CHI2020: Layered Storytelling for Multimodal Learning Analytics

As a PhD student from 1988 at the University of York HCI group and Rank Xerox Cambridge EuroPARC (as it was called then), I found my intellectual community and cut my teeth at the British HCI conference, and ACM CHI. I then spun off into various other orbits, seeing HCI as my bedrock but enjoying smaller, more focused conferences (e.g. Hypertext, CSCW, Semantic Web, OER and then ed-tech). However, my current desire to see Learning Analytics become more human-centred in its design processes, and working with Roberto Martinez-Maldonado, has looped me back into the HCI community again, and I’m thoroughly enjoying reconnecting with old and new faces!

So, here’s our latest work, building on our CHI19 paper, which is for me a very satisfying convergence of multimodal analytics, collocated teamwork, visual analytics, pedagogy and my longstanding interest in narrative. It incorporates the doctoral work of Vanessa Echeverria (who has just submitted her thesis and is now at CMU HCII) and Gloria Fernandez-Nieto (who just passed her first year with flying colours).

The teaching and learning challenge is to give instant feedback to nursing students on how well they performed as a team in treating a patient in a simulation. The research question is how to make streams of multimodal data intelligible. Enjoy!

Martinez-Maldonado, R., Echeverria, V., Fernandez-Nieto, G. & Buckingham Shum, S. (2020). From Data to Insights: A Layered Storytelling Approach for Multimodal Learning Analytics. Proc. ACM CHI 2020: Human Factors in Computing Systems (April 25–30, 2020, Honolulu, HI, USA), Paper 21, pp.1-15. https://doi.org/10.1145/3313831.3376148 [Open Access Eprint]

Abstract: Significant progress to integrate and analyse multimodal data has been carried out in the last years. Yet, little research has tackled the challenge of visualising and supporting the sensemaking of multimodal data to inform teaching and learning. It is naïve to expect that simply by rendering multiple data streams visually, a teacher or learner will be able to make sense of them. This paper introduces an approach to unravel the complexity of multimodal data by organising it into meaningful layers that explain critical insights to teachers and students. The approach is illustrated through the design of two data storytelling prototypes in the context of nursing simulation. Two authentic studies with educators and students identified the potential of the approach to create learning analytics interfaces that communicate insights on team performance, as well as concerns in terms of accountability and automated insights discovery.

Constructing Knowledge Art: new book

A new book has just come out as part of the Synthesis Lectures on Human-Centered Informatics series (originally Morgan Claypool, now SpringerNature), edited by Jack Carroll.

Constructing Knowledge Art:
An Experiential Perspective on Crafting Participatory Representations

As many of you will know, Al Selvin is a close colleague and friend in New York, whose PhD research with me is the heart of the book’s story. Al is passionate about understanding the ability that some people have (including himself), of being able to add value to a group’s deliberations, by evolving the right representation at the right time, in a way that those present can then ‘own’ as a picture of their dilemma, and co-develop further.

This book is essentially about Sensemaking, arguably the No.1 capability needed for the future workforce. While a companion book Knowledge Cartography surveys the affordances of many forms of visualisation for sensemaking, in this new book, we go deep into the proposition that the ability to craft visual representations in this way is a new kind of literacy, central to the practice of Participatory Design. What we document as the constituent elements of Participatory Representational Practice can, on occasion, rise to the level of Knowledge Art:

Little work examines PD facilitation at the move-by-move level or provides close analysis of the interactions of participants and practitioners with representations. Many PD researchers have called for increased emphasis on PD facilitation as a professional practice, requiring reflective and experiential approaches, as we’ll explore in more depth in the following chapter. It is here we propose that Knowledge Art, as a normative ideal, gives us a unique viewpoint by which to understand and evaluate instances of participatory rep- resentational practice. Rather than treating such practice as the rational application of tools and methods, we look at it as the attempt of people to create meaningful representations of the ways they have connected ideas together. The experience of doing this in groups is better treated from an experiential than a techno-rational perspective. At its best, such practice can result in highly evocative representations of designs, processes, and strategies, that serve not only as references, but also as touchstones of meaning. We use that ideal as a way to look at instances of practice and see where they do, or don’t, rise to that level of meaning and integration. (p. 10)

In a UTS context, it is a form of Creative Intelligence, a strategic focus here. The language we developed to describe the experience, skills and dispositions of such Knowledge Artists is reflected in the transdisciplinarity of the framework developed to describe Knowledge Art:

