Under these circumstances, the final prototype serves its demonstrative purpose. Beyond this demonstrative purpose, three other components should be considered in the design: screen responsiveness across more than two screen dimensions, further browser renderings, and the implementation of a content management system. 6.0 PROJECT ASSESSMENT duced for particular and optimal circumstances as exemplified in a desktop or Before this system can be fully released, more grids might be designed and produced, and colour calibration and browser compatibility might be tested via debugging tools such as BrowserStack — a cross-device, cross-browser, 153 implementation of a content management system such as Drupal or WordPress would further streamline the production process for designers and editors in later and similar projects using the InterEd system. 6.1.3 Unfulfilled opportunities The initial design objectives of this project were to deepen user interactions with long-form literary classics as artifacts. However, user/user interactions — while explored within the parameters of in-studio experimentation — might be implemented into the InterEd prototype during further development. Primary research indicates user interest in book clubs but an inability to accommodate the temporal and logistical demands of formal in-person user/user interactions to discuss readings. Additional prototyping might aim to accommodate and understand these user needs as user-generated marginalia or in-line commenting. User-saved portions of the text might also be further prototyped based on primary research into bookmarking behaviour in order to further enable users to reconfigure the text on their own terms. ADAM CRISTOBAL and multi-operating system testing platform for products built for web. The 6.2 Future directions The body of work presented in this process book was prototyped with varied degrees of conceptual and technical range and depth. More importantly, it is the beginning of a long-term research trajectory into on-screen interactions with long-form literary texts. From here, there are several possible avenues 6.0 PROJECT ASSESSMENT of research for enrichment beyond marginalia. The challenge is to deepen our interactions with existing texts whilst remaining faithful to and prioritizing their original media: sentences, words, and characters. From analog in-studio experimentation to exhibited digital prototype, Shakespeare² provoked simultaneous and multi-user interactions with text in a communal and public space. While I limited my research here to the confines of an iPad and projector exhibited in an art gallery, I see opportunities to develop new modes of literary dialogue in social settings that extend beyond formal classroom discussion, bookclubs, and threaded online discussion. A text as a larger communal interface as table, wall, or both 154 might provide the opportunity to develop a physical space wherein a text becomes an active social site for in-person interactions. Based on selected I N T E R P O L AT E D E D I TO R I A L D E S I G N and curated prompts to enact, discuss, or question portions of a given text, the social components of on-screen reading might thereby extend beyond the current predominantly virtual interactions and into actual dialogue. While online discussion remains a dominant form of contemporary discourse, how can a text act as a conduit for interpersonal growth and activator of public space? The value of in-person dialogue not applies to that of the user’s understanding and interactions with a text, but also a user’s understanding and strengthening of interactions with fellow users. Quest used gamification as an affordance for navigating through a text as a transient experience. The text became a vehicle for the game, and vice versa. Gamification is currently an increasingly applied solution to enrich existing texts. This space is quite bountiful, and many studios currently work within this space, including Inkle, Simogo, and Loud Crow Interactive. However, gamification is one varient of interactivity for engagement, and perhaps it is time to move past the game structures that merely support a text, and into broader UX and UI structures that directly augment text itself. While I curated three specific stories related to the same narrative of King Arthur in order to build a world of the King Arthur narrative around users, I see opportuni- ties for immersive and user-generated anthologies. Within a single book and interface, users might link multiple related sources and thereby grow their own network of texts in tandem with the development of their own cognition texts is a valuable and important component of the reading experience that has yet to be fully addressed as an interface and experience. This not only has scholarly applications, but everyday leisurely applications for personal intellectual growth. This interface might serve as a visual mapping of readers’ own individual reading behaviours. As an experience, this might not dilute these texts, but instead clarify and renew these texts as a complex field of thought and exploration. The Picture of Dorian Gray provides me with a working system that can 6.0 PROJECT ASSESSMENT of broader themes. A user’s own understanding and building of a network of be implemented to other texts of a similar nature for enriched and curated paratextual content. The interpolated stories presented in this process book were primarily visual content, but audio might be implemented into interpo- 155 rience. Moreover, interpolated stories that run through multiple books might provide users with further opportunities to explore editorialized worlds of information. For example, an interpolated story that addresses late-medieval plague within Chaucer's The Canterbury Tales might run into other but related primary stories, such as Bocaccio's Decameron. Interpolated stories might thereby function as full-fledged lines of reference, critique, and research for the purposes of casual reading. This, in turn, might provide further opportunities for designer/editor collaborations upon multiple and interlinked projects using this particular system. This is a dense seed — ripe with possibility — to generate many different futures. In our hyper-networked world of information, I see neither the death of reading nor the death of print. I simply see users and texts. Both are here to stay, and it is up to designers to define the parameters of meaningful interactions between the two. ADAM CRISTOBAL lated stories in order to provide an even more immersive and curated expe- Bibliography & references Works cited Carr, Nicholas. The Shallows: What the Internet Is Doing to Our Brains. New York: W.W. Norton & Company, 2010. Cooper, Alan, Robert Reimann, Dave Cronin, and Alan Cooper. About Face 3: The Essentials of Interaction Design. Indianapolis, IN: Wiley Pub., 2007. Print. Eliot, T.S. The Wasteland App. London: Touch Press, 2011. Flood, Allison. “Pottermore website launched by JK Rowling as ‘give-back’ to fans.” The Guardian. Vitaly Friedman, 23 June 2011. Web. BIBLIOGRAPHY Frommer, Dan. “Harry Potter And ‘Pottermore’ Could Force Amazon To Open Up The Kindle.” Business Insider. 23 July 2011. Web. Grossman, Lev. “Pottermore, Part II: Hufflepocalypse Now.” Time. 6 September 2011. Web. 158 Hayles, N. Katherine. “How We Read: Close, Hyper, Machine.” ADE Bulletin I N T E R P O L AT E D E D I TO R I A L D E S I G N 150 (2010): 62-79. — “Hyper and Deep Attention: The Generational Divide in Cognitive Modes,” Profession 2007 (2007): 187-199. “House Pride Week.” Pottermore Insider. September 2011. Web. Luschen, Kristen, and Lesley Bogad. “Youth, New Media and Education: An Introduction.” Educational Studies 46.5 (2010): 450–456 Marinetti, F.T. “Destruction of Syntax—Imagination Without Strings—WordsIn-Freedom.” Looking Closer 3: Classic Writings on Graphic Design. Ed. Michael Bierut, Jessica Helfand, Steven Hellar, and Rick Poynor. New York: Allworth, 1999. 6-11. Print. McGrath, Michael. “Technology, Media, and Political Participation.” National Civic Review 100.3 (2011): 41–44. Murray, Janet H. Inventing the Medium: Principles of Interaction Design as a Cultural Practice. Cambridge Massachusetts: The MIT Press, 2012. Piper, Andrew. Book Was There: Reading in Electronic Times. Chicago: Chicago UP, 2012. “Pottermore art: The Boy Who Lived.” Pottermore Insider. November 2011. Web. Prensky, Marc. “Digital Natives, Digital Immigrants Part 1.” On the Horizon Rushkoff, Douglas. Playing the Future: What We Can Learn from Digital Kids. New York: Riverhead Books, 1996. Solon, Olivia. “J.K. Rowling’s Pottermore reveal: Harry Potter ebooks and more.” Wired. 23 June 2011. Web. 159 ry Potter site.” Entertainment Weekly. 15 August 2011. Web. Thomas, Bronwen. “Gains and Losses? Writing it All Down: Fanfiction and Multimodality.” New Perspectives on Narrative and Multimodality. Ed. Ruth Page. New York: Routledge, 2010. Van den Beemt, A., S. Akkerman, and P. R. J. Simons. “Patterns of Interactive Media Use Among Contemporary Youth.” Journal of Computer Assisted Learning 27.2 (2011): 103–118. Van Gilder Cooke, Sonia. “‘Pottermore’ Secrets Revealed: J.K. Rowling’s New Site is Ebook Meets Interactive World.” Time. 23 June 2011. Web. ADAM CRISTOBAL Staskiewicz, Keith. “Pottermore: First impressions of the new interactive Har- Beatrice, Warde. “The Crystal Goblet or Printing Should Be Invisible.” Looking Closer 3: Classic Writings on Graphic Design. Ed. Michael Bierut, Jessica Helfand, Steven Hellar, and Rick Poynor. New York: Allworth, 1999. 56-59. Print. Walsh, Shari P., Katherine Marie White, and Ross McD Young. “Needing to Connect: The Effect of Self and Others on Young People’s Involvement with Their Mobile Phones.” Australian Journal of Psychology 62.4 (2010): 194–203. Wild, Lorraine. “Transgression and Delight: Graphic Design at Cranbrook.” The New Cranbrook Design Discourse. New York: Rizzoli, 1990. 30-36. Print. Weingart, Wolfgang. My Way to Typography. Baden, Switzerland: Lars Müller, 2000. Print. BIBLIOGRAPHY “You ask, we answer.” Pottermore Insider. July 2011. Web. Young, Bryan. “‘A Look Inside Pottermore: First Impressions.” Huffington Post. 15 August 2011. Web. 160 I N T E R P O L AT E D E D I TO R I A L D E S I G N Annotated bibliography Barthes, Roland. “The Death of the Author.” Trans. Stephen Heath. The Critical Tradition: Classic Texts and Contemporary Trends. Ed. David H. Ritcher. Boston: Bedford/St. Martin’s, 2007. 874-893. Barthes’ essay is a discussion of the author’s role in a text; he challenges the notion of the author as a text’s figure of authority, and suggests that a text’s meaning is not contingent on the author and their intent, but is instead constructed by the reader’s cognition of the text. Although my project deals with texts whose authors are, for the most part, no longer alive, thereby necessating the absence of the author, Barthes’ essay provides a basis for significant and meaningful interven- Carr, Nicholas. The Shallows: What the Internet Is Doing to Our Brains. New York: W.W. Norton & Company, 2010. Carr’s book is a critical evaluation of internet use and its cognitive BIBLIOGRAPHY tions into a text beyond the author. implications. On the basis of neuroplasticity — the changes neural pathway — he argues that the inherent qualities of the internet as a delivery platform have deteriorated its users’ cranial capacity to a 161 rological science, but surveys the history of human thought as manifest in non-digital media in order to articulate the notion of “deep reading” as an experience comprised of a lone reader and lone writer (Carr 108). Although the intent of this thesis is not to disprove Carr’s theory, I primarily use The Shallows to frame this project within the contemporary critical discourse of media-intake behaviour, and to broadly discuss criticisms of hyper attention and prolific internet usage. Drago, Carla, Linda Leung and Ward, Mark. “What’s the Story? Harnessing The Power of Storytelling in Film for Experience Design.” Digital Experience Design: Ideas, Industries, Iteraction. Ed. Linda Yeung. Bristol: Intellect Books, 2008. 35-47. In this chapter of a compilation, Drago, Leung, and Ward argue that elements of storytelling, particularly those of film, can be translated and made useful in experience design. They argue for a “‘story-centered’ approach into a digital realm,” and suggest that “the possibility of constantly evolving interactions, with multiple authors, and numerous, si- ADAM CRISTOBAL near-physiological degree. Carr not only grounds his argument in neu- multaneously unfolding (and not necessarily linear) narratives, means stories in a digital context may well go far in challenging the concept of story itself” (Drago, Leung, and Ward 36). These discussions are useful frameworks that address to how digital experience design may impact the storytelling capacity of any given artefact. Hayles, N. Katherine. “How We Read: Close, Hyper, Machine.” ADE Bulletin 150 (2010): 62-79. In this study, and based on her previously published research in 2007, Hayles proposes a synthesis of digital reading behaviours with non-digital reading behaviours. Citing studies in psychology, neurology, media studies, she suggests that both digital and non-digital reading behaviours demonstrate their own distinct advantages, and argues that BIBLIOGRAPHY a synthesis between the two is key to effective pedagogical advancements in literacy. She specifically addresses Nicholas Carr’s discussion in The Shallows, and suggests that the studies in which Carr grounds his argument are fundamentally flawed in their approach and do not faithfully account for the specific user circumstances of online reading. She contrasts this with approaches in her own work and cited studies from other scholars, and stresses that anecdotal evidence — not unlike 162 user profiling in design research — is critical to mapping contemporary reading behaviours as a personal activity. I N T E R P O L AT E D E D I TO R I A L D E S I G N — “Hyper and Deep Attention: The Generational Divide in Cognitive Modes.” Profession (2007): 187-199. This study is Hayles’s initial introduction of deep and hyper attention, the modes of media intake behaviour upon which I base the interaction models of this project. According to Hayles, hyper attention predates deep attention. She argues, “deep attention is a relative luxury, requiring group cooperation to create a secure environment in which one does not have to be constantly alert to danger” (Hayles 188). As such, Hayles suggests that while reading behaviour that harnesses deep attention may demonstrate a variety of of benefits and advantages, hyper attention is an innate component of human cognition. She identifies that the fundamental opposition within the scholarly discourse of these two cognitive modes is that educational institutions have long fostered deep attention, and are ill-equipped to accommodate a contemporary shift to hyper attention as a dominant cognitive mode. Joicey, Nicholas. “A Paperback Guide to Progress: Penguin Books 1935- c.1951.” Twentieth Century British History. 