Tracing the multi-stabilities of social mobile technologies for learning ...

Tracing the multi-stabilities of social mobile technologies for learning: from story generators to mediated publics? Marianna Vivitsou CICERO Learning University of Helsinki [email protected] Johanna Penttilä CICERO Learning University of Helsinki [email protected] Veera Kallunki CICERO Learning University of Helsinki [email protected] Abstract: In this study we will discuss multi-stabilities of social mobile networking technologies through an analysis of user experiences of a social networked environment as mediating technology. In order to make different stabilities (or variations) visible, we will use a hermeneutic strategy and tell the story of connective experiences in order to, ultimately, trace those that reflect the ways technology is embedded in a use context. In this way, we aim to understand the directions social networked technologies are taking. To meet this end, we will discuss and analyze data resulting from semi-structured interviews of focus groups of students from California, Finland and Greece.

Introduction In this study we will discuss multi-stabilities of social mobile networking technologies in order to understand an aspect of human-technology relationship in a particular context (Kaplan 2010, 84). We will do so through a variational analysis of a social networked environment as mediating technology. In order to make different variations visible, we will use a hermeneutic strategy and tell the story of connective experiences in order to, ultimately, trace those stabilities that reflect the ways technology is embedded in a use context. In this way, we aim to understand the directions social networked technologies are taking. Technological artifacts are not neutral instruments but actively co-shape people's being-in-the-world: their perceptions and actions, experience, and existence (Verbeek 2006, 364). Connective technologies and environments, where people store and share stories, make visible aspects of their identities and cultural landscapes. In this sense, as they enable different interpretations of how humans experience the world, social networking technologies have intentions. Technological intentionalities, however, are multi-stable, in the sense that technologies do not have a fixed identity but can have several stabilities, depending on the way they are embedded in a use context (Ihde 1990). Technological intentionalities, therefore, are dependent on the specific stabilities that come about (Verbeek 2006). The ‘Library’ metaphor expresses one such stability. Like libraries that have traditionally stored Preview version of this paper. Content and pagination may change prior to final publication. stories, social and mobile networking environments nowadays host the stories of contemporary tellers. As it applies to cataloguing and indexing library systems, the architecture (i.e., the code) of networked

EdMedia 2014 - Tampere, Finland, June 23-26, 2014 environments enables access and retrieval. In this study we will discus the Mobile Video Experience (MoViE) as multi-stable connective technology. As a web-based environment where users upload and share video stories, MoViE functions as library where a client, by collecting with a global positioning system and presenting contextual data as tags makes retrieval possible. This functionality not only mediates the way the human user perceives the world projected through the story but how the story is acted upon as well. As spatial and temporal re-adjustments are performed and the content of clips remixed and annotated, commented and evaluated, users become ‘authors’ of stories that the technology generates. As such, the technology here becomes story generator and an implied author (Mäenpää 2013). As Mäenpää (2013) explains, a story generator is a programmed, configured and loaded by a human being machine that produces narratives in correspondence with the human being. As such, rather than an automatic generator, the ‘engine’, always having a human author to initiate storytelling, is an author-in-correspondence, or, according to Mäenpää (2013, p. 135), an implied author. To date the Mobile Video Experience has been used in Finland (Kallunki et al., 2014; Multisilta et al., 2008) and internationally (Niemi et al., 2014; Vivitsou et al., forthcoming) for learning with storytelling. As students and teachers get connected to share stories that catch moments from tellers’ lives, storytelling becomes digital in a network of peers. By telling pedagogical digital stories of life experiences and of historical, cultural and natural environments, students and teachers build content and relevance, and learn and grow with others, in ‘public’. They do so by entering a process of dialogue and interpretation (Vivitsou et al., forthcoming). In this sense, another stability of the networked space becomes visible, that of a pedagogical mediated public. As mobile devices are used to capture and share the video stories, in this study we also view MoViE as social mobile technology. Based on these stabilities, in this study we will examine user experiences in order to trace variations in technological mediation. To do so, we will discuss and analyze data resulting from interviews of students from California, Finland and Greece, as we consider these as our primary MoViE storytellers so far. In this way, we will seek answers to the study’s main research question, ‘What stabilities of mobile connective technologies emerge out of student-user experiences of storytelling in a mediated public?’