The core of the work was through detailed video analysis at several scales, of the use of the Compendium visual hypermedia software developed by Al and my team at the Knowledge Media Institute, Open University [1]. Detailed analysis, at several levels, of video data from expert mappers in the heat of real meetings, and less experienced mappers in simulated but stressful practice sessions, led to the construction of a framework to describe the experience of a mapper. However, this book is not about Compendium per se, but about the ways in which a knowledge medium is used in collective sensemaking, whether software, pen+paper, or as one example shows, badges on the kitchen table…

This book doesn’t go into depth on complex systems or educational theory and practice — but in the introduction we set this work in the context of the need for people to grapple with unprecedented complexity:

As we navigate the second decade of the 21st century, humanity confronts the challenge of man- aging complexity at many scales, from the personal, to community, regional, national, and global. Finance, health, energy, education, urbanization, terrorism, etc. are the dilemmas we face that stretch us to the very limit of our cognitive and interpersonal capacities. The challenge, then, is to grow our collective capacity for sensemaking: to make sense of overwhelming amounts of data; to assess conflicting judgments about its trustworthiness; to resolve polarized interpretations about the implications; and to negotiate effective courses of action that all parties can commit to.

Better data and information/communication technologies (ICT) are not only drivers of these challenges, but also have key roles to play in managing them. However:

more data + more processing technology ≠ more insight or wisdom.

In the conclusion, we reflect on how the concept of Knowledge Art relates to the growing impetus to nurture 21st century skills and dispositions in schools and higher education:

What we are proposing, therefore, is a convergence between two important strands. We have on the one hand this growing body of work into 21st century competencies, and specifically into learning dispositions—not just from academic researchers, but many practitioners in the trenches— arguing that young people (and indeed citizens at large, and specifically workforces) need a new transferable set of qualities that equips them for the novel challenges and complexity of society. These qualities can be seen to come together in what we have called Knowledge Art in this book. Knowledge Art is quite an advanced mix of dispositions and skills, which we have sought to artic- ulate here for the first time. The resonances between the two strands are, we suggest, striking. The educational work on 21st century competencies already shows that these can be nurtured intention- ally by schools in primary age children. Just as this book has sought to provide a missing language for an important professional practice, a language for dispositions such as “learning power” provides a vocabulary which was missing for students and teachers to talk about dispositions (Claxton, 1999; Deakin Crick, 2006, 2007). (p. 76)

The final connection to the work that CIC will be driving forward is that the appendix details a range of Knowledge Art Analytics: the methods by which we are able to describe qualitatively and quantitatively, the ways in which representations were used in a meeting. This seeds the further development of approaches to develop analytics for higher order competencies, which could enable us to track and coach such abilities in a more rigorous way.

Buy the e-book from the publisher’s page, and find us on Facebook.

[1] The Compendium Institute is the virtual hub we created to support our global Compendium user community. When our research interests at the Open University shifted to the web and larger scale collective intelligence, we passed ownership of Compendium to the user+developer community — who couldn’t bear to lose it. The creation of CompendiumNG (Next Generation!) is the strongest possible evidence a research team could hope for that we had created something of lasting value.

New book: Chapter 1 v0.1

Al Selvin and I are working on a book to distill the key messages from his long term research programme, culminating in his PhD 18 mnths ago. So, we’re thinking aloud as we try out different ideas… reactions welcomed!

Possible titles…

Making Representations Matter: Catalyzing Collective Intelligence with Visualizations

Collective Intelligence Cartography: Emergence of a New Discipline


The word depict, from the Latin depingere, means to picture; a depiction means a representation in a picture, sculpture, or words. What this book is about is understanding how people help each other understand things by creating a picture of some kind together. By engaging people in making some kind of depiction, we can help each other explore an issue, or comprehend a situation or idea better. While much of this book will describe sophisticated kinds of depictions, like software-assisted knowledge maps, the act of engaging each other in depictions for the purpose of understanding is something that can happen at the most basic of levels.

Young Tom, six years old, had been given a small, round black compass by his parents. He was excited when he got it and ran off from the lunch table to experiment. Not long after he came back into the kitchen, on the verge of tears. “I don’t understand what it means,” he mourned. “The little needle moves all over the place. How does it help me find things?” His mother, Jackie, said, “It’s not that hard, Tom. I’ll show you.” She took some brass badges out of a drawer, and put them on the kitchen table. Tom sat him down in the chair next to her. “Now let’s pretend this one is Sally’s house,” she said, pointing at one of the badges, “and this one is the school. Where would the park be?” He moved one of the badges near one the “school”. “That’s right!” she said. “Now put the compass in the middle of them where our house would be.” Jackie took Tom’s hand, the one clutching the little compass, and moved it to the table between the objects. He put it down. Jackie pointed at the “school” and said, “Which letter on the compass is closest to the school?” “E”, Tom said. “That’s right, E is east, so that means that the school is east of our house. What about the park?” “S”, Tom said. “So which direction is the park from us?” “South,” Tom said, beginning to smile.