4:1 (1993). 25-56. Joicey’s paper discusses Penguin’s supposedly successful attempt “to produce cheap editions of respectable work in copyright” (Joicey 27). Penguin’s project was a project of accessibility, and so to is my project. Joicey’s paper is useful for my purposes only as a point of reference and context for my own effort; where Penguin’s efforts were effective in the early to mid-twentieth century, my own publishing effort must accommodate an early twenty-first century audience. I hypothesize that the points of access for this demographic vastly differ from those of Penguin’s initial audience. Indeed, if Penguin’s model were still effective, Penguin’s Classics might be more ubiquitous amongst the broad public today. Nonetheless, Penguin’s model contains elements worth searched retail space, and sanctioned book clubs that facilitate the discussion of these publications. Leung, Linda and Scott Bryant. “Art and Articulation: The Finer Points of BIBLIOGRAPHY considering. These elements include effective branding, a well-re- Engaging the User in Abstract Concepts and Lateral Thinking.” Digital Experience Design: Ideas, Industries, Interaction. Ed. Linda Yeung. Bristol: Intellect Leung and Bryant’s chapter in this compilation of essays compares interaction design to gallery exhibition design. Upon their consideration that galleries “are designated as neutral spaces which are visually sensorially, and experientially unobtrusive,” they argue that “a corporate website can be similarly conceptualized as a ‘blank canvas’ or neutral space in which an individual or organization presents their ‘message’ or content” (Leung and Bryant 102). Their argument partially supports my notion of a curated text for users on an interactive platform, and provokes the analogy of exhibition design to an enriched editorial design platform. Murray, Janet H. Inventing the Medium: Principles of Interaction Design as a Cultural Practice. Cambridge Massachusetts: The MIT Press, 2012. Janet H. Murray's book is a humanistic look at digital design problems and addresses interaction design in broad terms. She writes, “the design of digital objects is a cultural practice like writing a book or making a film” (Murray 1). She also suggests the existence of a human- 163 ADAM CRISTOBAL Books, 2008. 101-111. ist designer, a designer who is conscious of the fact that an artifact’s meaning is contingent upon its surrounding web of “social activities, thoughts, and actions of the people who engage with it” (Murray 1). She provides several models for user-centered research for on-screen interactivity, but preferences these models by suggesting that the medium is the method — that is, specific research methods are apt for specific outcomes. She also outlines four specific affordances of digital media, and states that these media are encyclopedic, spatial, procedural, and participatory. Murray's book has provided me with several frameworks within which I situate my research. Piper, Andrew. Book Was There: Reading in Electronic Times. Chicago: Chicago UP, 2012. BIBLIOGRAPHY Andrew Piper’s very recently published book is “an attempt to understand the relationship between books and screens, to identify some their fundamental differences and to chart the continuities that might run between them” (Piper ix). Moreover, it is an attempt to “bridge the gap” between “historians of the book who stray into the fields of digital media” as well as “media historians who stray into the world of books” (Piper xii). Piper suggests that his book is an effort to “understand how 164 reading is beginning to change” (Piper xii). As such, it is useful scholarly effort for my purposes, and I draw largely upon it in my own re- I N T E R P O L AT E D E D I TO R I A L D E S I G N search. Piper’s thoughts have already proved to be quite influential in my approach to this problem, and provides useful avenues of research with regards to changing reader behaviour. Rushkoff, Douglas. Playing the Future: What We Can Learn from Digital Kids. New York: Riverhead Books, 1996. Douglas Rushkoff's book is an earlier work that discusses Prensky's notion of digital natives . Rushkoff, however, uses the term screenagers, and suggests that this “has a much broader attention range” and embraced skimming behavior as a means to “surf” and thereby cope with the supposed waves of information of the twenty-first century (Rushkoff 50). Although his work, published in 1996, does not speak to recent developments in reader behaviour, he does provide a precedent upon which scholars in this area of research might found their work. Playing the Future is an optimistic look at changing modes of reader behaviour. Rylance, Rick. “Reading with a mission: the public sphere of Penguin Books.” Critical Quarterly. 47:4 (1993). 48-66. Rylance’s paper is a scholarly analysis of Penguin’s successful efforts to harness “innovative outlets that bypassed the old arterial blockages of ‘the trade’ and found a new public on Exeter station or in Woolworth’s” (Raylance 54). He discusses how “Penguin carefully developed and encouraged [a] web of semi-formal reading networks” including the Penguin reading groups, the Puffin Club for Children, the Forces Book Club, and Penguins Progress magazine (Rylance 54). I intend to reference Rylance primarily as a supplement to Joicey’s paper. In conjunction, the two will provide a useful point of reference and context for my effort towards accessibility.Wwhile I do not intend to mimic Penguin’s efforts in the early to mid-twentieth century, Penguin is nonetheless currently stands. Switching codes: Thinking Through Digital Technology in the Humanities and the Arts. Eds. Thomas Bartscherer and Roderick Coover. Chicago: University of Chicago Press, 2011. BIBLIOGRAPHY an effective example to whereby I might frame my thesis project as it This compilation of essays provides several discussions that altogether function as an attempt “to understand how digital technology is 165 necessary to cultivate cross-cultural communication, to establish points of reference, and to develop a shared vocabulary” (Bartscherer and Coover 3). While it is a much broader discussion that covers a range of disciplines from dance to fine art, it nonetheless provides a point of reference and context for my research: how can the humanities be adapted into digital modes, and how do these digital modes impact the study of the humanities? 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Scharber, Cassandra. “Online Book Clubs: Bridges Between Old and New Literacies Practices.” Journal of Adolescent & Adult Literacy 52.5 (2009): 433–437. 168 Shefrin, Elana. “Lord of the Rings , Star Wars, and Participatory Fandom: I N T E R P O L AT E D E D I TO R I A L D E S I G N Mapping New Congruencies Between the Internet and Media Entertainment Culture.” Critical Studies in Media Communication 21.3 (2004): 261–281. Small, Ruth V., and Marilyn P. Arnone. “Creative Reading.” Knowledge Quest 39.4 (2011): 12–15. “So What If Kids Are Reading Less These Days? They’re Better Off.” The Globe and Mail. Web. 31 Mar. 2013. Speer, Nicole K. et al. “Reading Stories Activates Neural Representations of Visual and Motor Experiences.” Psychological Science (Wiley-Blackwell) 20.8 (2009): 989–999. EBSCOhost. Web. Spelman, Anne. “Reading Groups for Young People.” APLIS 14.2 (2001): 46. Théberge, Paul. “Everyday Fandom: Fan Clubs, Blogging, and the Quotidian Rhythms of the Internet.” Canadian Journal of Communication 30.4 (2005): 485–502. Trott, Barry, and Martin Goldberg. “Extracurricular Reading.” Reference & User Services Quarterly 51.3 (2012): 231–234. Wall, Tim, and Andrew Dubber. “Experimenting with Fandom, Live Music, and the Internet: Applying Insights from Music Fan Culture to New Media Production.” Journal of New Music Research 39.2 (2010): 159–169. Literary studies and book history Anderson, Earl R. “Defining the Canon.” PMLA 116.5 (2001): 1442–1443. JSTOR. Web. 7 Dec. 2012. Trans. Willard R. Trask. Princeton UP, 1953. Bonnell, Thomas. “Speaking of Institutions and Canonicity, Don’t Forget the Publishers.” Eighteenth-Century Life 21.3 (1997): 97. BIBLIOGRAPHY Auerbach, Erich. Mimesis: The Representation of Reality in Western Literature. Brown, Joan L. “Constructing Our Pedagogical Canons.” Pedagogy 10.3 (2010): 535–1. 169 the Middle Ages to the Present. The Case of Erasmus Widmann as an Example - The Victimization of a Poet Oddly Situated Between Epochs, Cultures, and Religions.” Studia Neophilologica 83.1 (2011): 94–103. Deppman, Jed, Daniel Ferrer, and Michael Groden. Genetic Criticism: Texts and Avant-textes. Philadelphia: U of Pennsylvania, 2004. Doherty, John J. “The Academic Librarian and the Hegemony of the Canon.” Journal of Academic Librarianship 24.5 (1998): 403. Gilmore, Barry. “Worthy Texts: Who Decides?” Educational Leadership 68.6 (2011): 46–50. Joicey, Nicholas. “A Paperback Guide to Progress: Penguin Books 1935c.1951.” Twentieth Century British History. 4:1 (1993). 25-56. Kuipers, Christopher M. “The Anthology/Corpus Dynamic: A Field Theory of the Canon.” College Literature 30.2 (2003): 51. ADAM CRISTOBAL Classen, Albrecht. “Problematics of the Canonization in Literary History from Lear, Bernadette A. “Were Tom and Huck On-Shelf? 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Wold, Linda, and Laurie Elish-Piper. “Adolescents and Texts: Scaffolding the English Canon with Linked Text Sets.” English Journal 98.6 (2009): 88–91. Media consumption Chau, Clement. “YouTube as a Participatory Culture.” New Directions for Youth Development 2010.128 (2010): 65–74. Cowles, Deborah. “Consumer Perceptions of Interactive Media.” Journal of Broadcasting & Electronic Media 33.1 (1989): 83–89. Freishtat, Richard L., and Jennifer A. Sandlin. “Shaping Youth Discourse About Technology: Technological Colonization, Manifest Destiny, and the Frontier Myth in Facebook’s Public Pedagogy.” Educational Studies 46.5 (2010): 503–523. Gentile, Douglas. “Pathological Video-Game Use Among Youth Ages 8 to 18: A National Study.” Psychological Science (Wiley-Blackwell) 20.5 (2009): 594–602. Luschen, Kristen, and Lesley Bogad. “Youth, New Media and Education: An Introduction.” Educational Studies 46.5 (2010): 450–456. 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Popular Reading Librarian, Vancouver Public Library APPENDICES Date conducted. 16 January 2013 I’m interested in how reading habits are shifting and where that leaves “the canon proper”—but my primary inquiry this semester is: How critically engaged are youth in their reading material? What are they 174 reading, and how are they reading? I N T E R P O L AT E D E D I TO R I A L D E S I G N How many book clubs are currently running? Could you comment on the demographic of these bookclubs? More specifically, the number of active bookclubs whose members are younger than age 30? Younger than 25? Younger than 20? Could you comment on the reading material of these book clubs? What are active participants talking about? Would you call these book club members early adopters or late adopters of new technology? Could you comment on the dynamic of these reading clubs? Are they a primarily a social or intellectual affair? How so? Have you ever participated in a book club? Have you ever visited or dropped into one of the book clubs facilitated by the VPL? Could you comment on the dynamic of these book clubs? How critically are they engaged in these texts? Could you comment on book clubs’ use of the resources available on the Reader’s Café? Could you comment on book clubs use of electronic systems dedicated to book club enhancement for managing their discussions? What do you think is currently missing from resources such as Book Movement and Reader’s Circle? Interviewee. Diana Mattia Occupation. Literature 12 Teacher & Librarian, St. Thomas Aquinas High School Date conducted. 16 January 2013 An English teacher at an Ontario preparatory school recently published an article in the Globe and Mail regarding his students’ reading habits. I’m going to give you this article to read right now, and I’d like you to tell me Would you say that there is value in focused and prolonged reading? How so? APPENDICES your thoughts. St. Thomas Aquinas High School generally attracts families that genuinely wish to invest in their respective children’s education (akin to the families of the students mentioned in the article). Have you found that your students 175 Would you say that most of your students are self-initiating pleasure readers? Why or why not? To what extent do you find you and your colleagues need to encourage pleasure reading? How so? Have you noticed a trend regarding your students reading habits, and has this trend changed over the past few years? How so? Can you comment on their attention spans? Last time we spoke, you mentioned that you focus on the text itself; i.e.: what the author is trying to do at the craft level, rather than the context. You work with students’ reading comprehension at the basic level. As a point of clarification, did was this comment with regards to the work read in the Literature 12 classroom, or also in other English classes? Can you comment on your student’s capacity for critical thinking? In particular, I like you to comment on those that harbor an active interest in literature and are generally stronger students. How well do your students ADAM CRISTOBAL are generally encouraged to pursue pleasure reading? “unpack” texts? How do you help them with syntax, vocabulary, and complex texts? I’ll be the first person to admit that I probably read at the most 5 pages of Piers Plowman, yet still wrote an A paper on it. In that regard, I’m going to ask you a tough question: to what extent would you say that your students are “faking it”? How do you generate classroom discussion? How structured is your approach, and how do you tailor it for each class? How do you change your approach in the Literature 12 classroom, as opposed to other English classrooms? Do you find that your students talk about books (assigned or unassigned) outside of the classroom? Is this something you’d like to facilitate? How do APPENDICES you think this might be catalyzed? During your tenure at STA, how has the curriculum changed re. the difficulty level of the English Department’s reading list? How have you had to accommodate students’ reading abilities, how have you challenged these abilities, and to what extent have these abilities shifted during the course of 176 your tenure? I N T E R P O L AT E D E D I TO R I A L D E S I G N How do you see the curriculum in relation to students’ pleasure reading (assuming pleasure reading occurs)? Interviewee. Eric Meyers Occupation. Assistant Professor, UBC School of Library, Information & Archival Sciences Date conducted. 