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Co-experience: Understanding user experiences in social interaction

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and sunniest time of year. The “fantastic” weather is <strong>in</strong> fact the opposite. Also<br />

here the message has been created together on Leena’s phone: it is a man who<br />

speaks, and who maybe is <strong>in</strong> the picture, the bright reds and yellows of the<br />

sail<strong>in</strong>g jacket <strong>in</strong> contrast with the gloomy surround<strong>in</strong>gs.<br />

All messages with sound were analysed <strong>in</strong> one sample <strong>in</strong> which four dist<strong>in</strong>ct<br />

content categories emerged: humour, greet<strong>in</strong>gs, emotive content and <strong>in</strong>formative<br />

content. Most messages conta<strong>in</strong>ed more than one type of content (as <strong>in</strong> the<br />

case of the <strong>in</strong>vitation greet<strong>in</strong>g). Interpret<strong>in</strong>g humour is difficult. A well-masked<br />

<strong>in</strong>side joke may be hard to notice but this sarcastic type of humour was easily<br />

recognisable <strong>in</strong> many messages as a contradiction between the mean<strong>in</strong>gs of<br />

the different media elements. For example, the text and the image would suggest<br />

one <strong>in</strong>terpretation and the sound would provide the f<strong>in</strong>al clue and turn the<br />

situation upside down. Any comb<strong>in</strong>ation of media could be used to this effect,<br />

but it would seem that <strong>in</strong> support<strong>in</strong>g these <strong>in</strong>terpretations, the richer context<br />

of the sound was helpful. In a sample (N=98) of all MMS messages, humour was<br />

present <strong>in</strong> 12% of the messages. Messages conta<strong>in</strong><strong>in</strong>g sound were evaluated as<br />

a separate sample, and half of these messages were found to be humorous (see<br />

table 1). Humour was divided <strong>in</strong>to subsets, such as situational commentary,<br />

absurd messages, <strong>in</strong>sults, puzzles and spoofs.<br />

TABLE 1<br />

Prevalence of humour <strong>in</strong> message samples.<br />

MESSAGE TYPE<br />

HUMOUR<br />

Selection sample of all messages n=98 12%<br />

All messages <strong>in</strong>corporat<strong>in</strong>g sound n=190 48%<br />

These values should be understood as a rough impression, due to the complexity<br />

of identify<strong>in</strong>g and classify<strong>in</strong>g humour.<br />

126 4 PRESENTING THE ARTICLES<br />

3.5 CO-EXPERIENCE IN MMS<br />

<strong>Co</strong>-<strong>experience</strong> takes two forms <strong>in</strong> the data of this study. One is the use of the<br />

mobile phone <strong>in</strong> creat<strong>in</strong>g a message. The other is the message itself and how<br />

its content is <strong>experience</strong>d and <strong>in</strong>terpreted. Both have been analysed from evidence<br />

<strong>in</strong> the messages themselves.<br />

While typ<strong>in</strong>g a sms message collectively does not sound likely or attractive,<br />

creat<strong>in</strong>g a MMS greet<strong>in</strong>g does. The picture and the sound record<strong>in</strong>g feature allow<br />

openness for participation and collaborative message creation – everyone<br />

from young children to parents and grandparents can be <strong>in</strong>volved <strong>in</strong> speak<strong>in</strong>g<br />

<strong>in</strong>to the microphone and pos<strong>in</strong>g <strong>in</strong> the photograph. All of these messages were cre-

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