She moved one of the badges to the lower left, and asked “Now which direction is that?” “South… west,” said Tom, smiling. “Southwest.” “Southwest, that’s right,” his mum said. “What if it’s… west east?” he said.” “You can’t get west east,” she replied, pointing at the compass so he could see that the two directions were on opposite sides. He laughed.  “Where’s Luke’s house?” asked his father. “He’s on Peel Road,” Tom answered. “Can you point? Where do you think Luke’s house is, in relation to our house?”  asked his father. “Where’s L “It would be…” he started. She handed him a pen lid, saying “here you go, show us where Luke’s house is.” She pointed at one of the badges. “This is where our house is, show us where Luke’s house is.” ““Mummy can I just have a piece of paper?” Tom asked. “No, do it with the pen lid. Where’s Luke’s house?” He smiled and first pushed the lid farther away on the table. “No, it’s not over there”, she said, while Tom laughed. “Which way do we walk to get to Luke’s house?” He then put it more carefully to the left of the compass. “That’s right, so which way are we going to get to Luke’s house?” “North,” Tom said, smiling confidently. She pointed at her plate from lunch, farther to the left on the table. “Now Mummy’s plate is school, which way do we walk to school?” “North,” he said. “There you go!” she declared.

This story illustrates much of what this book will explore.

There was an important issue – Tom’s sadness and frustration at not understanding how the compass worked. There was someone who wanted to help Tom deal with the issue, learn something, and have fun doing it. There was the instant, unplanned inspiration – an improvisation – that Jackie came up with, to use the little shiny objects and make it into a game. She decided how the objects would play into the representation, making aesthetic choices with simple but clear tactile and visual rules, deciding (on the fly) on a compelling and engaging form that Tom could understand, enter into and be part of. She got him to point and him to move the objects around, or in the language we will use in this book, she got him to engage in the representation and in its evolution. She improvised a “script” for the game that contained a rising set of complexity and demands on Tom’s skills and evolving knowledge, or in the terms we will use in this book, she crafted a narrative with actions that had sequences and meanings. She made decisions – what we will call ethical choices – about what Tom should pay attention to, and what he could do and not do with the representation (for example, she decided that he should stick with the depiction they had created together when it came to saying where Luke’s house was, and not just draw it on paper as he asked. Jackie was sweet to Tom throughout, but also kept him firmly “on task” long enough for Tom to grasp the principles of the compass and understand how it could tell him directions between things he cared about. In doing this, Jackie helped Tom make sense of something that had been frustrating him, turning it into something he could enjoy and take forward into life.


This is what the book covers. We will discuss how we engage others in creating representations to help understand issues, but more to the point what that activity is actually composed of. As we’ll see in Chapter 2, most treatments of participatory visualizations talk about methods and outcomes, but few treat the practice  of engaging people in such visualizations as a subject worthy of attention in its own right. This book focuses on ways to look at and understand the practice of making participatory representations – the skills and considerations involved, the choices that practitioners make, and the ways in which participants can engage and make use of them.

We start with parents and kids precisely because of the everyday nature of those interactions. Helping our children understand things is not a matter of stuffing facts and ideas into their heads from outside. We know that for them to learn and grow, it has to mostly come from inside of them. Kids need to engage with situations, try them out, learn them from the inside out. They do this for themselves with their imaginative play, setting things up and manipulating them, creating whole worlds from whatever they have around them.

When our kids were small, their number one toy, in terms of getting actually used and played with over and over again, was just ordinary cardboard and wooden blocks. They could make them be anything they wanted – a house, a fort, a landscape. They were making representations and engaging in them with all of the energy and imagination they could muster.

When we as parents want our kids to learn something, especially something they are struggling with, we meet them where they are. As Jackie did with the compass, we give them tangible ways to understand their world and pick up new abilities. For example, parents best help kids with their writing assignments not by giving them general principles or the same kinds of drills they get in school. Instead they can help them look at specific sentences, words, and paragraphs in the context of what their assignment is about, and try to help them see what works or doesn’t work in that arena. The real help they provide is very close-grained, very close to the materials themselves. The tactile and visual contact with specific words and sentences — moving them around to see what works best, like Tom’s little metal items on the kitchen table — make the difference. It’s not giving kids the answers, instead it’s helping them to see how to come up with the answers themselves.