26 February 2013 Could you please give me a brief summary of your work and research? How did you initially pursue information seeking as social practice in youth? How do you think that this particular field of inquiry is relevant to applications outside of the classroom today, given continued changes in information consumption today? How do you see this field of inquiry impacting the future of pedagogy? If you have you envisioned the future of this field outside of pedagogy? I understand that your research has been primarily situated in youth younger than 18. Could you please comment on current information consumption / information seeking habits in that particular demographic? In particular, could you please comment on the range of input and depth of consumption / seeking? Have you noticed a shift in recent years? Could you please identify the major challenges faced by youth when evaluating information from a variety of sources in the contemporary climate of information abundance? How have their critical capacities been impacted? Could you please comment on the range of input and depth of consumption as social practice among youth? When youth seek and evaluate information co-operatively, how does their information consumption differ in terms of range and input from their behaviour individually? In other words, how mation seeking and consumption in youth? When is the solitary approach to information tasks most effective? When is the communal approach to information tasks most effective? APPENDICES does social information seeking and consumption differ from solitary infor- I understand that most of your work has been classroom-centric, and understandably so. Are you at liberty to comment on your Nature and Impact 177 study? • If so, could you please comment on your methods for this study? I am assuming it was quite structured? • I understand that the group-of-3 approach provided a means to distraction to explanatory and evaluative tasks. Could you explain how you have reached this conclusion? What kind of explanatory and evaluative tasks were assigned? How did they differ from the fact-finding tasks? • Would you say that fact-finding itself is most effective as a solitary activity that can then be synthesized with the findings of others in a group setting? Why or why not? With regards to your Youth Credibility in Context study: are you at liberty to discuss your findings thus far? • If so, could you please comment on your methods for this study? • Could you please comment on the results thus far? • Could you please comment on youth’s ability to find information versus evaluate information? ADAM CRISTOBAL of Group Information Problem Solving in the Middle School Classroom B. User group interview transcript Date conducted. 12 June 2013 Number of participants. 5 Age of participants. 20-24 Occupation of participants. College and unversity students / recent graduates APPENDICES What are you doing with your life? User 5: I’m unemployed. I’m here because I read novels. Yeah. User 1: Student at SFU majoring in humanities other than that I have a coffee shop job, all that jazz 178 Long standing friends? How do you all know each other? User 2: I just graduated from Cap I N T E R P O L AT E D E D I TO R I A L D E S I G N with an associate of arts in global User 4: Uhhh ... all over the place. I stewardship and am transferring to guess we’re friends Concordia for urban planning. Yeah, coffee shop jobs. User 3: Yeah, frenemies. User 3: Just finished two years in User 1: It’s not like we’re a crazy Psych at Langara, and now I’m trans- group or nothing. Some of used to ferring to this guy’s cognitive science play soccer together? General same thing at SFU for January. And also neighbourhood. history, cog sci and history. User 3: We’re from the hood? User 4: Graduate from SFU, majoring in cog sci and minor in psychology User 1: Yeah we’re all from the hood. and philosophy. Other than that I’m a benefits administrator, and a part- User 4: All been drunk together, time graphic designer and handy- mostly. I brought a mickey. man. Frequency of pleasure reading? User 4: I read a lot, but I really commit to a single book at a time. I’m User 5: Sporadic. I go through phases a one-book kind of guy. I walk and wherein I read every day, and I’ll read constantly. Usually when I read, read like a novel or just a book every it’s in transit somewhere. I just got couple of days. And then sometimes I an ebook-reader and that’s made it just won’t read for months. It usually quite a bit easier. like has to do if the last book I read like these chains of being like really Why do you read what you read? stoked on reading. And then I just Entertainment? Intellectual cachet? read a terrible novel and I just can’t. Cerebral stimulation? Escapism? User 2: I read fairly constantly when User 1: I need to have one of each! At I’m not in classes. When school’s all times. happening, I don’t really have time to read. User 3: That’s kind of true. I agree with that. I need to have something User 3: I do the opposite. When I’m that is really—like the current ex- in school, I don’t read my textbooks ample is that I’m reading a comedy/ and instead read novels. When I’m sci-fi as my trashy fiction. It’s really not in school, I read my textbooks. good, but it’s just pure escapism and APPENDICES was good or not? So I go through 179 User 2: When I’m reading my text- reading is a super dense memoir of books, I usually read it right before somebody growing up in 1900s China, the exam, but only if I feel it’s really and it’s really good too, but I have necessary. Unless it’s like an English to have both because sometimes I or a philosophy class where novels don’t want to read about China, about are the material. being beaten every day, and I want to instead read...lightsabers. User 1: I’m a four-books-on-the-go kind of person. But it’s not like I User 2: I’ve got dual lists of to-read read every day. I’ll have a novel, one books. The personal, educational trashy sci-fi novel, one really serious books to teach myself things, and then novel, one piece of like non-fiction, just the for fun, very much escapism. and like one book of poetry that I like alternate between every three days. User 3: And there’s a lot of those ones So it takes me a long time to finish where someone recommends it to reading a book. you, because it was hard to read but they enjoyed it in the end. And that kind of gets on the list too. ADAM CRISTOBAL silliness. And then the other one I’m If you’re reading this much, which User 2: I definitely feel the same books would you say you end up way with like the more sci-fi/fantasy/ talking to people the most about? escapism books. Those ones, you have a favourite author or book in User 1: I’d say I draw equally on both. common and you have an instant When I’m meeting a new person, connection. But, especially with my usually we talk about books, because classmates in school, we would all that’s how I know that they’re an have to read the same book about interesting person! I like to be able to international development or some- have conversations with people that thing similar to that. And we could are sci-fi geeks equally as conversa- just go on forever, discussing the tions that I like to have with people related issues and learn you learn who are passionate about philosophy. some fact that just blows your mind and go into tangential discussions User 5: I talk to people about whatAPPENDICES 180 about it. Those are pretty good. ever is most interesting that I’m I N T E R P O L AT E D E D I TO R I A L D E S I G N reading. And sometimes non-fiction User 4: I really like sad books. Those is just a really easy go-to. Or even are the ones I really want to talk just reading something with like, about the most. 100%. I will liter- facts. People just want to tell facts ally — if I read a sad book, and the to each other. Like, “I just learned sadder the better — one thing that this cool new fact!” But it’s really surprises me — like Child of God, nice when you can talk to somebody incredible book — I could not shut about fiction if they’ve read the same up about that book for weeks after- book. That’s when you can just nerd wards. I decided to tell everybody out for hours and you can just talk how bad I felt about it. And then I’ll about...I don’t even know. I had a look online and try to find a list of pen pal, that became my pen pal, I the saddest books ever and just go on still haven’t met her, but we both had a roll and completely self-destruct. the same favourite book and didn’t know a lot of other people that liked User 1: That’s the whole other cate- it. It just turned out that we had a lot gory of books that you read so that of other things to say to each other, you feel something. Or the books but we were just talking a lot to each that you read for therapy. I often other about stuff. I’d say equally both don’t talk about those books. They’re [fiction and nonfiction] but it’s hard just for me... to talk to somebody about a novel if they haven’t read it. Whereas, if I’m User 4: I often think that, if I’m in reading about neuroscience, then I a fictional universe, that the only can just kind of relay that to them and way for it to be totally complete and it’d be a bit easier. for suspension of disbelief to be 100% complete, it has to completely dations from other people. When destroy you by the end. So that when I started reading, it was an escape you wake up back in the real world, from not really liking any of the kids when you get off the bus or whatev- in my elementary school. And so, I er, you have to re-build reality for would just go to the library. There yourself and you kind of incorporate was this one section, and I would the stuff that you read about. Yeah. read the entire section. The like sci-fi/fantasy section. And so I’ve always just gone to that section of To what extent is your reading ma- bookstores or libraries or wherever terial influenced by the people with and found new ones. As I got deep- whom you interact? Your friends? er into that and started pulling out User 3: Really heavily. All of my room- that, then the conversations started. mates has a favourite author, and each Or I’d be at someone else’s house and of them has one of those to their name you’ll be like, ‘oh I love this author that they introduce me to— often with and I haven’t read that one yet’ and the more escapist stuff, if someone is borrow them that way. Like I think I really into something and they really have three from your house already? want to talk about it, then they just (to user 3) APPENDICES favourite authors and things like give you book so they can talk to you 181 about it. User 1: I’ve found that’s how I make escape, that you pummel through friends. If I meet someone, and by the because you really like it, what second or third hang out, it’s like ‘oh would you say makes them so com- you have to read this book’, that’s how pelling? I know they’re gonna be my friend. User 5: For me, it’s always really, User 4: Totally, what she just said. You really character based. The rhythm should get on this — I’ve got a dropbox of the words is really important to set up with a friend of mine. And ev- me. There’s a couple of different eryone once in awhile a book will just words that I can use to describe this appear there. And then I’ll read it. And but I’m trying to pick the best one. I then delete it. And then I’ll drop a book get really bored with books that are of mine, whenever I feel like it. Then really heavy in description of setting he’ll read it. The best way to share because I have almost like zero visu- books. It’s great. al thinking capacity in my brain? It’s like all verbal. So I get pretty bored User 2: I feel like it was only recently or like want to put down books that that I was getting book recommen- are talking about setting. Because I ADAM CRISTOBAL With those books that you read to just don’t find it interesting. If I’m Given that we’re talking about really interested in a character, and printed words on a page, how im- there’s something I can relate to, portant is it to you take the words then I won’t be able to put it down that are on the page and abstract til it’s done. But that’s kind of weird them into your own illustration in and specific and probably not super your head? helpful. User 5: Not important. I don’t even User 3: I really agree with like see a character when I’m reading a getting bogged down when there’s a novel. lot of visual description in a novel. APPENDICES 182 I N T E R P O L AT E D E D I TO R I A L D E S I G N I’m not a very visual thinker either. User 2: I feel the opposite. It’s not But at the same time, I think most really while I’m reading it, but while of my favorite books are often all I’m thinking about it later. It’s all in about world building. So it is setting pictures. Books that I’ve read that development, but it’s not necessarily have been turned into movies, and descriptive setting development. It’s then you watch it but are like, “what like they develop the setting through that character doesn’t look like that”, the characters’ interactions with and you have to go back and check the things around them. And you the description in the book to be like, build the world. It’s not like handed “what colour was their hair again, to you. It’s good because it keeps according to the author?” because you going. You’ve got this dual layer I’ve done that a couple of times. thing in the story. You’ve got your I’ve been like, “nyoooo, this doesn’t characters and their story and their match.” Wherein the illustrator of arch, which are usually hero jour- the cover clearly never read the neys or the same thing, but you also book. Those bothered me so much have this world that’s affecting that because the book always had a very and how their journey works within strong visual image of usually just their setting is really what I find the main characters, but if they were compelling. Mostly that’s the escap- portrayed by someone who had a ism, the sci-fi, the fantasy stuff. For completely different interpretation me, it’s all world-building and learn- of it. ing about a setting and different cultures that someone has invented, User 1: If I want a book to get into and weird animals, and stuff. my dreams, and have me remember it five years later, I have to have a creative hand in it. So, making my own world in my head. Furthering my ideas about it... Book club? Yes or no? really like the idea. For me, it always ends up being just one of things that Everyone: tried. falls by the wayside. User 3: From the time I was five to User 2: I really like the idea, but I’ve 18, I was in my mom’s book club. never done it. I think part of that Yeah, it was the best! But I dropped was high school’s fault. Like English out when I realized that everyone class? And elementary school. The else was 50+, and I was like “Oh way they always did projects that noo—” basically involved dissecting it and picking it apart and