Tag: play (Page 1 of 2)

finding access to playful online communities, partial image of a phone with social media app icons

ARMY’s Magic Shop

April 10, 2022 / kateringland / 0 Comments

Understanding the Collaborative Construction of Playful Places in Online Communities

By: Kathryn E. Ringland, Arpita Bhattacharya, Kevin Weatherwax, Tessa Eagle, and Christine T. Wolf

[This article was written by Kate with the help and support of her co-authors.]

This work is cross-posted on Medium: https://kateringland.medium.com/armys-magic-shop-668cb8a3c0c0

Preview: Using ethnographic fieldwork, we dive into the world of BTS and ARMY’s Magic Shop. The Magic Shop is a conceptual place for community members to relax, connect, and support one another. The Magic Shop is built on a foundation of play and exists in all the spaces that the BTS ARMY community lives and plays. This research helps us understand the deep importance of the BTS ARMY Magic Shop to community members and how we can create better and safer platforms for the community in the future.

This work will be appearing at CHI 2022. The preprint can be found at https://bit.ly/MagicShopCHI2022

Introduction

When we think about researching play, we often think of studying play in children, designing educational games, or using games to improve health. In this work, we’ve taken research on play in an understudied direction by looking at adults engaging in play for their leisure or as a hobby. In particular, we are looking at spaces not intentionally designed for play — that is, technologically mediated social spaces that are repurposed as socially playful places. For example, we are looking at social media platforms instead of multiplayer games where the play is scaffolded into the platform. This research is vital for better understanding how communities at play use technology. Outcomes of this work will ultimately help designers and researchers build better supportive and safer platforms for communities in the future.

Specifically, we turned our attention to the musicians BTS and their fandom, ARMY. We look at ARMY because of the community’s reach and diversity. Composed of a diverse but often underrepresented majority, ARMY is also a largely misunderstood community as it experiences biases, stereotyping, and oppressions that intersect across the different identities and interests of people in this fandom. We hope this work helps to reverse some of the stigma around ARMY and fandoms as a whole.

The goal of this work is to illustrate how BTS and ARMY work together to create a socially playful place in-person and online, built upon what the artists and community members call the “Magic Shop.” The foundations of this Magic Shop are people and their shared values, transcending the physical space to online and emotional or abstract places.

BTS & ARMY

BTS (방탄소년단 or Bangtan Soyeondan) is a group of seven musicians from South Korea who debuted in 2013. Their fandom, ARMY, has been growing globally since the band’s inception. ARMY, as a community, uses a variety of social media platforms to communicate such as Twitter, Instagram, TikTok, Facebook, and Weverse. ARMY has a flat, non-hierarchical and participatory power structure [6]. That is, there is no clear “leader” of ARMY, other than, perhaps, the BTS members who also consistently share their power and success with ARMY.

ARMY has been stigmatized in the media for a number of reasons, including its majority fem-identifying membership and its supposed “bot-like” behavior [7]. However, as this work and others have shown, this is far from reality. ARMY is a large, diverse fandom with many different contexts, experiences, and values, and cannot be described in singularity [1]. ARMY is perhaps best known for their organizing and activism, such as raising donations for causes like Black Lives Matter in short periods of time.

Welcome to the Magic Shop: Research Methods

In this study, we report the findings from an ongoing online ethnographic study of the ARMY community. Data were collected through ARMY’s public social media posts on Twitter and TikTok, as well as through publicly available media posted by BTS on social media platforms including TikTok, Twitter, Weverse, YouTube, and VLIVE (this portion of the study was conducted before the members of BTS opened their individual Instagram accounts in December 2021).

Where is BTS & ARMY's Magic Shop? anywhere BTS & ARMY are together: Concerts, Twitter, Instagram, TikTok, Weverse, VLIVE — Some of the spaces BTS and ARMY occupy and create the Magic Shop.

I was responsible for all data collection and primary data analysis, identifies as an ARMY and has been on ARMY TikTok since September 2020 and ARMY Twitter since January 2021. For more details about data collection and analysis, please refer to the full paper.

Important Research Considerations: Keeping BTS & ARMY Safe

Safety of BTS and ARMY are the priority in conducting this research. This work is exempt from ethics board approval because it involves ethnographic observations of public social media data. However, I and my co-authors took extra care while collecting, analyzing, and presenting this data.

As a member of the ARMY community, I take responsibility for protecting individuals who may interact with my various social media accounts. The BTS ARMY community has a history of being marginalized, including incidents of racism, xenophobia, and ageism. Further BTS ARMY faces more criticism among media and other outsiders [2,4,5]. ARMY has a fraught history of outsiders seeking to cause harm or use ARMY and BTS for their own profit or agenda [8,9].

The epistemic violence [11] enacted upon the community has left many with little trust for academia, with valid cause. For this reason, being a member researcher was imperative for this work to be positively received by the community and to ensure that knowledge-making about BTS and ARMY is done in conjunction with the ARMY community. At the same time, to ensure validity for research contexts in addition to the ARMY fandom and that solely my perspectives are not biasing this research, I worked with other ARMY and non-ARMY co authors during the analysis and writing process.

The data presented in these findings are exemplary of the themes found during analysis while prioritizing the integrity of the community. Everything has been anonymized and paraphrased unless otherwise noted.