The parent’s role is to help that process along by the simultaneous close engagement with the materials and medium itself (what they are writing about and how they are doing it), with the interactions with the kids as people, with an attitude of love and hope and respect for their own intelligence — an attitude that tells the kids they will get it, they just haven’t gotten there yet. There is something about that close work with words and sentences and meanings, with styles and effects, with thinking through the consequences of different choices, providing examples but only to help them to see why it does or doesn’t work in the context, that helps kids move toward being able to do it on their own. It’s not much different from other things parents teach their kids, like how to ride bicycles. That skill, too, has to come from inside the child. A parent can’t ride the bikes for them or tell them in the abstract how to do it. Instead, the parent has to help kids to learn the little tricks of balance and navigation, and the confidence that they don’t need a puffing parent running alongside holding the bike up straight. Ultimately what matters is when could get around the block under their own power, wearing that look of pride and freedom on their faces when they had done it.

This fostering of capability in the ability to engage others in making helpful representations is a huge motivation to us. We want to be of help to people trying to achieve and express what they are trying to do with the new media for mapping the connections between ideas. If the considerations in this book can help people see for themselves why something does or doesn’t work, and come up with their own inspirations, it will have been worth it.

That is what the considerations in the remaining chapters speak to.


A second example bridges between the more commonplace examples above and the main content of this book, which mainly explores the kinds of considerations that obtain when engaging people in software-based representational tools. Though as the above discussion tried to state, really the core ideas are common to the most everyday attempts of people to help others by engaging them in making a depiction together.

A committee in a medium-sized public school district (approximately 20,000 students) in the Hudson River Valley region of New York State was tasked with analyzing the alternatives for school building capacity in the district, which has experienced declining enrollment. This highly contentious issue had come up many times before. The district’s superintendent of schools was concerned that the discussion would be unproductive, due to tensions and unsurfaced assumptions between the various interest groups (school administrators, teachers, parents, taxpayers, etc.). Every school building has an active, vocal contingent of parents and teachers who have strong interests in keeping their own local school open. Equally strong and vocal are the many local taxpayers who feel that school taxes are already too high. To address this, the superintendent asked two outside facilitators with expertise in conducting participatory knowledge mapping sessions to help run the meetings.

The two facilitators convened a series of meetings in a library of one of the schools. A committee of twenty parents, teachers, community activists, and administrators met once a week to work through the alternatives. For each meeting, the facilitators prepared an agenda with a hypermedia issue mapping tool, which was projected in front of the group on large screens. The agenda focused on various alternatives, policy matters, process considerations, and other issues.

CompendiumTemplate-SchoolDistrict

The facilitators employed a variety of approaches. First, they facilitated a general discussion of the issues involved, using a conventional Issue-Based Information System (IBIS) approach (representing discourse as issues, positions, pros, and cons) to capture and display the discussion as it proceeded. This involved rapid synthesis of what the meeting attendees were saying, thus creating nodes and links in the hypermedia tool that showed the relationship of statements to each other. They also validated the way they captured the statements by frequently asking the participants to look at the maps, asking “Does this capture what you said accurately?” Sometimes participants looked closely and provided detailed feedback (e.g, “Well, not really. What I was really trying to say was this…”). At other times, the heat of the discussion was such that it was difficult for the practitioners to intervene without running the risk of derailing the meeting’s momentum. The practitioners had to make moment-to-moment decisions on how much to intervene, and in what ways.

Between meetings, the practitioners analyzed the maps from the general discussion. They looked for recurring themes and questions and, from these, created a template covering the major considerations that would guide choices between the alternatives (see Figure 2). They then facilitated several sessions using the template to structure conversation about each of the alternatives in turn. By the fourth session, the facilitators were able to induce the participants to conduct an analysis according to the template, while still capturing as much of the side discussion and issues as possible. Also between sessions, the district office distributed via mail all of the map output in text form to all the participants.

At the end of the process, the practitioners held a plenary session for the broader community to understand the final decision. The maps of rationale and templated analysis made the pros and cons for each alternative, as well as many of the comments and points of view, clear and explicit. Even though there was little consensus that the chosen alternative was the best one, the community members completing a post-presentation questionnaire agreed that the process had been conducted in a fair manner, and that the discourse and competing points of view had been made more explicit and comprehensible than in previous years.

In this example, a very different set of considerations and techniques were employed. However, we aim to show that the framework and language we are developing — to describe how one adds value to a conversation with real time representational practice — is as applicable to this as it is to our opening kitchen scene:

PRP-ConceptualFramework


As we navigate the second decade of the 21st century, humanity confronts intensely complex challenges, at many scales from personal, to community, to national and global. Finance, health, energy, education, urbanization, terrorism: the dilemmas we face stretch to the very limit our cognitive and interpersonal capacities — to make sense of overwhelming amounts of data; to assess conflicting judgments about its trustworthiness; to resolve polarized interpretations about the implications; and to negotiate effective courses of action to which all parties can commit.