Theoretical background Changes in Telling Stories with Technologies Technological developments in the late 1990’s and early 2000’s revived dystopian anxieties that reflect a view of technology as ethics and instrument to mobilize and organize humans, and transform them into controllable subjects and objects (Heidegger 1997; Riis 2010, 127). These views see cyber-culture and storyteller technologies as technocratic (Verbeek 2006) expressions that develop technological agents and software aiming to steer human behavior. In this study, however, we argue that nowadays developments in technological systems create the space for imagination and creativity and, in this sense, have the potential to transform learning. In the following sections we will discuss such earlier and current developments. Intelligent digital agents are one example of early technological ‘storytellers’. According to Davenport (Davenport et al 2000, 458), these are engines that mediate the audience’s access to stable databases of content. The audience and the content collaborate in the co-construction of meaning with semi-autonomous behavioral units that move through the story world seeking opportunities to perform. These storyteller agents emphasize different aspects of the human dynamic. While viewers engage in multi-viewpoint stories they come to understand that own life story depends on the teller. They do so, however, in a setting where content is pre-determined in a similar way that they engaged with automatist storyteller systems. These can be seen as evolutions of semi-intelligent agents and build stories on chains of events. Automatist storyteller systems enablePreview an extensible base of content and an emergent story structure. They integrate the viewer’s interaction version of this paper. Content and pagination may change prior to final publication. as expressions in the form of discrete units of content. As individual expressions interact in an environment that is the process of storytelling the viewer is integrated with the experience. The system allows viewers to

EdMedia 2014 - Tampere, Finland, June 23-26, 2014 exert influence by altering an aspect of the environment or influencing the operation of other components. Unless they wish to do so, viewers are allowed to experience the ‘reverie’ of uninterrupted story construction (Davenport et al 1997, 452). These intelligent engines emulate the process and expertise of film editors and, therefore, exhibit a behavior of editor-in-software (Davenport et al 1997). Later developments upgrade to the role of implied author by bringing structure to user-generated content and, thus, second-generation story generators (Davenport 1997, Mäenpää 2013) are born. As Mäenpää (2013) explains, the generator is at the same time preprocessing, corresponding and postprocessing. In preprocessing action the human editor chooses the short video clips from the database and edits the remix according to own rules and wishes. In the corresponding act the human user again shoots and uploads tagged videos to the database and lets the generator (in our case the MoViE environment) generate a remix from the given tags in an order chosen by the human user. By bringing structure to publishing content, story generators now make it easier to view and share the story in a spontaneous mode, as people film and share under different criteria and situations. The end result, therefore, is unpredictable. A real human author gives the context and actions by shooting certain objects. The human author also tags the videos – whether they are “themes” or “variations”. The generator composes the order of the video clips. According to the idea of montage – or like a metaphor – the juxtaposition of images creates certain meaning, a certain kind of narration (Mäenpää 2013). Evidently, stories cannot only be generated. They also need be narrated. As Kearney (2002) argues, narrativity is what marks, organizes and clarifies temporal experience. Every historical process is recognized as such to the degree that it can be recounted. Telling stories nowadays, therefore, requires, more importantly than a technological agent, a moral agent in the sense that the latter not only articulates and recounts human action using signs, rules and norms. In addition, a moral agent evaluates or, in other words, judges according to a scale of moral preferences (Ricoeur 1984). These can include the content of the story, aspects of filming, the clips to be remixed or edited and so on. In this respect, stories are not mere reproductions of a finite set of pre-thought situations and, thus, predictable. On the contrary, they are artifacts of ‘mimesis’ in the sense of creative re-description of the world that uncovers hidden patterns and allows otherwise unpronounced meanings to unfold (Kearney 2002). Considering that telling stories allows the teller to express in an artistic way we would parallel first and second-generation intelligent storyteller agents with the naturalist conviction that art holds a mirror up to nature. Unlike this situation, third-generation story generators that allow for teller symbolic mediation along with technological mediation open up the space for an imaginative and interpretive recounting of the world. This resembles what Ricoeur (1984) terms the circle of triple mimesis: the pre-figuring of our life world as it seeks to be told (or practical experience); the configuring of the text in the act of telling; and the refiguring of our existence as we return from narrative text to action. Under this light, cyber-culture should be seen not as threat to storytelling but as catalyst for new possibilities of interactive, non-linear narration (Kearney 2002). As Kearney (2002, 128) argues, ‘no matter how technologies transform our modes of storytelling, people will always enjoy going into a story trance and allowing themselves to be carried away by a masterful story weaver’. This can be possible within a space of unpredictability that enables polysemy of meaning. Rather than centering on symbolic mediation, we argue here that storytelling nowadays requires a movement from action to the story and back again, passing from pre-figured experience through narrative recounting back to a refigured life world. The latent prefiguring of everyday existence (or practical experience) calls out for a more formal configuring by narrative texts that embed different modes of expression and, in addition to being symbolically, they are also technologically mediated. Mediation then works at multiple levels. At the symbolic level the story configuration (or em-plot-ment) mediates the prefiguration of the teller’s life world and the re-figuration of experience (i.e., the reception of the work). Preview version of thisrather paper.than Content and pagination may change prior to final In this study, however, the symbolic, it is the technological mediation thatpublication. we will place our focus on.