This work relies on data from my online ARMY community where I am transparent about my identity as a researcher/professor and an ARMY. Therefore, when ARMY is referred to in the study, this is referring specifically to my extended ARMY community, rather than ARMY as a whole. It serves as a starting point for scholars to understand the ARMY community and playful adult places more broadly.

BTS & ARMY Creating the Magic Shop Together

The Magic Shop exists in the spaces where ARMY and BTS go to seek comfort and to play with one another. The Magic Shop can exist anywhere BTS and ARMY have the potential to play, such as in online spaces (social media) or in offline spaces (concert venues). To create the Magic Shop, BTS engages in and encourages playful activities through their conversations and content. ARMY then follow suit in fostering play through fan-made edits and commentary, role-playing, and in-group humor. BTS and ARMY engage in play to construct safe and enjoyable online community places.

Jin, Jimin, and RM having way too much fun eating salad. Clip from Jin Jun Min~ Making Salad live (https://www.vlive.tv/post/1-21792394)

The play of BTS and ARMY in the Magic Shop should not be dismissed as less valuable than other aspects of life because it is play among adults or a hobby or leisure activity. Indeed, BTS and ARMY’s play has real-world impact and consequences — not the least of which is to support coping, meaning-making, and a sense of connectedness, thus improving quality of life and well-being for those in the community [3]. “Play” as we understand it, is a concept big enough to be a thing that is both purposeful and joyfully purposeless. This work provokes the need for future research taking a more expansive view of play — and a more expansive view of its benefits and boundaries in the everyday lives of communities online.

Some of ARMY’s play includes content transformation and curation, creating specific themed accounts, humor, crafting theory about BTS content, and creating new content. Doing these activities builds upon the foundation of the playful place set by BTS. For example, the following video is a skit performed by BTS on the Late Late Show with James Corden.

From this type of content, ARMY then create various content including hourly or daily accounts of specific clips that ARMY use to convey a mood or to add to conversations playfully.

pic.twitter.com/M78L1rgYEx
— daily does this make any sense, I don't think so (@dailytaesense) April 6, 2022

An example account using a clip from the BTS Crosswalk Concert which is shared to convey a mood, reminisce, or for laugh. (*Owner of the account gave consent to this being shared in this blog.)

The Magic Shop in online spaces has become all the more meaningful since the beginning of the COVID-19 pandemic when BTS, due to public health concerns, canceled their world tour and ceased all in-person activities with fans. Both ARMY and BTS leaned into the spaces still available to them — that is, online social media platforms — to continue creating this sense of community and connectedness. ARMY may not know each other’s legal names or even reside in the same country, but they have nevertheless created an intimate bond through play as well as connection to BTS, their message, and their discography. BTS and ARMY, first and foremost, are connected to one another by BTS’s music. This is the first point of contact and the common ‘language’ used throughout the community. Other media and platforms, then, become further means of communication.

Boundaries of Play in and out of the Magic Shop

Being able to play together requires a feeling of safety (whether they are actually safe or not) and trust between players [10]. Likewise, the Magic Shop cannot exist without these prerequisites. Many of these playful moments only have meaning within the playful place. Outside the playful place, much of the antics and humor can be misunderstood and stigmatized. Concerns about this can be seen in how ARMY negotiate with one another about what is appropriate “for the timeline” (that is, public posts) and what should be reserved for private conversation. Indeed, this is reflected in the careful choosing of examples for this paper, as well as the extensive explanation of the methods in this work. For the play to be truly playful, a trust between members of the community must be developed to create the sense of consent and safety needed for fun play.

In fact, when the Magic Shop is noticed by outsiders (such as a reporter taking ARMY tweets out of context and without consent), there is a sense of violation among ARMY — play no longer feels playful. Almost all of ARMY’s playful activities occur on public platforms and can be accessed by outsiders at any time, yet the community maintains a sense of in-group and out-group engagement. ARMY still holds to the trust among each other and in BTS as they go about their play. This type of social clustering within a public space without any physical or digital boundaries is often seen in interest groups (such as, gaming, other fandoms) and is also facilitated by the current tailoring algorithms on social media.

The time and place to be playful is context-dependent — both the context inside and outside of the Magic Shop. The public nature of these platforms requires extra social effort and infrastructure to maintain the boundaries of the community’s playful place. Within ARMY spaces, the community has leveraged affordances of the various social media platforms at their disposal (such as using the report and block feature, embedded videos and gifs, threads on Twitter, music on TikTok), as well as social norms for this boundary maintenance. Without having a strict “game” platform, BTS and ARMY have still managed to foster a set of rules for their play. This includes following BTS’s lead in knowing what is meant to be fodder for playful content and what is not (such as being respectful of emotionally laden images and video).

Outro

The goals of this study were (1) better understand how communities at play use technological platforms for play even when they are not designed as such and (2) to begin to reverse the stigma and marginalization of BTS and ARMY. BTS and ARMY have built a community based on mutual respect, love of music, and being playful with one another in their Magic Shop. The Magic Shop is often impacted by real world non-play issues such as being summarily dismissed, harassed, and stigmatized by outsiders, which can harm BTS and ARMY. The members of the community collectively work to look out for each other’s well-being and reorient to restore play in the Magic Shop — making sure that BTS and ARMY are safe and having fun.