completely User 4: The Secret! Again! Every ruining the magic of the whole thing week! because you just tore it apart is how it felt to me. Just read it and enjoy it! 4 book clubs? User 3: And talk about something User 3: They’re really just food clubs, other than exactly what happened. is what they turn into almost always. User 2: I still have trouble with literUser 1: I just have a really hard ary analysis. I can’t stand it. I don’t time getting...like why would I be in know what the author meant! I don’t charge of making other people read know what the author was thinking and sit in the same place? while they wrote this! I just know the story and then use that as a jumping User 3: Just be in-charge of having off point for discussion. there be food and then a recommendation of a book every month. User 3: I do love making assumptions about why author decided to do that. User 5: a few friends of mine, for three years now, we’ve all been to User 2: Having a group to just discuss like an On The Road book club, the same book would be great, but because it’s like this dirty little secret for me, personally, without the like, that none of us have read On The “What was the symbolism of this Road, and it’s one of those things part? What does the author mean by that you should probably get around this choice of word in this chapter?” to reading, it’s not that long, and or whatever. informed a lot of things. But we just all couldn’t get our hands on a copy User 3: It’s about what the best at the same time or whatever, and it talking point is. just never got it together at all. But I APPENDICES And let’s move on. 183 ADAM CRISTOBAL User 1: I think I tried to start like 3 or User 2: Talking about thematic stuff User 1: Red Wall was the first book and like, beyond that, and it’s like where I decided I had to talk about a impacts, or resonance in the real lack of female characters. world—yeah, let’s talk about that. User 2: Tamora Pierce was like my User 4: I always got forced into—not big first author, so that was not a even book clubs—but just roving problem at all. hordes of people who all liked the same book. Yeah, that’s how I read User 1: Me too! But then, in contrast, Red Wall. So my friends all of a sud- Red Wall was like “Whaaaat?!” den had read it, and they like came knocking on my door and forced me User: Right, one of those worlds to read them all. And it was the same where you’re like, “Are there any with Harry Potter, even though se- girls in this world?” cretly I didn’t read it. I just pretendAPPENDICES ed to read it and read the Cliffnotes User 1: The number of young wom- online, when I could get through it. en I’ve bonded with over Tamora And Game of Thrones! The exact Pierce...Alanna being one of them same thing. All of my friends were (User 5). just like, “Come over and drink and 184 we can talk about Game of Thrones. User 5: Yeah, well the thing is, I don’t If you haven’t read it, you’re not like fantasy, but I love those books invited.” and I’ve read them because...actually I N T E R P O L AT E D E D I TO R I A L D E S I G N I liked fantasy when I was a kid but User 1: I definitely did that with Red I read everything when I as a kid. I Wall too. think I just had more of an imagination and that part of me is dead now. User 3: What, you faked reading it? I’m serious! Because like, all I wanna read is like dry British humour these User 1: No, I had a bunch of friends days. And like, just...facts. Because who made me read it so we could when I read like fantasy, I am just talk about it. am too like...I can’t imagine...I can’t get into it. User 3: That’s good for you, that that happened. User 3: Have you considered getting your hands on the QI transcripts? User 2: I avoided Red Wall. I don’t know how I did it. User 5: But I read the Alanna series because...she was named Alanna User 3: Never look at rodents the and she was a total badass. And same again. she spelt her name the same as me, and I was like, yes! And I was at the Time spent in front of a mobile age where I would be playing...my phone, laptop, desktop, per day for friends...I guess we kind of had a non-work purposes? book club when we were kids just by default, right? We would play “the User 3: A lot. pretend games” or like whatever... we would just imagine that we were Everyone else: A lot. awesome to have this book as like User 5: Kind of a lot these days once a kickstarter, like we all have these I discovered reading articles on the landmarks of this imaginary game. internet, actually. But it depends We don’t even have to waste time on what I’m doing in my life. Right talking about it? We just get to play. now, I have a lot of time, so I prob- But I would always just say that I ably spend at least an hour and should be Alanna because it was sometimes two to three hours just my name...there were a lot of tears. reading some form of journalism Great series! on the internet. I mean, the credibility of that is like, the other day I was reading Perez Hilton, often my Social media: how often would you “news” comes from Jezebel. But I say you read the news online each also read like more like authentic day? local news, or whatever sometimes I APPENDICES part of that word, which is pretty 185 User 1: Every day. say, probably on average, around an hour and a half a day? User 4: All day every day. User 2: Not nearly often enough. Easier to read than a book because of facts, or because of length? User 3: Less than that...(to user 4) I often get your tweets via Facebook. User 5: It’s a commitment thing for That’s most of how I get my news. me. I won’t acknowledge that I’m going to just sit down for an hour on User 1: I’d say every other day I’d the computer and just like read arti- read The Guardian online. cles because each of them just take five minutes. And so I’m like, “Oh! I User 4: I’m glad that I could help! can can commit to that.” Whereas if I sit down to read my book, I know I’m going to want to read for longer. So it’s more of just a mind-game. The pieces that you’re reading are so ADAM CRISTOBAL read the guardian. But yeah! I would short that it’s kind of instant. User 4: I feel like recently I’ve totally re-shaped my life to be able to con- User 3: It’s tough to drop out mid tinue reading stuff...mostly online thought, out of a book. There are stuff. I’ll start it in the morning, read- some novels where it kind of goes ing articles on my tablet. And I’ve got along like maybe 5-6 chapters before it set up so that when I stop reading it has come to a reasonable stopping that, it automatically saves where I point. And you gotta go to work, and am, on either my PC or my phone, SO you’re halfway through that, and it’s I CAN KEEP READING IT OUT OF THE just going to bother you all day. So, HOUSE, AND ONTO THE BUS, AND what do you do? INTO WORK, WHERE I CAN OPEN UP A TAB, AND FINISH IT OFF. And that User 1: Yeah, most of it is about is my new life! Non-stop, constant committing. reading. It’s super easy! Too easy! APPENDICES User 2: Like with longer articles online, I just found one earlier today Do you play video games? Any that I got halfway through and smart phone game to full-fledged started doing something else. I left console/PC game. the tab open, but because it was one of those longer articles, I was like, “That 186 User 3: Yes. All the time. was really interesting and I want to read the rest of that, but I’m like this User 4: Yes. I N T E R P O L AT E D E D I TO R I A L D E S I G N far down the page and there’s a whole lot more...there’s too much more to User 5: No. read right now.” It’s not even that I had anything specific in like time-crunchy User 2: Maybe a little bit more in the to do, it was just getting really long and future, because I’m hanging out at I wasn’t ready to make that commit- his place a lot (User 3)? ment to like spending a long time with an in-depth article. User 1: There was a Skyrim foray. It ended. User 3: That’s why reading on busses works really well. Because, “It’s outta User 2: There was a computer RPG my hands: I dunno how much time I time of my life, but those days are have! When I close the book, I close now gone. it. When I close this tab when I finish reading this article, I will stop. But now User 1: Yeah it got to the point in our you have to get off the bus. But until house that there were so many peo- then, that could be...I dunno how long ple that wanted to play their Skyrim that’s going to be, I didn’t think ahead.” game that one of us had to bow out and it was me. Because I was the one User 3: It is win or die. that couldn’t really walk in a straight line. So they would just make fun of User 1: I’m really into card games me...I was just not playing the game these days. I really like playing you were supposed to play. hearts, and cribbage. Board games at parties? Social media: do you use it to find information or broadcast? Unanimous yes. User 3: find. User 1: I play board games all the time. User 5: I’m a passive Facebooker. I use it to creep. play board games. User 2: Keep in touch with friends... the social aspect...I have friends User 1: At gatherings! (rest chime in) that live all across the country that I wouldn’t talk to otherwise. I don’t User 2: Yeah, they’re not as frequent even necessarily talk to them that as I would like them to be... actively. It’s just knowing what’s going on a little bit in their lives. APPENDICES User 5: Not at parties, but I like to 187 games when people are drinking. It’s User 1: Yeah, I definitely use it for one of my pet peeves. Because ev- the connection. Rather than it being eryone just like...like if I wanna play, active or passive, it’s not about me I wanna play. And if people start broadcasting about me, or receiv- getting drunk and you’re playing like ing anyone’s broadcast, it’s about game that maybe takes three hours events. and a fair amount of concentration and strategy, especially where it’s User 4: I’m a complete digestive your turn now, now it’s your turn, I system. It depends. Sometimes I go just feel like I spent the whole time through seasons where I’m some- being like, “GO! It’s you’re turn!” I’m times like, yeah, just use Facebook into it, I’m into this! It’s kind of all or to keep track of parties and things. nothing with me? So I don’t like to But I feel like people don’t do it as participate in that kind of like psue- much anymore, so it’s not as import- do-social situation like halfway game ant? So now I just consume a bunch and half not. of information, and I just poo it out onto other forms of social media. So I take in my websites and RSS feeds, ADAM CRISTOBAL User 5: I don’t like playing board and I distill it, and then it lands onto sume my articles and stuff, is while Twitter, back onto Facebook. I’m in a bunch of other things. User 1: I was just about to say—I Prefer reading on your smartphone, definitely like the laptop for the tablet, desktop/laptop? multi-tasking capacity, but if I’m going to read something that requires User 1: I like my tablet. focus and attention, and I just want to read like a PDF, like an article for User 3: Laptop, for sure. school or something, I want that on my tablet, because I can’t as easily APPENDICES User 2: I haven’t really used a tablet see as many things at the same time. so I’m not sure. With my smartphone, It’s more like a book, so that’s the I’m find it’s just too small to read focus. But then if I’m just consuming anything conveniently, so that’s a bit social media, or consuming informa- of a pain, so over that, a laptop or a tion, I like to have multiple tabs. desktop. User 3: Headlines. Smartphones are Do you read webcomics? good for headlines. Unanimous yes. 188 User 2: Yeah! Headlines. I N T E R P O L AT E D E D I TO R I A L D E S I G N User 4: Tablet for sure. Binges where you just read...read... read...? User 5: I haven’t used a tablet very much—I have here and there—but I Unanimous yes. would say for any kind of electronic device, the best is like the big, desktop Mac. Which I don’t actually have, How long have you spent doing but I like to have it up and far away. that? Per binge? Usually if I’m reading on my laptop, it’s on my lap and I’m sitting on the User 3: I read all of Hark A Vagrant couch. I’m far-sighted, so it’d be nice at once. to have it at a distance. A desktop is probably the best. User 4: Me too. User 3: It’s difficult to digest, some- User 3: Started it, finished it. times on my laptop because I usually have like six tabs and a movie play- User 2: It’s really good when you find ing, but kind of a lot of how I con- a good new web comic and then read the entire thing until you’re caught up; with some of them it’s more impossible than others. User 3: It’s funny because then you finish it and you’re like, “WHAT? I have to wait...agh...a week? Agh!” User 5: I like to do it where I go all the way back to the beginning, after it’s been a long time. And I can go through it again. But I would say that the timeframe for me to do that kind of thing is probably like an hour; my hungry. User 3: Yes, I’ve ignored hunger, blindness, crippling injury. APPENDICES eyes hurt or, like this absurd, or I’m User 1: “This dinosaur is doing the User 3: “When will they change?!” 189 ADAM CRISTOBAL same position over and over!” C. User test transcript Dates conducted. 25 November 2013 29 November 2013 2 December 2013 Number of participants. 4 Participant 1. 27-year-old male, Textiles student Participant 2. 26-year-old female, Assistant Editor Participant 3. 22-year-old female, Design student Participant 4. 22-year-old female, Communication student APPENDICES Thank you for taking the time to participate in this user test. My name is Adam Cristobal, and I will be conducting this user test as part of a Master of Design thesis project entitled Interpolated Editorial Design. The purpose of this user test is to qualitatively and quantitatively evaluate the visual com- 190 munication, interactions, and overall efficacy of an ebook prototype. This user test is comprised of two parts, and will take approximately 1 hour I N T E R P O L AT E D E D I TO R I A L D E S I G N to complete. It includes: 1. An intake session. You will be asked to provide some basic personal information, as well as some information on your reading habits and usage of mobile and tablet applications. This will be audio recorded. This component will take approximately 10-15 minutes. 2. The user test itself. In part of the test, we will evaluate the efficacy of on-screen visual cues. This will be audio recorded and photodocumented. This will take approximately 20 to 30 minutes. Please estimate the amount of time How often do you read long-form you spend reading articles online literary fiction? Once a day, once a per day. week, once a month, once a year? Of what does this reading usually Participant 1. 0.5 - 2 hours consist? How would you character- Participant 2. 1.5 hours ize your reading?. Participant 3. 1 hour Participant 4. 