Better data and information/communication technologies (ICT) are not only drivers of these challenges, but have key roles to play in managing them. However:

more data + more processing technology ≠ more insight or wisdom

The nature of the problems we face means we will depend on nuanced human judgment over complex tradeoffs long into the foreseeable future, because despite their scientific and engineering foundations, these are not purely rational problems to be solved from first principles, using tried and tested algorithms or methods. The nature of policy formulation and implementation is fraught with the messiness of human life — social, organizational, political and cultural dimensions cannot be simply wished away. Technically sound engineering blueprints are not sufficient when designing solutions to wicked problems, whose very definition is contested. Somehow, humanity’s collective intelligence must chart courses through these white waters.

None of this is news of course, and many people are working on it. Under the broad heading of collective intelligence (including other strands of our own work) we see community activists, academics, businesses and governments seeking to improve the social fabric of the internet in order to better harness the collective intelligence of human networks, operating largely asynchronously across timezones, augmented by machine intelligence (e.g. www.ci2012.org). Another strand of work uses sensor networks and computational simulation of social systems (e.g. www.futurict.eu) to help us understand, increasingly in real time, the complex adaptive systems permeating society, but whose structure and dynamics we are only beginning to grasp — often with tragic consequences when we consider our lack of control over financial markets or medical epidemics.

Collective Intelligence Cartography (CIC) occupies a different niche. All of the above work will generate symbolic representations of many sorts, around which many meetings will be held to figure out what they mean, and it is here that CIC makes a contribution. Our focus is on a pervasive, critical, and hence surprisingly neglected piece of the collective intelligence jigsaw puzzle, namely, how do we improve our capacity to use such representations when we meet?

This focus on the dynamics of collective intelligence in small scale, synchronous contexts complements the social-semantic web/collective intelligence focus on large scale, asynchronous interaction.

CIC also complements the big data and simulation efforts, shifting attention from machine-mining patterns in relatively low-level data to the highest levels of meaning-making that humans are capable of:

  • wrestling with ethical dilemmas
  • resolving conflicts between diverse stakeholders
  • crafting metaphorical power through stories
  • empathizing by placing oneself in another’s shoes

This is the next step from machine-generated information visualizations to their manipulation and annotation as people discuss them, and to the manual crafting of representations (with or without computational aids) that reflect a team’s evolving understanding of a problem or the creative process as a design solution emerges.

This focus takes us back to humanity’s most established mode of information diffusion and collective sensemaking: talking face to face, and inscribing marks in dirt, leaves and clay. In an earlier book, we introduced the concept of maps as follows:

Maps are one of the oldest forms of human communication. Map-making, like painting, pre-dates both number systems and written language. Primitive peoples made maps to orientate themselves in both the living environment and the spiritual worlds. Mapping enabled them to transcend the limitations of private, individual representations of terrain in order to augment group planning, reasoning and memory. Shared, visual representations opened new possibilities for focusing collective attention, re-living the past, envisaging new scenarios, coordinating actions and making decisions.

Maps mediate the inner mental world and outer physical world. They help us make sense of the universe at different scales, from galaxies to DNA, and connect the abstract with the concrete by overlaying meanings onto that world, from astrological deities to signatures for diseases. They help us remember what is important, and explore possible configurations of the unknown. (Preface to Knowledge Cartography, 2008)

Thus, we are interested in how teams build new meaning using ‘representational artifacts’ which take into account all the ‘hard’ technical criteria as well as the ‘softer’ human criteria mentioned above. In millions of meetings today, people will be scribbling and sketching on paper and whiteboards; typing lists of bullet points and outlines on screen; displaying, annotating and sharing photos, diagrams, maps and websites. However, CIC is not about collaboration and visualization software per se (although much of our work has been with hypermedia visualization tools), but about the human skillset needed to wield these and non-digital artifacts effectively, in real time, to build new meaning in a group. We’ve all been in meetings where a shared display added little value — but we’ve all been in meetings when the right representation at the right moment helped to harness the collective energy and wisdom in the room, people connect with each other and the problem at a deeper level, and things move forward tangibly. What does someone do with a representation to catalyse such moments?