Curious to learn more about this research? Visit: https://kateringland.com/btsarmy

💜 Thank you to those who provided invaluable feedback on drafts of this work including Breanna Baltaxe-Admony, Kendra Shu, and Severn Ringland, as well as our anonymous reviewers. This work was funded in part by the University of California President’s Office. A very special thank you to the ARMY community and those within the ARMY community that have helped shape this work. Finally, thank you to BTS for their music and continued love and support of the ARMY community. 💜

Kathryn E. Ringland, Arpita Bhattacharya, Kevin Weatherwax, Tessa Eagle, and Christine T. Wolf. 2022. ARMY’s Magic Shop: Understanding the Collaborative Construction of Playful Places in Online Communities. In Proceedings of the 2022 CHI Conference on Human Factors in Computing Systems.

A video of the presentation of this work can be found here

References

1. BTS ARMY Documentary Team [@amidocumentary], On Wings of Love [@OWOLMovie], and Research BTS [@ResearchBTS]. BTS ARMY CENSUS. BTS ARMY CENSUS. Retrieved June 25, 2021 from https://www.btsarmycensus.com/

2. Stephanie Choi and Thomas Baudinette. 2019. Why Are BTS Fans Always Dismissed As “Hysterical Teenage Girls”? hello asia! Retrieved September 7, 2021 from https://www.helloasia.com.au/news/why-are-bts-fans-always-dismissed-as-hysterical-teenage-girls/

3. Jin Ha Lee, Arpita Bhattacharya, Ria Antony, Nicole Santero, and Anh Le. 2021. “Finding Home”: Understanding How Music Supports Listerners’ Mental Health Through a Case Study of BTS. In Proc. of the 22nd Int. Society for Music Information Retrieval Conf., 8.

4. Condé Nast. 2019. Criticism of BTS Is Often Just Xenophobia in Disguise. Teen Vogue. Retrieved March 13, 2022 from https://www.teenvogue.com/story/bts-criticism-xenophobia-in-disguise

5. Condé Nast. 2021. Racism BTS Continues to Face Is Part of Larger Anti-Asian Xenophobia. Teen Vogue. Retrieved March 13, 2022 from https://www.teenvogue.com/story/racism-bts-continues-to-face-is-part-of-larger-anti-asian-xenophobia-op-ed

6. So Yeon Park, Nicole Santero, Blair Kaneshiro, and Jin Ha Lee. 2021. Armed in ARMY: A Case Study of How BTS Fans Successfully Collaborated to #MatchAMillion for Black Lives Matter. CHI 2021: 14.

7. Lady Flor Partosa. 20210329. We Are Not Robots: A Preliminary Exploration into the Affective Link between BTS x ARMY. The Rhizomatic Revolution Review [20130613], 2. Retrieved June 30, 2021 from https://ther3journal.com/issue-2/we-are-not-robots/

8. Bryan Rolli. Topps’ Racist BTS Garbage Pail Kids Sticker Would Have Been A Terrible Idea At Any Time. Forbes. Retrieved September 5, 2021 from https://www.forbes.com/sites/bryanrolli/2021/03/17/topps-racist-bts-garbage-pail-kids-sticker-would-have-been-a-terrible-idea-at-any-time/

9. Bryan Rolli. The Grammys Once Again Did The Bare Minimum For BTS. Forbes. Retrieved September 5, 2021 from https://www.forbes.com/sites/bryanrolli/2021/03/15/the-grammys-once-again-did-the-bare-minimum-for-bts/

10. Jaakko Stenros. 2014. In Defence of a Magic Circle: The Social, Mental and Cultural Boundaries of Play. Transactions of the Digital Games Research Association 1, 2: 39. https://doi.org/10.26503/todigra.v1i2.10

11. Anon Ymous, Katta Spiel, Os Keyes, Rua M. Williams, Judith Good, Eva Hornecker, and Cynthia L. Bennett. 2020. “I am just terrified of my future”: Epistemic Violence in Disability Related Technology Research. In Extended Abstracts of the 2020 CHI Conference on Human Factors in Computing Systems Extended Abstracts (CHI ’20), 1–16. https://doi.org/10.1145/3334480.3381828

SCMS 2022: The Serious Business of Accessibility in Playful Community Spaces

April 6, 2022 / kateringland / 0 Comments

This is a summary of the work presented at SCMS 2022. This is cross-posted on Medium: https://medium.com/p/d8ebbe436fa2

Play happens everywhere and is a universal human experience. However, questions of accessibility still challenge many playful spaces. As diverse as people are, there are a diverse set of needs in order to access an activity, interaction, or experience. We find, though, that disabled individuals are often not accommodated in playful places.

I turn particularly to online playful spaces where some disabled people may find the primary source of their interactions. These online spaces become community places, where people with like-interests congregate, form relationships, and have fun. For playful communities, creating access means both grappling with platform design, including appropriation and modification of technology, and iterating on community norms and expectations to accommodate community members.

In this presentation, using data from ethnographies from two different playful communities, I will explore how the platform and community values are entangled and impact not only the playfulness, but also the accessibility of the space [3,6].