1 hour 1. “Not too often during school time. On my own time, once a month. I like like to read a fair bit of fiction when free to do so. A lot of fantasy, some historical fiction, some sci-fi. I read stuff about my field — textiles, a series are usually finished pretty quickly. I do binge read, but sometimes it takes about a month to get through books.” 2. APPENDICES art, fashion. Short novels or “I read more nonfiction than fiction. Book a month. If it’s fiction, 191 fiction. I usually read memoirs, comedy, articles, 10 magazines a month.” 3. “Once a year. Usually a fantasy of a young adult novel — latter is like in a day. Usually a binge session or one or two day read.” 4. “Once a week, maybe every day. Contemporary fiction. It’s pretty regular, as I read in transit. A lot of books on social issues, economics, feminism (nonfiction).” ADAM CRISTOBAL it’s modern or contemporary Do you own a tablet? A smart- Which device do you use the most phone? A desktop? A laptop? An for reading? Why? Are all the long- e-reader? form books you read in print, or do use a tablet or e-reader? 1. Tablet: no Smartphone: yes 1. Desktop: no “Laptop for anything digital. Books are in print.” Laptop: yes e-reader: no 2. “I use a desktop at work, so I use that a lot more for reading. Long 2. Tablet: no form books in print.” Smartphone: yes Desktop: no APPENDICES 3. “Laptop for most reading. Print Laptop: yes for books, but this year there e-reader: no was one on the phone.” Tablet: no 4. “Smartphone — smallest, most Smatphone: yes convenient to use, and print Desktop: no books.” Laptop: yes e-reader: no 192 4. 3. Tablet: no I N T E R P O L AT E D E D I TO R I A L D E S I G N Smartphone: yes Desktop: yes Laptop: laptop e-reader: no Do you read print magazines? What apps/websites do you current- Which ones? How often? Why these ly use to find news? What apps do magazines? you currently use for reading? 1. 1. “I used to purchase a lot of one- Toleroad.com offs. However, I don’t purchase Fashionista too many magazines anymore The Cut due to cost. My very regular Buzzfeed reads used to be based on per2. Dazed + Confused Twitter Facebook ID Vogue 3. BBC Donsque Google News 10+men RSS feed, blogs Another man Feedly Vice 4. 2. “Regular basis — monthly sub- Flipboard Twitter 3.0 RESEARCH METHODOLOGY sonal interest.” scriptions, and due to personal interest.” New York (weekly) 193 Azure Esquire Bon Appetit Van Mag Western Living 3. “No print magazines.” 4. “I don’t read too many print magazines anymore. Based on personal interest.” Lucky Peach Good National Geographic ADAM CRISTOBAL Wired Do you use Tumblr? If so, how often Do you read any web comics? How and what do you usually use it often? Which ones? Have you ever for? How long are your sessions on binged on web comics? Why or Tumblr, typically? On what platform why not? (tablet, desktop, laptop, smartphone, etc) do you usually use Tumblr? 1. “Happiness and Cyanide. I binge if it’s something new that I 1. “Yes, but not as much as I used haven’t caught up with, or if I to. Pictorial reference library haven’t checked something in a than anything else, inspira- long time. Depends how linear tion images. I used to use it for the storyline is.” hours, but now it’s half hour per session. I usually access it on my 2. “Not currently.” 3. “Once a week. Wasted laptop.” APPENDICES 2. “I have a Tumblr but do not Talent, Questionable Content, and update frequently. I use it to Oh Joy Sex Toy.” keep track of things of interest. Post from widget on desktop — I 4. “Usually do binge read 3 times a usually don’t access the Tumblr year for half an hour to 2 hours dashboard.” if I can’t keep up. Otherwise 194 short sessions. Not regularly.” 3. “I use Tumblr all the time — ev- I N T E R P O L AT E D E D I TO R I A L D E S I G N ery day, multiple times a day. It’s usually by scrolling to burning time. My dashboard is covered with fun pictures. I use it to keep track of articles on things that interest me, design blogs, etc. I uses it both on phone and computer.” 4. “Yes, once a day for 30 minutes on desktop computer.” Do you play any mobile games on Do you ever talk about your read- your smartphone? ing with your friends? What are these conversations like? In what 1. “No.” situations do you usually engage in 2. “Not really, bu I play a trivia these discussions? game called Quiz Up.” 3. “Not too much anymore” 4. “Not anymore — there was a about certain books if I think it Temple Run and Candycrush will pertain to them, or if it’s a period.” book I gave them.” “If it’s relevant to conversation, Do you play any video games? If so, I’ll bring it up, but it’s usually which ones? On which platforms? only particular friends. I tend How often? to talk more about magazine articles than books.” 5. “Not currently. Used to. Most of Final Fantasy and Zelda.” 6. 3. “No.” 4. “Yes — for recommending books “Not regularly, but has in the past. Played Mario 2 just the other day.” to each other. It’s rare that 7. “Not anymore.” someone else has read the same 8. “No.” books that I have, but it’ll get there if we recommend it to each other. Very informal, sometimes over text.” APPENDICES 2. “Yes. With certain friends I’ll talk 195 ADAM CRISTOBAL 1. This iPad has the ebook installed. Please refrain from tapping the screen unless I instruct you to do so. I may also intervene and pick up the iPad in order to reset the app. Please tap on the red icon on screen entitled “Dorian Gray”. From which chapter of the book is this text from? 1. Takes awhile to respond. “From 01, would guess chapter 1, but APPENDICES 196 from previous reading of book would say these quotes are from first or second chapter.” 2. “Chapter 1” 3. “Chapter 1” 4. “Assuming Chapter 1” I N T E R P O L AT E D E D I TO R I A L D E S I G N Please navigate to the beginning of what? chapter 1 1. “Parts missing? No toolbar to 1. Taps on 01 point in any one particular di- 2. Taps on 01 rection? Maybe I have to tap on 3. Taps on 01 it for it come up?” 4. “There is no part i.” 2. “When it says part x, is this the part of the chapter? Or does it Subsequently taps on 01. APPENDICES Does anything confuse you? If so, take me to chapter 3?” 3. “No” 4. Chapter VS part, took awhile to 197 ADAM CRISTOBAL realize it was chapter 01 3.0 RESEARCH METHODOLOGY Why did you navigate to chapter 1 Did anything confuse you? If so, in the way you did? what? 1. 1. “Seemed like the most logical does when you’re learning it for Now assumes that parts are the first time.” — expects some parts of chapter — understands degree of confusion when using chapter/part hierarchy after this interaction. 2. 3. an interface for the first time. 2. “It was the only thing that said 1 on the page, largest type on the 198 “No, feel that I’m at the beginning, where I want to be.” 3. “A little bit, wasn’t sure if it was page, visual hierarchy.” clickable or if it was going to be “Assumed that the giant 01 just a number. Torn between I N T E R P O L AT E D E D I TO R I A L D E S I G N would lead to the beginning.” 4. “No more than any new app place for chapter 01.” “Because it said 01, and it was big.” going to number or first quote.” 4. “No, just the wording of chapter and part. Confused that they are two different things.” Just by looking at this page, are you Does anything confuse you? If so, at the top of this page? Why or why what? not? 3. where menu will take me. I’m part i of xiii, part oi of xiii” also curious as to why certain “Yes. White space margin. Chap- things are highlighted in orange. ter 1 is aligned at top.” What is the top bar with the ar- “Think I’m at the top, because row? Is that the top of the page? header is right flush to the top of 4. Or is it a bar that pulls down?” the writing. No writing above it.” 2. Nothing confusing. “Yes, orange thing on top. Looks 3. Nothing confusing. like a ceiling.” 4. Nothing confusing. 199 ADAM CRISTOBAL 2. “Curious about UI on the side, “Yes, because it says chapter 1 APPENDICES 1. 1. Please navigate to the Why did you navigate to the pre- previous page of this book. vious page of this book in the way you did? 1. APPENDICES 200 I N T E R P O L AT E D E D I TO R I A L D E S I G N 2. Swipes, taps. When scrolled up the page, attempted to swipe 1. Process of elimination up for the page to load. When 2. “Grey indicated that preview this does not work, participant text was not complete, and that attempts to use menu and jump tapping on it would take to to previous page. However, expanded version. Only thing participant does not immediately above chapter 1. Tried to click understand the side navigation on grey, thought that’s what I and is lost. Eventually taps arrow did before, but when that didn’t button, but only via process of work, the orange arrow was elimination. obviously what I needed to Uses arrow button and body type click on.” to navigate. Attempts to tap body 3. Originally trying to scroll, or type of preview text, but also taps page by page. Scrolled up, down, arrow button. but then had to do process of Swipes sideways, swipes up and elimination. down, taps, expects page turn. 4. 3. 4. Seen other apps navigate this Attempts to swipe sideways. Then way. “If you swipe to the side, uses side menu. another conversation pops up in Google Hangouts.” Did anything confuse you? If so, Please return to the page from what? which you came. 1. 1. 2. Nothing confusing 3. “Being used to usual scrolling” 4. No. “It kind of works?” Uses arrow button to navigate. Taps. 2. Attempts to use grey preview body type to navigate, then uses arrow button to navigate. 3. Taps, uses arrow button to navi- APPENDICES confusing.” gate. 4. At this point researcher demonstrated the arrow button and 201 tapped on it. Now participant uses arrow button. ADAM CRISTOBAL “Process of elimination was Why did you navigate to this page Did anything confuse you? If so, of the book in the way you did? what? 1. Understands navigation. 1. Nothing confusing. 2. “Tried to click on grey, thought 2. “Apparently, yes. But I figured it APPENDICES that’s what I did before, but 3. Nothing confusing ange arrow was obviously what 4. “No, this is straightforward.” I needed to click on because that was the only thing.” 3. 202 “That’s what I learned the last time.” 4. out.” when that didn’t work, the or- “Because you showed me.” I N T E R P O L AT E D E D I TO R I A L D E S I G N Please navigate to the next page of Why did you navigate to the next this book. page of this book in the way you 1. Taps, uses arrow button. 2. Taps, uses arrow button. 1. Learned interaction. 3. Taps, uses arrow button. 2. Only option. “I feel like it should 4. Taps, uses arrow button. have been sideways, because that’s how you navigate through the book. But intuitively I looked APPENDICES did? for something on the side. Before, preface brought me to preface, but to navigate to same part of 203 chapter was not what I expected Learned interaction. 4. Learned interaction. ADAM CRISTOBAL right away.” 3. Please jump to chapter 1, part iii Why did you navigate to chapter 1, part iii in the way you did? 1. Uses menu 2. Uses menu, understands chap- APPENDICES 3. I N T E R P O L AT E D E D I TO R I A L D E S I G N 4. Knew that menu would work. Otherwise “would have probably selection kept scrolling, or have used the Uses menu. Attempts to use chap- arrows.” ter selection as part — hierarchy 204 1. ter selection, understands part 2. “I could’ve used the arrows, to is unclear. Takes awhile to figure take me forward, because just out, process of elimination, tries two parts away, but I thought to tap chapter 1 / part 3 margin there might be a more direct text. Confused. Thinks chapter way to do it. Line icon looked menu is indicates parts. like it would be a listing of what Uses arrow buttons to navigate was in the book, and would page by page. Does not use menu. maybe help me navigate it more directly.” 3. “That say’s part, that might lead there,” pointing to chapter 1 / part 3 margin text. “Lots of process of elimination. Must be in the menu view.” 4. Learned behaviour. Please return to the page from what? which you came. 1. Nothing confusing 1. Uses menu 2. “Initially thought was just chap- 2. Looks for back button. Uses arrow ter listing in menu, but empty red 3. Uses menu ed that it wasn’t just a chapter 4. At this point I showed her the listing.” 3. button. space beside chapters indicat- menu. APPENDICES Did anything confuse you? If so, Chapter menu was confusing. Would have thought it would have been arranged from “smallest to 205 biggest” i.e.: page, part, chapter. “No, but is there another way to jump to part iii?” ADAM CRISTOBAL Hierarchy is messed up. 4. Why did you navigate to this page Did anything confuse you? If so, in the way you did? what? 1. Knew he could. Menu is more 1. Nothing confusing. efficient for larger jumps. 2. Looked for back button, but other APPENDICES 2. “Just wanted to try something 3. Nothing confusing. direct for this particular jump as 4. Seems glitchy. using the listing. Just three taps on the upper red box.” 206 than that, nothing confusing. new, mix it up a bit. Seemed as 3. Followed last path taken. 4. Researcher demonstrates. I N T E R P O L AT E D E D I TO R I A L D E S I G N What does text in red indicate to Please tap on the red text that you? Why? reads “studio.” What information is being given to you? “That if I tap on it will take me 1. give me something a picture of porary London. Deduce what an explanation on what that part of London this takes place particular thing is.” 2. 3. “Link to something else! Because in.” 2. “Footnote with context about that’s how the internet works!” where the studio it was, and “Some kind of pop up, highlight, what its relevancy was to the something of interest, like a link.” Based on established online neighbourhood.” 3. affordance. 4. “It’s a map of London. Contem- “Maybe selected quotes? Maybe the quote from the homepage? Possibly? Seems long and about the right length.” APPENDICES somewhere, and maybe it will 207 “There’s a map. Giving you context of book and the content.” 4. “Map of wherever the studio is supposed to be.” ADAM CRISTOBAL 1. APPENDICES How does this information differ Is is this all the supplementary from the information available on information available to you on this the rest of the screen? If it does topic, or is there more information differ, how is it different? available? Why or why not? 1. 1. “Font is different, highlighted, sans-serif indicates that it is from a contemporary angle. “Assuming there’s more.” 2. Something that has been added to this book.” 2. 208 3. I N T E R P O L AT E D E D I TO R I A L D E S I G N cause of the treatment.” 