We need to attend to the people who know how to do this, and learn from them (and instructively, from those who are less fluent). We argue that what we call Participatory Representational Practice is a poorly understood but vital new civic skill for all types of collaborative knowledge work, where the complexity of the problem requires, or benefits from, the construction of a collectively owned representational artifact — whether scribbled on a napkin or detailed in a multiuser computational modeling tool. Hence, this includes meeting facilitators, but extends to many others, such as students, teachers, designers, academics and policy analysts.

To substantiate this claim, we have been documenting the vacuum in our current understanding, both in academic research and in practitioners’ state-of-the-art: nobody seems to have articulated the experience and skillset of this new breed of ‘cartographers’.

Schön (1983) insisted that there is an artistry to professional practice that, although difficult to describe, nonetheless informs and shapes what practitioners actually do:

Let us search … for an epistemology of practice implicit in the artistic, intuitive processes which some practitioners do bring to situations of uncertainty, instability, uniqueness, and value conflict. (1983: 49)

This book intends to contribute to that search. We describe the process by which we have developed a language to describe the distinctive experience and skillset that marks these people out (Chapter X). To give you a feel for what’s to come, in developing a language capable of expressing what we found when studying such practitioners, we found it necessary to draw from Aesthetics (how practitioners shape and craft the representation), Ethics (how a practitioner’s actions affect other people), Narrative (meaning and causality applied to the flow of events), Sensemaking (the ways in which practitioners deal with situations of doubt or instability) and Improvisation (the spontaneous, creative moves that practitioners can make).

This language has emerged in dialogue with designing ways of seeing this in action by analyzing and visualizing video data at different scales, both quantitatively and qualitatively (Chapter X). This lays the conceptual and empirical foundations for future practitioner training and software development (Chapter X).

To conclude, in an age of unprecedented complexity, we urgently need people who are fluent at “augmenting human intellect” with new kinds of “concept structures”, to borrow Doug Engelbart’s iconic 1963 language. Our schools, universities and workplaces train us to read and write as solo authors and speakers, paying little or no attention to the pervasive role of representations in our thinking with others. Understanding the experience and skillset that people fluent in such practice is a key first step. Perhaps this may come to be seen as a 21st century literacy — reading and writing symbolically in ways designed specifically to build real-time collective intelligence.

We hope this whets your appetite. If so, then let us take you on a journey…

Al Selvin and Simon Buckingham Shum

Making Representations Matter: Al Selvin PhD

In an earlier post on Knowledge Art, a term coined by friend and colleague Al Selvin, I opened with this question:

What does it mean to be literate in crafting representations that help a group make sense of the world?

Arguably, this is a literacy of first order importance as we confront novel challenges of overwhelming complexity, which will always (and increasingly) require external representations as extensions and augmentations of personal and collective cognition. However smart our  technologies are, people must then engage in sensemaking activity around them to decide how to act. If a group is building a model of the world in some medium (paper +/or digital) what is the skillset to orchestrate effective interaction around and via that representation?

Compendium has provided us with a long term vehicle to explore these questions specifically around fluency with participatory hypermedia and knowledge cartography for sensemaking, but our interest has stretched beyond any one software tool or practice.

I’m delighted to say that Al has now completed his doctoral research, which has been unpacking this question very elegantly (see his Knowledge Art blog), and his dissertation is online today as a KMi Technical Report:

Selvin, A.M. (2011). Making Representations Matter: Understanding Practitioner Experience in Participatory Sensemaking. Doctoral Dissertation, Knowledge Media Institute, The Open University, Milton Keynes, UK. Available as Eprint: http://oro.open.ac.uk/30834

Abstract: Appropriating new technologies in order to foster collaboration and participatory engagement is a focus for many fields, but there is relatively little research on the experience of practitioners who do so. The role of technology-use mediators is to help make such technologies amenable and of value to the people who interact with them and each other. When the nature of the technology is to provide textual and visual representations of ideas and discussions, issues of form and shaping arise, along with questions of professional ethics. This thesis examines such participatory representational practice, specifically how practitioners make participatory visual representations (pictures, diagrams, knowledge maps) coherent, engaging and useful for groups tackling complex societal and organizational challenges. This thesis develops and applies a method to analyze, characterize, and compare instances of participatory representational practice in such a way as to highlight experiential aspects such as aesthetics, narrative, improvisation, sensemaking, and ethics. It extends taxonomies of such practices found in related research, and contributes to a critique of functionalist or techno-rationalist approaches to studying professional practice. It studies how fourteen practitioners using a visual hypermedia tool engaged participants with the hypermedia representations, and the ways they made the representations matter to the participants. It focuses on the sensemaking challenges that the practitioners encountered in their sessions, and on the ways that the form they gave the visual representations (aesthetics) related to the service they were trying to provide to their participants. Qualitative research methods such as grounded theory are employed to analyze video recordings of the participatory representational sessions. Analytical tools were developed to provide a multi-perspective view on each session. Conceptual and normative frameworks for understanding the practitioner experience in participatory representational practice in context, especially in terms of aesthetics, ethics, narrative, sensemaking, and improvisation, are proposed. The thesis places these concerns in context of other kinds of facilitative and mediation practices as well as research on reflective practice, aesthetic experience, critical HCI, and participatory design.