Methods

For both the case studies used in this work, I used ethnographic methods where I was embedded as a participant observer in the community for an extended period of time. In each community, I collected data from my own observations, public social media content, and community produced content. This work is qualitative and while I use some mixed methods, such as surveys, I mostly use that to triangulate what I am already finding in my qualitative work. This means that this work goes very deep into some community spaces and narrows in on specific aspects of my work. In order to preserve the safety of the community members, everything is paraphrased, abstracted, or anonymized as appropriate.

I identify as disabled scholar and activist, which means I approach most of my research with a critical disability lens. I look at spaces through a lens of deconstructing ableism that is occurring there, as well as trying to better understand communities from the perspective of making members feel safe, included, and cared for.

Autcraft

The first ethnography was conducted in a community centered around the video game Minecraft — Autcraft — was founded to create a safe space for autistic youth [5]. The Autcraft community uses various methods including modifying game software, leveraging other social media platforms, and adhering to a strict code of conduct for members to address not only the needs of autistic youth, but to accommodate other access needs [3].

The Autcraft community uses a variety of technological platforms in their community, but it is centered around the video game Minecraft. They use plug-ins and modifications to the software in order to make the game more accessible for the players. There are many different ways the community creates “access” through technological means and many of these technological implementations have been iterated on over time.

The majority of communication in the game world happens via text or through avatar interactions, which are quite simplified compared to some other multiplayer games. This was another intentional choice by the community. If the text in the image above were happening live, it could be moving up the screen fairly quickly. While this is still preferred to other modes of communication, it has its challenges and takes some getting used to.

A text chat where the lines are spaced apart by dashes and the title are in different colors, one player’s name is highlighted in yellow.

After learning of a player in the community who was losing their vision, they added a new plug-in to the game in order to make the text chat more accessible. Now the different lines are separated by a symbol of the players choice, such as the dash. Specific titles and the player’s name is also highlighted in different colors. In making this change, the community ended up making text chat more accessible for many of the players.

The reason many people join the Autcraft community is because they had difficulty fitting in, finding friends, or, more broadly speaking, getting access to the play in a Minecraft space. Therefore, for many on Autcraft, being helpful and supportive is one of the most important parts of their sociality. The community has found it important enough to write into their rules and actively encourages this behavior through rewards, such as special titles such as member of the week.

Community describe hanging out with their friends on the Autcraft community much in the same way other youth online have. They spend time with their Autcraft friends online by interacting through forums, instant messaging, and “hanging out” in the Autcraft virtual world. And although not typically physically collocated, these youth on Autcraft consider these relationships to be meaningful friendships.

BTS’s ARMY

The second, ongoing ethnography is being conducted within the ARMY community, the fandom for the Korean musicians, BTS [4]. Much like the Autcraft community, the ARMY community is global. Unlike the Autcraft community, ARMY is a community made of loose-ties and more porous boundaries for community membership [2]. Therefore, how the community engages in play and accommodates access needs of members is notably different from the Autcraft community, as there are no central individuals making decisions about accommodations.

BTS posing with their diplomatic passports in blue suits — BTS posing with their diplomatic passports that they received as envoys to South Korea’s president to attend and give a speech at the United Nations General Assembly in September 2021.

Additionally, because ARMY tends to use public social media platforms, the amount of control they have over the technology is very different from Autcraft. One way the community creates access is by smaller sub-communities using whatever platforms work for them. Smaller groups of ARMY, then, might be found on a modified Discord server or in a group chat. BTS, and the band’s use of various social media platforms, might also dictate what platforms are the most popular among ARMY.

More often, the social infrastructure is altered and iterated upon in order to create access. Specialized accounts to create spaces for disabled or Deaf — or any other subgroup — exist to help foster support and push for more access. For example, as a disabled ARMY, I have been pushing for more alt text to be incorporated in community members’ posts on social media. This also means asking the social media platforms to create more access for users as well.

This sort of activity is important because much of ARMY’s play are fan edits, parody accounts, threads of music and videos, art, and commentary about BTS. In fact, ARMY and BTS often play together, each creating content, communicating via various social media platforms, and share the same goals. The play is very referential, often including layers of inside jokes. For example, there is a plethora of content that explicitly references BTS’s known love for chicken [1].

Selfie at a stadium with a woman with a purple face mask and purple shirt on next to a purple colored chicken badly photoshopped in — Selfie of me with the BTS ARMY chicken at the Permission to Dance On Stage concert in Los Angeles, CA in November 2021.

Like the Autcraft community, ARMY are mindful of social justice issues, especially with regard to access. In both communities, we see how play is both a playful activity, but also an important mechanism for more serious endeavors. This might look like an Autcraft member creating a series of YouTube videos of their game play as an anti-bullying campaign. Or this might be a member of ARMY creating a thread of edited BTS content to highlight the international sign the band used in their Permission to Dance video.

BTS dancing in Permission to Dance music video making "dance" sign — BTS doing the sign for “dance” in their Permission to Dance music video.

Both communities are also doing the work of correcting misconceptions and pushing back against stigma about themselves. These misconceptions occur because outsiders do not understand the community (often harboring sexism, misogyny, racism, and ableism towards both communities). Particularly, because these are communities of play, they are also often dismissed as ultimately inconsequential by outsiders. This is something both communities would vehemently protest, and do.