3. “After the fact information, on the screen is novel, but this seems to be have put in by an editor or something else.” 4. “Picture instead of text.” “More — it says 1/9 and there’s a button to go that way, or see is quite different as well. Feels part of the story, it’s clear be- “Looks like there are 8 more pages of information about this.” “Picture, visual, text treatment modern. Take a moment, not Observes “1/9” more.” 4. “There are nine slides.” How would you access further infor- Please navigate to the last slide on mation on this topic? this topic. If you were to go to the slide following this last slide on this 1. “Arrow. Swiping doesn’t get me topic, where would it lead? Why? 1. “Lead me to part ii of xiii, addi- swipe?” Participant responds: tional information, and images “Inclination would be to swipe, therein. But will it take the but based on previous transi- whole page to part ii? or just the extended image to part ii?” tions in this app, I’m using taps.” 2. 2. “The arrow. Like a slideshow.” 3. “I assume by clicking the button/ it never has to end. It would arrow.” lead to the entitled information. “Click that little button on the But will this also take me to a side, the arrow.” different part of the story? As 4. “Can keep on going on this topic, indicated by this part ii of xiii down here?” 3. “Would lead to chapter 1 part ii, and whatever content links there.” 4. Looks for shortcut to go to last slide. “Hopefully to the first slide. Oh, no wait supposed to lead to part two. I get it.” 209 ADAM CRISTOBAL Researcher asks: “You would APPENDICES the places I want.” Please close this supplementary Please tap on the red text that information. reads “Lord Henry Wotton”. How does this supplementary informa- APPENDICES 1. Taps x button tion differ from the last supplemen- 2. Taps x button tary information you accessed? Tap 3. Taps x button to the next slide if necessary. 4. Taps x button 1. Same picture on each slide. Character. Otherwise the same kind of information. 2. 210 Profile rather than information rather than about the setting. Notices “flag that says charac- I N T E R P O L AT E D E D I TO R I A L D E S I G N ters, rather than context, clear that we’re talking about the man behind this character.” 3. “Last slide made more context of place and what it’s like now, whereas this is more of an interpretation of the character and more of an intro of the character.” Does anything confuse you? If so, Please tap on the red text that what? reads “In the centre of the room.” 1. Incomplete content mation differ from the last supple- 2. Nothing confusing mentary information you accessed? 3. Nothing confusing 4. Nothing confusing 1. Doesn’t notice flags. Doesn’t use flags to distinguish different layers of content. Pays attention APPENDICES How does this supplementary infor- to formatting and images. “Small preface, but seems the same.” 2. “More context for Oscar Wilde 211 About a movement rather than a character.” 3. “Seems more engaging, like if it were a print book, a pull out, in kids book, here’s a fun little, more added content, seems like someone has written more on this topic.” 4. “Information about a movement, not a character bio.” ADAM CRISTOBAL is writing what he’s writing. The data gathered from your user test today will be used to evaluate the following. 1. The efficacy of on-screen cues. 2. The visual language of the book, especially calls to action. 3. User-preferred gestures. 4. The communication of different layers of information within the All in all, please list the different book. categories of information available to you on this page. How did you Over the next month, your respons- arrive at these conclusions? es in this test will be transcribed from the recording. Data will be APPENDICES 1. 212 “They’re all related to the story, used to further refine this proto- and it’s the different information type, and may be used for published London, historical references materials including conference in London, where, geographi- papers and articles submitted to cally, characters, philosophical disciplinary journals. intentions of the writer. A little You may choose to participate in a a bit of a who/where/why. Just second user test in 2014. This second the 3 different extensions have user test will allow you to read I N T E R P O L AT E D E D I TO R I A L D E S I G N different content.” several parts of a more complete 2. “Context and characters.” prototype on your own terms, at 3. “Novel, headers, different your leisure, and over the course of supplementary information, a week. In this user test, you will be different characters, historical able to give more qualitative feed- aesthetic movement, place.” back on the overall experience of the 4. “Character bio, map, explanation book — and, more importantly, its of aestheticism.” content. This user test will occur in early 2014. If you have further questions regarding the development of this project, please let me know via email at acristobal@ecuad.ca Thank you for your time. APPENDICES 213 ADAM CRISTOBAL Approved .D REB application & materials DRAFT 2013-08 Office of Director of Research EMILY CARR UNIVERSITY RESEARCH ETHICS BOARD (ECU-REB) FORM 201 Research Ethics Application This application form is used for ethics review of all participant research activity at Emily Carr University except for the following: For courses that include participant research, use Form 208.1 Application Form (Course-Based Research). For participant research by undergraduate students, use Form 208.2 Student Application Form (Course-Based Research). For externally approved research, use Form 202 Application for Externally Approved Research (from another institution). APPENDICES This form is to be submitted by the Principal Investigator (PI), which at Emily Carr University refers to the person who leads the research, supervises the other researchers, and is responsible for the financial administration of the project. Students and graduate students cannot be listed as PI. Principal Student Investigators and Co-investigators will receive all of the correspondence concerning the application, and can be the named contact for revisions and communications. All of the investigators listed have exclusive access to the file and any materials stored with the file after the project’s conclusion. Deliver complete and signed applications to the Research Ethics mailbox or to ethics@ecuad.ca. (Do not ask Security or Front Desk personnel to handle confidential materials.) Incomplete applications will not be reviewed. No research with human participants at Emily Carr University shall commence prior to approval of the ECU-REB. (ECU-REB Use Only) ► File #: Date Received: 20130830 214 2012112302 ADDENDUM Date Reviewed: Reviewers: Status/Date: SECTION A – GENERAL INFORMATION I N T E R P O L AT E D E D I TO R I A L D E S I G N 1. PROJECT TITLE: User Experience Design for The Picture of Dorian Gray: A User Test (ADDENDUM TO PREVIOUSLY APPROVED APPLICATION) 2. PROJECT DATES: (Commencement to Completion) September 2013 - December 2013 3. RESEARCHERS: Principal Investigator(s) Name Principal Student Researcher Faculty/Prgrm Phone Celeste Martin (addendum to Tom Becher) Design mmartin@ecuad.ca Adam Cristobal MDes 7789981706 acristobal@ecuad.ca Co-Investigators 4. SCOPE OF PROJECT: E-Mail  Graduate Thesis Project or Dissertation ✔  Faculty Research  Administrative Research  Other (describe) Office of Director of Research 5. PARTNERS & COLLABORATORS: List the individuals, organizations or companies that will be involved in this research project. Attach any agreements that are available. Contact Persons - Organizations (name and address) – 6. OTHER ETHICS CLEARANCE: List the other institutional research ethics boards that have approved this project, or that will review this project. Institutional REBs - Application Numbers and approval dates (as available) – 7. PROJECT FUNDING: Describe all of the sources of funding for this project. Include sources of in-kind contributions.  CIHR  Other (including Canada Council, BC Arts Co., foundations,  NSERC donors, etc.)  SSHRC 2 215 ADAM CRISTOBAL Funding / Agency file # (not your Tri-Council PIN) - 8. CONFLICTS OF INTEREST: Describe any non-academic benefits (e.g. financial remuneration, patent ownership, employment, consultancies, board membership, share ownership, stock options, etc.) expected by the researchers, partner organizations, or collaborators as a result of the academic credit. Describe any restrictions to the results of the research requested or agreed upon by any of the researchers, partner organizations, or collaborators. APPENDICES EMILY CARR UNIVERSITY RESEARCH ETHICS BOARD (ECU-REB) Office of Director of Research EMILY CARR UNIVERSITY RESEARCH ETHICS BOARD (ECU-REB) SECTION B – SUMMARY OF PROPOSED RESEARCH 1. RATIONALE Briefly describe the purpose and aims of the proposed research project in non-technical language. This should be consistent with, and an elaboration on, the aims or purpose of research on the consent materials. If available, attach the project proposal from funding applications and the thesis proposal. ADDENDUM TO PREVIOUSLY APPROVED APPLICATION: Please note that while a thesis proposal is attached to this application, an updated thesis proposal will be submitted on 6 September 2013. Following a previously REB-approved classroom-based research study, this addendum research study is intended to serve as a qualitative user test in order to support the Principal Student Investigator's MDes thesis project. The purpose of this thesis project is to design a new digital publication form and reading experience for readers aged 18 to 25 using a tablet interface. The Principal Student Investigator's literature review, interviews with professionals in literary education, and user group interviews collectively demonstrate that current members of this particular user group often find it difficult to commit to reading long-form literary fiction. As such, this new form and experience is to further enable and entice readers aged 18-25 to read The Picture of Dorian Gray by Oscar Wilde, a text originally written for 19th-century readers. If successful, the new publication form and experience will facilitate the following behavior on a tablet interface. 1. Binge-reading for pleasure and entertainment: Defined as 2 or more sessions of reading for 1 hour or more with little regard for the time spent reading. Currently, this behavior is most effectively facilitated by episodic web comic and television show productions. Here, the cumulative length of the story is not immediately apparent, and the user's attention is focused on a given portion of a larger story. The Principal Student Investigator hypothesizes that, building on the text's existing chapters, further episodic focus will break down a text into appropriate portions for the user group. 2. Cognitive world-building: Defined as the mental mapping of the story world and the characters' interactions with said story world. Users are to be engaged with the story to such an extent that they are compelled to use their imagination to visualize beyond what is presented to them. The Principal Student Investigator hypothesizes that the dominant use of illustrative typography will facilitate more active engagement on the part of the user than that of literal illustration. The project should also communicate the relevance of the story's thematic elements to the user group. The Principal Student Investigator hypothesizes that an art direction that uses contemporary visual language, as opposed to an emulation of 19th-century period aesthetics, would further localize and emphasize the immediacy of the story for users. As such, the proposed qualitative user test will determine the efficacy of interaction and communication design techniques applied to prototypes produced this coming fall semester. This thesis project, as to be made manifest within the temporal constraints of the 2013-2014 school year, will consist of the first five chapters of Dorian Gray for staggered publication. Further chapters will follow beyond the duration of this graduate degree. PROJECT TIMELINE APPENDICES PHASE 1: September to mid-November 2013 — Initial production At least two of the five chapters will be made manifest as working prototypes by mid-November. During this phase, the Principal Student Investigator will conduct in-studio user-testing (non-REB approved) with peers. Following an additional faculty critique in mid-November, the Principal Student Investigator will further refine the prototypes in preparation for the qualitative user test. Appropriate participants for the user test will be solicited during this phase. 216 PHASE 2: Late-November to early-December 2013 — Qualitative user testing After the Principal Student Investigator has refined the prototypes as per evaluated via in-studio user testing and faculty critique, he will conduct a formal user test (pending REB approval), further explicated in this application. 4-5 of-age participants (i.e.: 19 or older) would be solicited. Consent forms and media release forms will be provided to the participants. Data gained from this intervention is crucial to the evaluation the interaction and communication design techniques according to the criteria outlined above and inform the project's overall direction. The production of the project's remaining chapters, as well as further iterations on the first two chapters, will take these results into account. PHASE 3: December 2013 to February 2014 — Final production and follow-up The Principal Student Investigator will produce the project's remaining chapters during this period, and will formally follow-up with user test participants via email in order to inform them how their input impacted the direction of the project. If the need for a second qualitative user test is necessitated based off the results of the initial study, the Principal Student Investigator will seek REB approval in January. 2. METHODOLOGY: Check all that apply and describe sequentially how the various research procedures or methods will be used. Check all that apply  Computer administered tasks ✔  Ethnographic documentation  Focus Groups I N T E R P O L AT E D E D I TO R I A L D E S I G N  Interview(s) (telephone, Skype) ✔  Interview(s) (in person)  Journals/diaries/personal correspondence  Non-invasive physical measurement  Observational field notes ✔  Oral history  Participatory design (probes, co-creation activities, storytelling) ✔  Photo/audio/video recording  Questionnaire/survey (mail, email/web)  Questionnaire/survey (in person) ✔  Secondary Data ✔  Unobtrusive observations  Other 3 Describe This qualitative user test will take place at Mitchell studios and may take the Principal Student Investigator up to three (3) days to complete, depending on the availability of the participants. Each participant will be allotted a single session that may last up to two (2) hours. The procedure is as follows. 1. The participant will be asked to read the text, unsupervised and unobserved. 