Many congratulations to him on completing this step of the journey, and I can’t wait to see what the next step holds in store.

A recent journal paper provides a partial account of this work:

Selvin, A., Buckingham Shum,S.J. & Aakhus, M. (2010). The Practice Level in Participatory Design Rationale: Studying Practitioner Moves and Choices. Human Technology (Special Issue on Creativity and Rationale, Ed. John Carroll), 6, (1), pp. 71–105. [www.humantechnology.jyu.fi]. Preprint: http://oro.open.ac.uk/20948

The webcast and slides from a KMi seminar he gave are below:

Al Selvin, KMi Webinar [click to replay in new tab]
Al Selvin, KMi Seminar, 8 June, 2011 [click to replay in new tab]

Narrative flow in conceptual maps

afghan-slides-3

Bill Easterly has put the spotlight on systems diagrams for the Pentagon nation building plan for Afghanistan — which have attracted some ridicule. Here are the slides.

There are some comments on Bill’s site pertaining to the content of the analysis, which I’m not concerned with. But from a purely structural perspective, it’s easy to poke fun at systems diagrams such as this because:

(1) we may not like the politics

(2) they’re impenetrable for an outsider

(3) rendering a tragic human dilemma as nodes and arcs seems to invite ridicule

But if we believe that these really are complex systems, then modelling them is surely one way to get a grip, and a map is simply an intentional way to simplify the world in order to discern important connections.

IF:
* you are involved in the process of their construction
* or are walked through them slowly with an interactive tool (or set of filtered visualizations as in these slides) that focus attention on specific regions/paths,
THEN:
I would say these can be useful.

We would all bridle if a colleague marched into the middle of a meeting and poked fun at how messy the whiteboard was, not appreciating that this was a collective working memory with intensely meaningful scribbles for those present. If there was longer term value in those scribbles, we’d re-render them in some way for an outside audience, through some combination of cleaned up graphics/animations, prose narrative, and verbal presentation.

By analogy, if we want conceptual maps to be more than working memory for those present in constructing it, or longer term memory for that group to reconstruct their conversation, then we have to supplement the raw map with scaffolding to help outsiders in.

Four thoughts…

Cartographic narrative

One of the big challenges around mapping of any sort (and my concern is specifically about mapping dialogue and debate), is the loss of narrative flow that prose does so well, but often at the price of obscuring conceptual clarity. How do we make up for that, if we can’t be there in person to jump around in front of them to ground the terse symbols in the richness of the problem at hand?

The emergence of out-of-the-box screencast tools is in my view a significant development: now we can provide engaging introductions to maps that in a few minutes give newcomers a guided tour, and springboard to interrogate and build on the map’s analysis. In other words, bring it alive and connect it to the life stories that viewers bring…

“Inside this green map you’ll find a summary of the last 2 months’ work. We spent a LONG time on THIS issue, which shows the connections between Jim’s analysis of the new Govnt Funding Policy that’s dominated all our lives since Sept., with Ann’s keynote slides on Creative Thinking that went down so well at the away day…”

Interactive maps

If we can design user interfaces onto maps that are sufficiently intuitive, they may invite and guide the newcomer by indicating where to start, and offering controls to highlight significant features/paths/connections/regions. But it may be that the work to create a self-standing artifact requires additional effort — that may be easy to justify if the map supports a high-stakes presentation, but that’s not always the case. Experience with capturing design rationale shows that maintaining such maps will drop off the radar when schedules are tight: the map has to be justifying its existence and value all the time.

The holy grail is a software environment that automatically provides navigational scaffolding for outsiders to read the map in a coherent way.

Shared convention

We don’t need either of the above to read many kinds of everyday spatial map: we know how to read them through convention, embedded in our education and culture. In time, conceptual maps such as systems diagrams, dialogue and argument maps may come to be embedded and transmitted in this way. An increasing number of us are working on inventing that future!

When narrative meets critical thinking

Finally, the above story is about how we supply narrative to fill in the gaps left by terse, structural representations. But as we ponder this dance between narrative and critical thinking, we can also flip this, and ask what it means to attempt to formalize rich narratives, something I’m reminded of from the recently completed work of two students.