Creating Access to Play

Together, these studies show how communities leverage their playful qualities to appropriate and modify the technological and social make-up of the group in order to accommodate a diverse set of community members. From this, we are mostly left with more questions about “play” and “access.” Where is play taking place and can we support ideas of play for the sake of play at the same time play is also being used for more serious business? How is access being created in these various social spaces and what can communities do when they are at the mercy of the technology available to them?

In both communities, we see play being the platform for serious, even life-impacting, interests of community members (e.g., anti-bullying campaigns, grappling with both community-wide and individual trauma). With the advent of the COVID-19 pandemic, these communities became that much more important for its members, as they became the only means of socializing and forming relationships with people outside their homes and places of work. These playful communities were not just a place of leisure or a creative outlet. They are also a place to form meaningful connections with other people.

At the same time, these playful communities are addressing various questions of access. In this talk, I started to illuminate some of the ways communities accommodate disabled community members. The work these communities are doing should be noted because how communities play and what that play is doing for members of communities can be a starting point for understanding these otherwise marginalized groups.

And you can watch a pre-recorded version of the presentation here:

References

1. @bock_twt. 2020. Bantam Seoyeondon: BTS ARMY Shenanigans. In 2020 Rhizome Connect Virtual Conference and Convention. Retrieved September 5, 2021 from https://rhizomeconnect.com/2020/expo-hall/shenanigans/

2. So Yeon Park, Nicole Santero, Blair Kaneshiro, and Jin Ha Lee. 2021. Armed in ARMY: A Case Study of How BTS Fans Successfully Collaborated to #MatchAMillion for Black Lives Matter. CHI 2021: 14.

3. Kathryn E. Ringland. 2019. A Place to Play: The (Dis)Abled Embodied Experience for Autistic Children in Online Spaces. In Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems, 1–14. https://doi.org/10.1145/3290605.3300518

4. Kathryn E. Ringland, Arpita Bhattacharya, Kevin Weatherwax, Tessa Eagle, and Christine T. Wolf. 2022. ARMY’s Magic Shop: Understanding the Collaborative Construction of Playful Places in Online Communities. In Proceedings of the 2022 CHI Conference on Human Factors in Computing Systems.

5. Kathryn E. Ringland, Christine T. Wolf, Heather Faucett, Lynn Dombrowski, and Gillian R. Hayes. 2016. “Will I always be not social?”: Re-Conceptualizing Sociality in the Context of a Minecraft Community for Autism. In CHI 2016.

6. Tanya Titchkosky. 2011. The Question of Access: Disability, Space, Meaning. University of Toronto Press, Toronto, Ontario, Canada.

BTS standing in shapes to spell ARMY with RM in front

Looking for Care in Playful Online Communities

October 21, 2021 / kateringland / 0 Comments

We will be presenting this preliminary work at the CSCW 2021 workshop, “Future of Care Work: Towards a Radical Politics of Care in CSCW Research and Practice.”

There has been a recent effort to expand how we think about and design for care in digital spaces—including theorizing about care beyond formal or medicalized activities [1, 8, 9]. But there still remains unanswered questions about care in playful spaces, especially for adults. What types of care occur in these spaces? Our study examines this question by exploring fandoms on social media. We define fandoms as playful (online) communities that align around a particular interest (e.g., specific media or a person). Fandoms are meant to be for fun or pleasure and are often entirely separate from other parts of a person’s life, at least overtly [3].

In particular, our study in an ongoing ethnographic investigation of ARMY, a fandom that supports the Korean music group BTS. ARMY and BTS has piqued the interest of both mass media and academia in the past for some of their altruistic engagements including include supporting their community, artists, music, and social causes [2, 6], as well as BTS’s positive impact on mental health [5]. The care activities this community engages in is also bidirectional with BTS and ARMY caring for each other mutually. ARMY engages in many practices of care, even towards members of the band, defending them when controversies arise or posting words of concern for members’ health.

For this work, we are adopting a decolonial lens to understand care activities as relational and epistemically privilege the members of ARMY. This is especially important as ARMY has experienced delegitimization and stigamatization, including through discriminating on the basis of gender or age (e.g., [4, 7]). The need for a decolonial lens is heightened because of the origin of BTS (i.e., Korea) and the diversity of ARMY membership [2]. In this work, we aim to expand our understanding of care both by looking at playful online spaces where adults socialize and seek informal community support and through a decolonial perspective during data collection and analysis.

AUTHOR BIOS
Kathryn Ringland, PhD, is an Assistant Professor at the University of California Santa Cruz. Her areas of interest include human computer interaction, games studies, and critical disability studies.

Christine Wolf, JD, PhD. is interested in the intersection of CSCW, accessibility, and the future of work.

Tessa Eagle Tessa Eagle (she/her) is a third-year Ph.D. student in Computational Media at the University of California, Santa Cruz. She conducts research within human computer interaction and digital mental health.

Kevin Weatherwax is a fourth-year PhD student in Computational Media at the University of California, Santa Cruz. Presently he is researching satisfaction in robot-mediated collaborations, expressive curiosity for interaction design, and parasocial engagements with nonhuman agents as assistive technology for neurodivergent populations.