2. After one hour or at the participant's completion of the text, the Principal Student Investigator will ask the participant to perform several navigational tasks using a prototype loaded onto an iPad. This is in order to evaluate the prototype's user interface. During this stage, the Principal Student Investigator will take observational field notes and photo-document the participant's performance of these tasks. The completion of these tasks will take less than fifteen (15) minutes. These tasks will be determined as working prototypes are produced; should conditional REB approval be granted for this study, a complete document of these tasks and test procedure will be provided for the ECUAD REB prior to the user test. An outline of these tasks is currently attached to this application. 3. The Principal Student Investigator will interview the participant about the quality of their user experience for approximately half an hour (30 minutes). This interview will address the participant's inclination to engage in binge-reading of the text and cognitive world building using the prototype, and will be audio-recorded. An outline of this interview is currently attached to this application. Should conditional REB approval be granted for this study, a complete document of interview questions will be provided to the ECUAD REB as working prototypes are produced. Office of Director of Research EMILY CARR UNIVERSITY RESEARCH ETHICS BOARD (ECU-REB) 3. PROFESSIONAL EXPERTISE / QUALIFICATIONS: If any of the research activities require professional expertise or recognized qualifications (e.g., first aid certification, registration as a clinical psychologist or counselor), describe here. Check all that apply ✔  Undergraduate students of Emily Carr University ✔  Graduate students of Emily Carr University  Faculty or staff of Emily Carr University  People recruited by the industry partner  Patients of a health care organization  Students of another educational institution (specify) ✔  Members of specific groups or organizations (specify)  People who identify as Aboriginal  People who do not have full capacity to offer free Describe any specific inclusion criteria (affiliations, gender, age ranges, capacity for consent, other) - The Principal Student Investigator's MDes thesis project address reading challenges faced by readers currently aged 19 to 25, and will produce a prototype specifically designed for this user group. As such, for this particular research study, he will exclusively include active readers within this age bracket that are of age. and informed consent (describe) APPENDICES 4.PARTICIPANTS: Indicate the groups that will be targeted in recruitment for participation in the proposed research.  Children or adolescents (specify) ✔  Adults 217  Elders What is the expected number of participants? Anyone not of age and not within the above identified age group. Anyone that does not identify as a regular reader. 4 5. RECRUITMENT: Describe how the participants will be recruited. Attach any materials that might be used for recruitment (e.g., Email texts, posters, flyers, advertisements, letters, telephone scripts). Describe the rationale for incentives offered to the participants. 6. INCENTIVES: Will participants be offered incentives to encourage their participation? If yes, describe the incentive plans and the rationale for using incentives. 4 Participants for this study will be referred to the Principal Student Investigator by way of personal and professional networks. Coffee, tea, and baked refreshments will be provided for participants in this research study as compensation for the participants' time. Two hours is a lengthy session. A $10 gift certificate to iTunes or Amazon will also be provided as an additional incentive. This incentive is to attract participants of relevant interests and consumption behavior. ADAM CRISTOBAL ✔  Other (specify) Describe any exclusion criteria - Office of Director of Research EMILY CARR UNIVERSITY RESEARCH ETHICS BOARD (ECU-REB) 6. SETTINGS OF RESEARCH: Check all that apply ✔  Emily Carr University  Community Site  School Specify the locations of research - Mitchell Studios (ECUAD) 1706 West 1st, Vancouver, BC V6J 3G7  Hospital  Company 7. FEEDBACK TO PARTICIPANTS:  Other Describe your plans for providing or offering to share the results of your research with the participants. This might include invitations to final presentations or exhibitions or copies of publications. This should be consistent with the description on the consent form. – APPENDICES Once the project has progressed to final production in January and February 2014, the participants will be sent an information package regarding the final project via email. This information package will be extracted from the thesis process book. It will consist of visuals of the project's final iteration, accompanied by explanatory notes as to how the user test data shaped the project's overall direction. Participants will also be invited to the graduation exhibition. SECTION C – PROPOSED RISK / BENEFIT RATIO 1. BENEFITS TO PARTICIPANTS: Describe any known or anticipated direct or indirect benefits that the participants might gain from their participation in the research activities. This description should match the description on the invitations or consent materials. – Possible benefits of your participation include learning about design for electronic storytelling and publication design, and an increased understanding of ones own reading habits. 218 I N T E R P O L AT E D E D I TO R I A L D E S I G N 2. BENEFITS TO SOCIETY: Describe any known or anticipated direct or indirect benefits to the research community or society from the proposed research. This description should match the description on the invitations or consent materials. – This research may contribute to developments in user experience design for storytelling and publication design, and an increased understanding of changes in reading habits. Moreover, this research may further help society adapt older content of heritage value for newer audiences and media. 5 Office of Director of Research EMILY CARR UNIVERSITY RESEARCH ETHICS BOARD (ECU-REB) 3. RISKS: Indicate any risks that are likely to happen to the participants as a result of the research. Describe if the risks identified are greater or less than the risks that the participants might encounter in similar activities in their everyday lives. Check any that apply  Physical risks  Psychological or emotional risks  Social risks (including privacy issues, economic position, status, relations with others)  The research involves an element of deception (describe in detail)  The research involves the disclosure of information that is intimate or sensitive in nature Describe – This is a less than minimal risk situation because the research protocol does not require participants to enter into any type of exchange that is not characteristic of solitary pleasure reading. 4. MITIGATING RISKS: Describe how the researchers will mitigate the risks described above. Describe the resources that can be offered to the participants and if the researchers are skilled and equipped to deal with the identified risks. This is a less than minimal risk situation because the research protocol does not require participants to enter into any type of exchange that is not characteristic of solitary pleasure reading. APPENDICES  Other (describe) SECTION D – THE CONSENT PROCESS 1. CONSENT FORMS: Indicate and describe the consent materials and processes that will be used. The following forms can be modified to match the needs of the research: Template 201.1 Invitation / Consent Form Template 201.2 Media Release Form Template 201.3 Online Survey Preamble If other consent or release forms are used, explain in detail. Attach all of the consent and release materials that will be used in this research. 6 Check all that apply  Information letter with a consent form ✔  Media release form ✔  Combined invitation and consent form  Combined invitation, consent and media release form  Assent processes for those who do not have the capacity to provide free and informed consent.  Non-written consent (describe in detail)  This research requires an exemption from the consent process (describe in detail) Describe – ADAM CRISTOBAL 219 Office of Director of Research EMILY CARR UNIVERSITY RESEARCH ETHICS BOARD (ECU-REB) SECTION E – CONFIDENTIALITY & SECURITY 1. PRIVACY: Indicate the level of confidentiality built into the research design. Describe the rationale for the collection of identifiable research materials (data). Check all that apply  Directly identifiable – the research materials (data) will identify specific participants through direct identifiers like name, phone number, address, social services numbers. (Describe) ✔  Indirectly identifiable - the research materials Describe – Date of birth identifies age, thereby qualifying that they belong the appropriate age bracket for the user group in question. (data) can reasonably be expected to identify specific participants through a combination of indirect identifiers like place of residence and date of birth. (Describe)  Coded – direct identifiers are removed from the research materials (data) and replaced by a code. There exists a possibility that with access to the code, it may be possible to re-identify the participant.  Anonymized – the research materials (data) are irrevocably stripped of direct identifiers. There is no way to link a code to the data in the future. APPENDICES  Anonymous – the research materials (data) never has identifiers associated with it (for example, anonymous surveys) and the risk of identification is very low. 220 I N T E R P O L AT E D E D I TO R I A L D E S I G N 2. STORAGE AND HANDLING DURING RESEARCH: 3. STORAGE AND ACCESS AFTER THE CONCLUSION OF RESEARCH: 7 If identifiable research materials (data) will be collected, describe in detail how these materials will be stored and handled during the course of research. Data and research results will be stored as Google Drive documents and spreadsheets accessible to only Adam Cristobal and Celeste Martin; participants who withdraw from the study will have their data immediately deleted. Research data and confidential materials will be submitted to the instructing Faculty Member at the conclusion of the project, for secure storage at Emily Carr University. If the researchers require that the data or confidential materials be stored or shared outside of the university following the conclusion of the research, describe these plans in detail. Office of Director of Research EMILY CARR UNIVERSITY RESEARCH ETHICS BOARD (ECU-REB) 4. WITHDRAWAL: Describe if there are any restrictions to the participants’ right to fully withdraw their participation and data during the course or after the conclusion of the research activities. 2. ANTICIPATED ADDITIONAL RESEARCH: Is it expected that any of the research described in this application will continue beyond the conclusion of this project? If yes, describe in detail. No. No. 3. POST APPROVAL REPORTING & MONITORING: Serious adverse events (unanticipated negative consequences or results affecting participants) of research must be reported to the ECU-REB ethics@ecuad.ca using Form 207 Adverse Report Form. NOTE - Incidents involving accidents (including near misses), illness, property damage happening on university premises of involving employees, contractors, visitors or volunteers must be reported immediately to supervisors and security for first aid (if necessary), mandatory investigations, and mandatory reporting. Any changes to the approved research must be reported in advance. Changes can also be proposed during the annual review. In both situations, use Form 206.1 Annual Review or Request to Modify Previously Approved Research. The ECU-REB file is closed when the participant activities are finished. Use Form 206 Completion of Participant Research to report on the number of participants and the project materials’ secure storage. Will monitoring of the participant research activities by the ECU-REB be required more than yearly? No. 8 221 ADAM CRISTOBAL 1. ECU-REB MONITORING: Is it expected that the research will require additional monitoring, beyond the minimum yearly requirement? If yes, describe the plans for this. APPENDICES SECTION F – MONITORING OF RESEARCH Office of Director of Research EMILY CARR UNIVERSITY RESEARCH ETHICS BOARD (ECU-REB) SECTION G – DOCUMENT CHECKLIST Check all the documents that are attached - Describe additional materials that are included with this application or will be submitted later. List pending documents and expected date of delivery.  Agreements with partners and collaborators (memos of understanding, letters of support, etc.)  Certificates of approval from other REBs  Project proposals from funding applications ✔  Thesis proposal  Proposed recruitment materials (email texts, posters, flyers, advertisements, letters, presentation or telephone scripts, etc.) Updated thesis proposal: 6 September 2013 Complete user test procedure, including exact questions and steps to be completed during user test: Mid-October 2013 ✔  Modified Template 201.1 Invitation / Consent Form ✔  Modified Template 201.2 Media Release Form  Modified Template 201.3 Online Survey Preamble  Other consent materials  TCPS2:CORE certificates for each investigator ✔  Other (describe) APPENDICES 222 SECTION H – DECLARATION FOR ALL APPLICANTS I have read the Emily Carr University Policy and Procedures 5.1 – 5. 2.1. I will ensure that all participant research activities that are administered in this course will meet these Emily Carr University standards and any other legislation or professional codes of conduct that may apply. I have completed the TCPS2: CORE (Course on Research Ethics). I will inform the ECU-REB of any changes to participant research or any incidents relating to the participant research covered by this application in a timely manner. I N T E R P O L AT E D E D I TO R I A L D E S I G N At the completion of the course-based participant research, I will submit the following documents to the ECU-REB office for secure storage: TCPS2:CORE certificates from the student researchers; All of the recruitment materials, consent forms and media release forms that were used; Any data that requires 5-year storage, or a statement indicating its secure location at the university; Agreements with external partners that have not yet been submitted; Any other pertinent documents or descriptions of changes to the original application, including any occurrences of adverse effects Signature (Principal Investigator) Date Signature (Principal Student Investigator) Date Signature (Co-Investigator) 29 August 2013 Date Signature (Co-Investigator) Date Signature (Co-Investigator) Date 9   Office  of  Research  &  Industry  Liaison   Emily  Carr  University  Research  Ethics  Board  (ECU-­‐REB)       General  Invitation  /  Consent  Form     Date:     Project  Title:   [Insert  Date]     UX  Design  for  The  Picture  of  Dorian  Gray:  A  User  Test     APPENDICES 224 Principal  Investigator:     Principal  Student  Investigator:   Celeste  Martin   Adam  Cristobal   Assistant  Professor   Master  of  Design  resident   Faculty  Supervisor         Faculty  of  Design  and  Digital  Media   Faculty  of  Graduate  Studies   Emily  Carr  University  of  Art  and  Design   Emily  Carr  University  of  Art  and  Design   [ECUAD  phone  number]   778  998  1706   mmartin@ecuad.ca   acristobal@ecuad.ca     INVITATION   I N T E R P O L AT E D E D I TO R I A L D E S I G N You  are  invited  to  participate  in  a  research  study.  