Floris Bex recently sent me a copy of his PhD which seeks to model stories (criminal cases) in an analytical fashion, using argumentation theory. Meanwhile, one of my students Joanna Kwiat developed and validated a story annotation scheme grounded in narratology, for professional knowledge sharing. Jack Park is also developing concepts around storytelling, dialogue/argument mapping and knowledge federation in his PhD.

There are connections — and tensions — between the richness of narrative/story for knowledge sharing, and the rigour of critical thinking/argumentation. This may also connect to tensions between the way in which we can use the semantic and the social web for collective sensemaking.

Narrative has a personal quality, and its power rests in a story’s ability to engage many people at different levels. The freeform folksonomic tagging promoted by the social web seeks to add the power of linked data without straitjacketing the freedom of individuals to tell and interpret  stories. But this breaks down when we want to promote learning, critical thinking, sensemaking. We’ve failed as communicators, analysts or educators if our audience leaves with merely a cloud of terms in their minds. Sensemaking resides in the ability to make and critique coherent connections, and from there, to describe the shape of an idea.

The formalization schemes that Floris and Joanna developed, and the representational schemes of issue, dialogue and argument mapping tools, seek to provoke more reflection on the part of the analyst. This moves them from the realm of social media for leisure, where you don’t want to be made to think very hard, but no apologies for that.

But now let’s flip it again, and note that it is often through narrative that we are able to inhabit a dilemma, and from there, step back to gain critical distance and articulate abstractions. Enquiry-based learning, personalisation, creative curriculum, new forms of assessment, learning to learn and scenario planning, place narrative at the centre of sensemaking. I liked the way Joanna opened her thesis:

[We] dream in narrative, daydream in narrative, remember, anticipate, hope, despair, believe, doubt, plan, revise, criticize, construct, gossip, learn, hate, and love by narrative.

Barbara Hardy, 1977. Towards a poetics of fiction: an approach through narrative.  The Cool Web: The Pattern of Children’s Reading.  M. Meek, A. Warlow, G. Barton (Eds.), The Bodley Head, pp. 12-23.

Formalizing Philosophical Narratives for e-Learning

It’s always exciting when one strand of work collides with your own, and from this fusion, interesting new particles emerge. In this case, Mikele Pasin, a PhD student in KMi with Enrico Motta on modelling the literature around Wittgenstein using a semantic web approach (to create the PhiloSURFical prototype), then joined the Cohere team, and got interested in modelling discourse and argumentation structures.

The result was a paper which went down very well at the European Computing and Philosophy Conference last month, and demonstrates the hybrid collision of a Semantic Web perspective modelling consensus knowledge, and our take on the Pragmatic Web which revolves around modelling potentially contested intepretations. Nice work Mikele 🙂

Pasin, M., Buckingham Shum, S., & Motta, E. (2008). Formalizing

Compendium “makes sense” in Florence (CHI 2008)

Al Selvin and I are in Florence, participating in the Sensemaking workshop at the CHI 2008 (Computer-Human Interaction) conference, the main conference in human-centred computing.

“Sensemaking” has long been a core concept at the heart of our work, drawing on the foundational work of people like Karl Weick and Brenda Dervin. This workshop is possibly the largest recently on the theme, and all agreed at the end of today that there seems to be critical mass to take things forward.

Here are the Dialogue Map notes I took, and all the papers are on the workshop website. Our paper was:

Selvin, A. and Buckingham Shum, S. (2008). Narrative, Sensemaking, and Improvisation in Participatory Hypermedia Construction. Sensemaking Workshop, ACM CHI 2008: Conference on Computer-Human Interaction, Florence, April 6, 2008. [http://kmi.open.ac.uk/projects/hyperdiscourse/docs/Selvin-CHI2008.pdf]

In this paper we describe research into a form of practitioner sensemaking in the context of participatory hypermedia construction sessions, in which groups of people build knowledge maps. We discuss how constructs from narrative theory and improvisation have helped us understand what happens at the moments when practitioners encounter dilemmas and obstacles. We provide brief examples from case studies and discuss possible contributions to broader themes in sensemaking research.

To know more of this work, check out Al Selvin’s work on Knowledge Art & Participatory Hypermedia Construction

Dr Joanna Kwiat!

I’m delighted to announce that Joanna Kwiat has successfully defended her PhD, entitled “Multi-Perspective Annotation of Digital Stories for Professional Knowledge Sharing”

Co-supervised with John Domingue, the thesis will be published as a KMi Technical Report following revisions, but to learn more right now, visit her Storymaking Project, and her in depth literature review, “From Aristotle to Gabriel: A Summary of the Narratology Literature for Story Technologies.”