REFERENCES
[1] Cynthia L. Bennett, Daniela K. Rosner, and Alex S. Taylor. 2020. The Care Work of Access. In Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems. ACM, Honolulu HI USA, 1–15.
[2] BTS ARMY Documentary Team [@amidocumentary], On Wings of Love [@OWOLMovie], and Research BTS [@ResearchBTS]. 2020. BTS ARMY CENSUS. https://www.btsarmycensus.com/.
[3] Mark Duffett. 2013. Understanding Fandom: An Introduction to the Study of Media Fan Culture. Bloomsbury, New York.
[4] Emily. 2021. Fangirls, Fandom, and BTS – A Letter to the ARMY.
[5] Jin Ha Lee, Arpita Bhattacharya, Ria Antony, Nicole Santero, and Anh Le. 2021. “Finding Home”: Understanding How Music Supports Listerners’ Mental Health Through a Case Study of BTS. In Proc. of the 22nd Int. Society for Music Information Retrieval Conf. 8.
[6] So Yeon Park, Nicole Santero, Blair Kaneshiro, and Jin Ha Lee. 2021. Armed in ARMY: A Case Study of How BTS Fans Successfully Collaborated to #MatchAMillion for Black Lives Matter. (2021), 14.
[7] Lady Flor Partosa. 2021. We Are Not Robots: A Preliminary Exploration into the Affective Link between BTS x ARMY. The Rhizomatic Revolution Review [20130613] 2 (March 2021).
[8] Austin Toombs, David Nemer, Laura Devendorf, Helena Mentis, Patrick Shih, Laura Forlano, and Elizabeth Kaziunas. [n.d.]. Sociotechnical Systems of Care. CSCW 2018 ([n. d.]), 7.
[9] Austin L. Toombs, Shaowen Bardzell, and Jeffrey Bardzell. 2015. The Proper Care and Feeding of Hackerspaces: Care Ethics and Cultures of Making. In Proceedings of the 33rd Annual ACM Conference on Human Factors in Computing Systems (CHI ’15). Association for Computing Machinery, New York, NY, USA, 629–638.

Awarded UC President’s Postdoctoral Fellowship

May 18, 2020 / kateringland / 0 Comments

Amidst all the quarantine madness, I realize I hadn’t yet announced what I’ll be doing for work next year! I’ve been award the University of California President’s Postdoc for this coming year. I’ll be working at University of California Santa Cruz in the Computational Media Department.

The UC President’s Postdoc is awarded to a limited number of applicants each year with the hope of improving diversity within tenure track faculty ranks in the University of California system. For the 2020-2021 cohort, there were 1032 applicants and they offered 37 awards. I am extremely honored to have been chosen!

I am transitioning to this new position at the beginning of July and I’ll be working remotely for the present, but I’m looking forward to continuing my research with disabled folks, play, games, and equity! I’ll be posting more in the future both about my experiences on the job market thus far and my plans for future research projects. Stay tuned!

A photo of a close up of a banana slug, “looking” at the camera.

New Article: Disabled children leading the way

May 6, 2020 / kateringland / 0 Comments

As part of the Future of Childhood blog series for the Joan Ganz Cooney Center, I have written some of my own thoughts on the future of childhood.

Check it out here: https://joanganzcooneycenter.org/2020/05/06/kathryn-e-ringland

Interview on ABC News (Australia)

October 12, 2019 / kateringland / 0 Comments

Watch my interview with the ABC News about Minecraft for autistic kids.

A sunset over the tops of trees in minecraft.

“Do you work for Aperture Science?”: Researching and Finding the Gamer Identity in a Minecraft Community for Autistic Children at #FDG19

August 24, 2019 / kateringland / 1 Comment

Preview: For members of the Autcraft community, they are not only coming to terms with their identity as autistic individuals, but they are also playing with and practicing other identity roles. In this article, I briefly discuss the impact of the “gamer” identity. I also explore some possible implications for researchers who are interested in—or concerned about—games.

Disability and Play

Throughout history, disability has been a part of interactions and relationships in society as a way of creating the category of “other” and, therefore, ensuring the dominance of the category of “normal.” As an aspect of their life, a person’s disability seems all encompassing. This leaves little room for any other aspects of their identity or life. Not only is the person then defined by their inability to interact or engage in the world, but they are then not seen as having ability in anything. This includes those who play games. People with disabilities are seen as not able to play—or maybe not even interested in playing.

In this work I continue to analyze data from my virtual ethnography of the Autcraft community—a community for autistic kids who play Minecraft. You can read more about it here.

Background: Problematic Video Games?

There are a lot of concerns about video games, especially when it comes to children playing them. These concerns range from misbehavior, addiction, and bullying. This is especially true for autistic children. Many researchers have gone to great lengths to show the negative aspects of games for autistic people.

However, while many people don’t realize it, a lot of what is happening in these video games is a very social experience. As I have shown in my other work, the community members of Autcraft are playing with each other, making friends, and gaining confidence in their own social abilities.

Finding Identity

In this paper, I show how not only are the autistic community members of Autcraft embracing their identities as autistic people, they are also embracing and practicing the identity of “gamer.” They post to the forums about games, apply to be YouTube content creators, and embrace other aspects of nerdy game culture.

While they are trying on these different roles, this is complicated not only by their autism, but also by exploration of gender identity, among other roles. This is especially important given how hostile some gaming environments can be for those who are straight men. By focusing on one identity, it’s easy to lose sight of these other emerging aspects of the community members’ lives.