The  purpose  of  this  study  is  to  assess  the  efficacy  of  user  experience,  user   interface,  communication  design,  and  editorial  techniques  used  in  a  new  publication  and  reading  experience  of  The  Picture  of   Dorian  Gray  by  Oscar  Wilde  on  a  tablet  interface.  A  working  prototype  will  be  used  in  this  study,  and  the  results  of  this  study  will   inform  the  project’s  overall  direction.  The  results  may  be  included  in  an  MDes  thesis  published  by  Emily  Carr  University.     WHAT’S  INVOLVED   As  a  participant,  you  will  be  asked  to  attend  a  single  user  test  session  at  Emily  Carr  University’s  Mitchell  Studios.  This  session  will   last  up  to  two  hours,  and  will  be  conducted  by  the  Principal  Student  Investigator.  First,  you  will  be  asked  to  read  through  the   publication  unsupervised  and  unrecorded  for  the  duration  of  an  hour  or  until  you  have  finished  reading  the  publication.  Next,  the   Principal  Student  Investigator  will  ask  you  to  perform  several  navigational  tasks  on  the  interface  for  less  than  fifteen  minutes.   During  this  stage,  the  Principal  Student  Investigator  will  take  observational  field  notes  and  photo  documentation.  Finally,  the   Principal  Student  Investigator  will  interview  you  about  the  quality  of  your  experience  reading  the  publication.  This  interview  will  be   audio-­‐recorded,  and  will  last  approximately  half  an  hour.         Permission to adapt form granted by OCAD University’s Research Ethics Office. This form DOES NOT include the provision for Assent and Consent of participants who are minors or who are under legal guardianship. A TEMPLATE Invitation / Consent & Assent Provision for Minors or Others Under Guardianship is available for this purpose from the ECU-REB. Page 1 of 3   Office  of  Research  &  Industry  Liaison   Emily  Carr  University  Research  Ethics  Board  (ECU-­‐REB)       Coffee,  tea,  and  refreshments  will  be  provided,  in  addition  to  a  $10  gift  certificate  to  Amazon  or  iTunes  as  compensation  for   participation  in  this  study.  Participants  may  also  gain  insight  to  future  developments  in  publication  design.     Once  the  project  has  progressed  to  final  production  in  January  and  February  2014,  the  participants  will  be  sent  an  information   package  regarding  the  final  project  via  email.  This  information  package  will  be  extracted  from  the  thesis  process  book.  It  will  consist   of  visuals  of  the  project's  final  iteration,  accompanied  by  explanatory  notes  as  to  how  the  user  test  data  shaped  the  project's  overall     POTENTIAL  BENEFITS  AND  RISKS   Possible  benefits  of  your  participation  include  learning  about  design  for  electronic  storytelling  and  publication  design,  and  an   increased  understanding  of  ones  own  reading  habits.   APPENDICES direction.  Participants  will  also  be  invited  to  the  graduation  exhibition.   CONFIDENTIALITY   Participants’  identities  will  not  be  stored.  Photos  will  be  stored  as  .JPEG  images  and  notes  from  the  research  session,  however,  will   be  stored  a  Word  .DOC  files  on  a  USB  flash  drive.  At  the  conclusion  of  the  research  project,  the  confidential  data  collected  during   225 Celeste  Martin.     VOLUNTARY  PARTICIPATION   Participation  in  this  study  is  voluntary.  If  you  wish,  you  may  decline  to  answer  any  questions  or  participate  in  any  component  of  the   study.    Further,  you  may  decide  to  withdraw  from  this  study  at  any  time,  or  to  request  withdrawal  of  your  data.  You  may  do  so   without  any  penalty  or  loss  of  benefits  to  which  you  are  entitled.       PUBLICATION  OF  RESULTS   Results  of  this  study  may  be  published  in  reports,  professional  and  scholarly  journals,  students  theses,  and/or  presentations  to   conferences  and  colloquia.  In  any  publication,  data  will  be  presented  in  aggregate  forms.  Quotations  from  interviews  or  surveys  will   not  be  attributed  to  the  participant  without  their  consent  and  assent.  Images  of  participant  will  not  be  published  without  your   permission.  Feedback  about  this  study  will  be  available  1  month  after  the  study.  Please  contact  Adam  Cristobal  at   acristobal@ecuad.ca  for  further  information.   Permission to adapt form granted by OCAD University’s Research Ethics Office. This form DOES NOT include the provision for Assent and Consent of participants who are minors or who are under legal guardianship. A TEMPLATE Invitation / Consent & Assent Provision for Minors or Others Under Guardianship is available for this purpose from the ECU-REB. Page 2 of 3 ADAM CRISTOBAL this  research,  including  your  contact  information,  will  be  securely  stored  at  Emily  Carr  University  for  5  years,  after  which  time  it  will   be  destroyed  in  a  secure  manner.  Access  to  this  data  will  be  restricted  to  Adam  Cristobal  and  the  project’s  faculty  supervisor,     Office  of  Research  &  Industry  Liaison   Emily  Carr  University  Research  Ethics  Board  (ECU-­‐REB)           CONTACT  INFORMATION  AND  ETHICS  CLEARANCE   If  you  have  any  questions  about  this  study  or  require  further  information,  please  contact  the  Faculty  Supervisor  using  the  contact   information  provided  above.  This  study  has  been  reviewed  and  received  ethics  clearance  through  the  Research  Ethics  Board  at  the   Emily  Carr  University  of  Art  and  Design  [insert  ECU-­‐REB  #  and  date  of  full  approval].  If  you  have  any  comments  or  concerns,  please   contact  REB  Assistant,  Lois  Klassen  at  ethics@ecuad.ca   APPENDICES     CONSENT  FORM   I  agree  to  participate  in  this  study  described  above.  I  have  made  this  decision  based  on  the  information  I  have  read  in  the   Information-­‐Consent  Letter.    I  have  had  the  opportunity  to  receive  any  additional  details  I  wanted  about  the  study  and  understand   that  I  may  ask  questions  in  the  future.    I  understand  that  I  may  withdraw  this  consent  at  any  time.       226   Name:    ________________________________________________________________________                 I N T E R P O L AT E D E D I TO R I A L D E S I G N   Signature:    __________________________________________Date:  _______________________     Thank  you  for  your  assistance  in  this  project.   Permission to adapt form granted by OCAD University’s Research Ethics Office. This form DOES NOT include the provision for Assent and Consent of participants who are minors or who are under legal guardianship. A TEMPLATE Invitation / Consent & Assent Provision for Minors or Others Under Guardianship is available for this purpose from the ECU-REB. Page 3 of 3 Office  of  Research  &  Industry  Liaison Emily  Carr  University  Research  Ethics  Board  (ECU-­‐REB)     Photo/Digital  Image/Audio/Digital  Audio  Recording  Release  Agreement     Date:     Project  Title:   [insert  date  here]   UX  Design  for  The  Picture  of  Dorian  Gray:  A  User  Test   Principal  Investigator:     Principal  Student  Investigator:   Celeste  Martin   Adam  Cristobal   Assistant  Professor   Master  of  Design  resident   Faculty  Supervisor         Faculty  of  Design  and  Digital  Media   Faculty  of  Graduate  Studies   Emily  Carr  University  of  Art  and  Design   Emily  Carr  University  of  Art  and  Design   mmartin@ecuad.ca   778  998  1706   APPENDICES   acristobal@ecuad.ca     227 INVITATION   interface,  communication  design,  and  editorial  techniques  used  in  a  new  publication  and  reading  experience  of  The  Picture  of   Dorian  Gray  by  Oscar  Wilde  on  a  tablet  interface.  A  working  prototype  will  be  used  in  this  study,  and  the  results  of  this  study  will   inform  the  project’s  overall  direction.  The  results  may  be  included  in  an  MDes  thesis  published  by  Emily  Carr  University.     CONTACT  INFORMATION  AND  ETHICS  CLEARANCE   If  you  have  any  questions  about  this  study  or  require  further  information,  please  contact  the  Faculty  Supervisor  using  the  contact   information  provided  above.  This  study  has  been  reviewed  and  received  ethics  clearance  through  the  Research  Ethics  Board  at   Emily  Carr  University  of  Art  and  Design,  FILE  #2012112302  ADDENDUM.  If  you  have  any  comments  or  concerns,  please  contact  REB   Assistant,  Lois  Klassen  at  ethics@ecuad.ca     RELEASE  STATEMENT  In  signing  this  release  it  is  my  understanding  that  the  material  is  to  be  used  solely  for  educational  purposes   and  that  the  major  outcome  will  be  public  critique  of  the  final  project,  as  well  as  the  publication  of  an  MDes  thesis  process   document.  The  critique  will  involve  members  of  the  University  community.   I  understand  the  risks  and  contributions  of  my  participation  in  this  project  and  agree  to  participate.     Permission to adapt form granted by OCAD University’s Research Ethics Office. This form DOES NOT include the provision for Assent and Consent of participants who are minors or who are under legal guardianship. A TEMPLATE Invitation / Consent & Assent Provision for Minors or Others Under Guardianship is available for this purpose from the ECU-REB. Page 4 of 6 ADAM CRISTOBAL You  are  invited  to  participate  in  a  research  study.  The  purpose  of  this  study  is  to  assess  the  efficacy  of  user  experience,  user   Office  of  Research  &  Industry  Liaison Emily  Carr  University  Research  Ethics  Board  (ECU-­‐REB)     I  agree  to  allow  use  of  images,  clips  of  video  footage  and/or  audio  clips  for  documentation  and  display  of  the  project  results  as   identified  below.  Please  check  all  that  apply:     ANONIMITY  -­‐      Yes,  I  consent  to  the  inclusion  of  my  identity  (name)  in  all  documentation  and  publications    No,  I  do  not  consent  to  the  inclusion  of  my  identity  (name)  in  all  documentation  and  publications.  I  choose  to  remain   anonymous.     DIRECT  QUOTATIONS  -­‐     APPENDICES  Yes,  I  consent  to  being  quoted  in  all  documentation  and  publications      No,  I  do  not  consent  to  being  quoted  in  the  documentation  and  publications     IMAGES  AND  RECORDINGS  OF  ME  OR  OF  MY  PROPERTY  -­‐    Yes,  I  consent  to  the  use  of  digital  images  (photos  or  video)  or  audio  recordings  taken  during  the  research  user  trials  to  be  used   for  research  and  publication  purposes.   228  No,  I  do  not  consent  to  the  digital  images  (photos  or  videos)  or  audio  recordings  taken  during  the  research  user  trials  to  be  used   for  research  and  publication  purposes.     I N T E R P O L AT E D E D I TO R I A L D E S I G N  Yes,  I  consent  to  my  photo  being  published  in  any  of  the  final  publications      No,  I  do  not  consent  to  my  photo  being  published  in  any  of  the  final  publications        Yes,  I  consent  to  my  photo  being  converted  to  a  line  drawing,  with  all  personal  identifiers  removed,  as  seen  in  the  example   provided  below.    No,  I  do  not  consent  to  my  photo  being  converted  to  a  line  drawing,  with  all  personal  identifiers  removed,  as  seen  in  the   example  provided  below.     Permission to adapt form granted by OCAD University’s Research Ethics Office. This form DOES NOT include the provision for Assent and Consent of participants who are minors or who are under legal guardianship. A TEMPLATE Invitation / Consent & Assent Provision for Minors or Others Under Guardianship is available for this purpose from the ECU-REB. Page 5 of 6 Office  of  Research  &  Industry  Liaison APPENDICES Emily  Carr  University  Research  Ethics  Board  (ECU-­‐REB)         I  will  indemnify  and  hold  the  student,  and  the  University,  and  its  employees  safe  and  harmless  against  any  legal  prosecution  or  suit   arising  from  or  prompted  by  the  use  of  all  or  any  portion  of  the  material  in  which  I  am  quoted  or  appear.     229   ADAM CRISTOBAL I  am  signing  this  release  freely  and  voluntarily  and  in  executing  this  release  do  not  rely  on  any  inducements,  promises  or   representations  made  by  said  student  or  Emily  Carr  University  of  Art  and  Design.   Name:_____________________________________________Date:_______________________________   Signature:_____________________________________________________________________________     Thank  you  for  your  assistance  in  this  project.       Permission to adapt form granted by OCAD University’s Research Ethics Office. This form DOES NOT include the provision for Assent and Consent of participants who are minors or who are under legal guardianship. A TEMPLATE Invitation / Consent & Assent Provision for Minors or Others Under Guardianship is available for this purpose from the ECU-REB. Page 6 of 6 APPENDICES 231 ADAM CRISTOBAL Signed REB .E forms for primary research APPENDICES 232 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 233 APPENDICES APPENDICES 234 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 235 APPENDICES APPENDICES 236 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 237 APPENDICES APPENDICES 238 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 239 APPENDICES APPENDICES 240 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 241 APPENDICES APPENDICES 242 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 243 APPENDICES APPENDICES 244 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 245 APPENDICES APPENDICES 246 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 247 APPENDICES APPENDICES 248 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 249 APPENDICES APPENDICES 250 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 251 APPENDICES APPENDICES 252 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 253 APPENDICES APPENDICES 254 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 255 APPENDICES APPENDICES 256 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 257 APPENDICES APPENDICES 258 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 259 APPENDICES APPENDICES 260 I N T E R P O L AT E D E D I TO R I A L D E S I G N ADAM CRISTOBAL 261 APPENDICES