Implications for Research

There are two implications for research from this work.

Promoting pro-social gaming. There has been a drive to understand the negative aspects of gaming, however less has been explored in the positive. Especially for individuals with disability or difficulty accessing other forms of sociality and play, games can be a great resource.
Need for broader understanding of individual players. There is a need to look at players through an intersectional lens. Players are not only gamers (or not, depending whether they adopt this label or not), but also have varying ability and disability, gender identities and expressions, cultural and racial identities, and so on. By narrowing the scope too much, we sometimes will miss the important intersections of these identities and their impact on the person’s access to play (and social interactions).

For more details about our methods and findings, please see my paper that has been accepted to FDG 2019 (to appear in August 2019). Full citation and link to the pdf below:

Kathryn E. Ringland. 2019. “Do you work for Aperture Science?”: Researching and Finding the Gamer Identity in a Minecraft Community for Autistic Children. In FDG 2019. [PDF]

Acknowledgements: I thank the members of Autcraft for the warm welcome to their community. Thank you to Chris Wolf, Amanda Cullen, Severn Ringland, Kyle Lee, and the anonymous reviewers for their feedback on various iterations of this work. Special thanks to: Gillian Hayes, Tom Boellstorff, Mimi Ito, and Aaron Trammell. Thank you to Robert and Barbara Kleist for their support, as well as the ARCS Foundation. This work is supported by the National Institute of Mental Health (T32MH115882). The content is solely the responsibility of the authors and does not necessarily represent the official views of the NIH. This work is covered by human subjects protocol #2014-1079 at the University of California, Irvine.

old computer monitor with black background, green text that reads "critical failure detected, do not panic.. do not panic... do not panic..."

CHI 2019 Recap Part 1: Play and Technology

May 18, 2019 / kateringland / 3 Comments

Given that I’ve recently returned from CHI, I thought I would write up a few of my thoughts in a little mini-series of blog posts. Some, like this one, will be related to research, while others will be related more to going to the conference and my reflections on academia and HCI more broadly given my experiences in Glasgow.

an open diary with blurred writing, flower pressed into middle of book

One of the opportunities I had this year, as a newly minted PhD, was to chair a session (that is, run the session of paper presentation, introduce the speakers, hand out the best paper awards, ask questions if the audience is shy, and, most importantly, keep to time). It was a fun job and gave me a chance to engage with the speakers for some great papers! So, I thought I would recap some of the highlights about play and technology that piqued my interest during the conference.

Play (with/through/around technology) is one of the pillars of my research, as you can read in the blog recapping my own paper presentation at CHI. The other work I saw presented was a nice compliment to my own research. One paper, “Coding for Outdoor Play: a Coding Platform for Children to Invent and Enhance Outdoor Play Experiences,” was about an outdoor play activity that teaches children how to code. This game also had a social component with children working together to create game rules (which translated as ‘code’). Another paper, “Group Interactions in Location-Based Gaming: A Case Study of Raiding in Pokémon GO,” also looked at social aspects of play in outdoor spaces. I think there’s a lot of interesting avenues of this research at the intersection of play (indoor or outdoor, virtual or physical), technology, and social interactions.

These papers give a us a road map forward in terms of understanding children’s play in the 21^st Century. What most excites me about this work is I can see the opportunity here to be inclusive. Children with disabilities can benefit from augmenting environments with technology. I have seen this in my own work and I can see the natural extensions of some of the work above to move into disability spaces. In fact, Microsoft seems to also be moving a similar direction with the announcement of augmented reality Minecraft. This space is new and exciting, and I think with a little forethought and care we can make this inclusive for everyone.

A Place to Play

April 10, 2019 / kateringland / 3 Comments

The (Dis)Abled Embodied Experience for Autistic Children in Online Spaces

Preview: Play is an important part of childhood that is often inaccessible for children with disabilities. This work looks at how Autcraft, an online community for autistic children, uses different social media and games platforms to enable access to social play. First, the spaces the Autcraft community uses make the place that is Autcraft possible. Second, these spaces, though some of them are digital, are no more or less “real” than the physical spaces making up a schoolyard or playground.

Cross-posted on Medium.

Importance of Play

Social play is an important part of childhood. It is how children develop and practice their social skills. Children engage in a wide range of playful practice roles and test the boundaries of social rules. These playful interactions are vital not only for children to grow into competent, functioning adults, but also to discover who they are and what kind of adults they want to become.

Disabilities and Access to Play

Disability is created when a person is trying to interact with the world and are not accommodated by their environment. An example of this would be a child who wants to play on a playground, but they cannot roll their wheelchair into the space. Access and disability are inextricably linked. Access, in general, is not a given experience for any single individual. Disability is created in the moment that access is faulty or denied to a person. What this means is that disability is not created within a person.

Because a person’s body and their environment are constantly changing, disability is not happening all the time, but rather, a person is disabled by the context with which they are trying to engage. As disability scholar Tanya Titchkosky states, “While we all have bodies — bodies that we act, sense, feel, or move in and through — only some bodies, only some of the time and only in some places, are understood as disabled ones.” Access, therefore, is dynamic and ever shifting.

Accessibility signs in front of rough, grassy terrain.

For children with disabilities, including autistic children, access to play is often limited or of low quality. One way to help autistic children gain access to play and socialization is through online spaces, such as social media, games, and virtual worlds. This paper extends previous work in this area, by exploring the disabled experience and how that affects access to play.

Access is really only noticeable when it is not available and creates disability. The disabled body becomes the oppressed body, when they are denied access (advertently or inadvertently), not only in a social sense, but also in a literal, physical sense. Children who do not conform to “normal” and “normal play,” then, are not invited to the game. This is done both literally and through the making play objects that a disabled child cannot use.

Among other activities, individuals with disabilities use online spaces to socialize — empowering themselves to do what they may not be able to in the physical world. Online spaces have different ways of creating access from physical spaces. In this ethnographic work, I explore how one community uses the sense of place and the digital experience in Minecraft specifically to give autistic children access to play with their peers. In this sense, they are using Minecraft to mediate their play experience, just like a physical world playground mediates another kind of play experience. One type of mediated experience is not better (or less mediated) than another. Rather, these experiences, from face-to-face to text to avatars on a computer screen, are diverse kinds of experiences. Simply put, playing in Minecraft with friends is still social play, even though it might look different from playing in a physical playground.

For this work, I studied Autcraft. Autcraft is a Minecraft community for children with autism and their allies run by parent volunteers. The goal of the Autcraft community is to have a safe space for children with autism to play Minecraft free from harassment and bullying (for more information visit the Autcraft website). As part of this study, I have been conducting an on-going ethnography within the community (see my paper for details). This study included analysis of activity within the Minecraft server, forums, website, Twitter, Facebook group, YouTube, and Twitch.

The Different “Spaces” of Autcraft

In this work, I found the Autcraft community actively creates access to social play using a variety of social media and other technology. By looking at the entire constellation of social media in the Autcraft ecosystem, we can understand how community members are engaging in a variety of social play experiences.

Access to the Autcraft community happens through three layers of interconnected environments: physical, liminal, and virtual. The physical space includes computer hardware and the environment in which players access the computer. This would be things like a bedroom, home office, or computer lab in the library. The liminal space includes the installation and configuration of the software, as well as user authentication. Finally, the virtual space includes the various social media.

When combined, these spaces allow play to happen because the children have access to play in a context in which they “fit.” When educators, therapists, parents, and researchers privilege face-to-face interactions, they are, in effect, creating disability in children who cannot or will not play in that way. In the Autcraft community, members can recreate the playground in an environment that is more comfortable for them. Community members leverage technology to create a playground where children are most able to play. And, having done this, autistic children engage in social play of which people thought them incapable.

The Autcraft community has used a constellation of platforms to enable social play for autistic children. Here the Autcraft community is using the constellation of technological platforms to help create the sense of place. These platforms cross into physical, liminal, and virtual spaces, working together to create access to play. Here the Autcraft community have leveraged virtual worlds to their advantage — in essence, transforming the disabled play experience into an enabled one.

How someone interacts with others is meaningful, regardless whether that interaction is online or offline. For the autistic children of Autcraft, playing in online spaces is preferable to physical-world, face-to-face interactions. The Autcraft community has defied the conventions set out by many educators, parents, researchers, and therapists by creating a space that privileges digital engagements over physical-world ones. In doing so, they have made a playground that is more comfortable for many autistic children.

Children need a place to play. There are two things to consider: creating a sense of place and allowing for both the real and unreal in these places. Therapists, educators, parents, and researchers tend to privilege the physical realm over all others for mediating sociality. Members of the Autcraft community turn this notion on its head, instead privileging virtual interactions over physical ones. But further still, I have shown how all these spaces — physical, liminal, and virtual — must work together to make play possible. The spaces the Autcraft community uses make the place that is Autcraft possible. These spaces, though some of them are digital, are no more or less “real” than the physical spaces making up a schoolyard or playground. Ultimately, it the sense of place in Autcraft that gives children access to social play.

A Minecraft sheep with hearts around its head.

For more details about my methods and findings, please see my paper that has been accepted to CHI 2019 (to appear in May 2019). I am pleased to announce that this has received Honorable Mention (top 20% of all papers) Full citation and link to the pdf:

Kathryn E. Ringland. 2019. A Place to Play: The (Dis)Abled Embodied Experience for Autistic Children in Online Spaces. In CHI 2019. [PDF]

Acknowledgements

I thank the members of Autcraft for the warm welcome to their community. Thank you to Chris Wolf, LouAnne Boyd, and Oliver Haimson and other members of LUCI for their feedback on various iterations of this work. Special thanks to Severn Ringland for his diligent editing and Kyle Lee for insights while writing this up. Shout out to my dissertation committee who helped me shape my thoughts: Gillian Hayes, Tom Boellstorff, Mimi Ito, and Aaron Trammell. I would also like to thank Robert and Barbara Kleist for their support, as well as the ARCS Foundation. This work is supported by the National Institute of Mental Health (T32MH115882). The content is solely the responsibility of the authors and does not necessarily represent the official views of the NIH. This work is covered by human subjects protocol #2014–1079 at the University of California, Irvine.

Players hanging out together in the Autcraft virtual world.

March 24, 2018 / kateringland / 0 Comments