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Unpredictability in Mediated Publics Technological mediation concerns the role of technology in human action (i.e., the ways in which human beings are present in the world) and human experience (i.e., the ways in which the world is present to human beings, Verbeek 2006, 363). The notion implies that technology is part of a sociotechnical network. The mediating role of technologies depends on different factors: on how designers delegate responsibilities; how users interpret and appropriate technologies; and how technologies evoke certain emergent ways of mediation (Verbeek 2006, 372). As the narrative in technological mediation emerges through this complexity, Verbeek (2006, 375) argues that designers should try to establish a connection between the context of design and the context of use through, for example, mediation analysis (i.e., anticipation by imagination and augmenting constructive technology assessment by, for instance, making informed predictions about the mediating role of technologyin-design in a systematic way). Technological mediation appears to be context dependent and always entails a translation of action and a transformation of perception. As Ihde (1979, 1990) argues, the translation of action has a structure of invitation and inhibition, while the transformation of perception entails a structure of amplification and reduction. In this sense, advancements in mobile devices nowadays invite users to capture videos and share stories with other users online. Bandwidth limitations, however, can inhibit editing or remixing the stories on the networking environment where the videos are stored. The networking environment, nevertheless, makes the projection of user cultural landscapes (i.e., instances of users’ lives, self-representations and so on) possible and, therefore, amplifies visibility among and between peers. As peers and their immediate environments are not physically present at that moment, the connective environment also reduces aspects of this encounter, such as those involved in meeting ‘in the flesh’. More particularly, Ihde (1977, 1979, 1990) introduces four types of relation with technology, which, in turn, reveal distinct technological stabilities:  Alterity relations (or technology as living being, e.g., when buying a ticket from a ticket dispenser)  Background relations where technology creates the context of the experience  Embodiment relations: technologies are incorporated by users and establish a relationship between humans and their world through the technological artifact; and  Interpretative relations: technologies provide access to reality not because they are incorporated but because they provide a representation of reality, which requires interpretation In this study we aim to gain an understanding of technological mediation by looking into how users interpret and appropriate networking environments and software. In this way, we aim to trace stable relationships that emerge between students (i.e., the users) and MoViE as an example of mobile connective (or networking) technology. As Verbeek (2006) argues, multi-stability involves an element of unpredictability in the sense that it is difficult to predict the ways in which technologies will influence human actions. To resolve this, in this study we aim to discuss and analyze student-users’ experiences and, thus, gain an understanding into possible stabilities when digital technologies are used for pedagogical purposes.

Study Aims, Methods and Participants In order to trace multi-stabilities of social and mobile technologies for learning we will analyze the content of data drawing from semi-structured interviews of focus groups of students from California, Finland and Greece. To discuss the stabilities we will use the hermeneutic strategy (Ihde 1977) and tell the story of Preview version of this paper. Content and pagination may with change prior to finalin publication. MoViE as mediated environment by connecting student experiences variations found the relevant literature. Findings in the study result from the first cycle of content analysis (Saldana 2009). More

EdMedia 2014 - Tampere, Finland, June 23-26, 2014 particularly, the analysis of interviews will involve:  Two groups of 6-8 graders (3+5 female= 8 students) from one school in California telling stories about water as part of an arts-based curriculum The school is a single-sex, private girls’ institution where data were collected as part of the Boundless Classroom project with digital storytelling as background pedagogical method. The teaching happened during a week for special courses and projects. During that week, students work on the MoViE project for about half of a school day. Two teachers are involved in teaching the project: one with a literature and theater background and another with an art and technology background. The project focus is on student expression and storytelling, and the students make MoViEs independently, and all over the school and school grounds.  Two groups of 6th graders (School 1= 4 female students, School 3= 2female+2male, total 8 students) from two schools in Greece. In School 3 students re-tell the myth of Europe while in School 1 students tell stories drawing from cultural background and daily life. The students build their scenarios and present their work in the school lab and in the classroom (2-4 students per computer). They rehearse presentations in groups and then shoot the videos. Decisions are reached in unison in teams or in plenary depending on the problem. Teams are engaged with other projects as well. All projects are Web 2.0-based, involve collaborative work and are focused on digital experiences.  9 groups of 5th graders (19 females+15 males, total= 34 students) from a primary school in Finland studying the phenomenon of motion in their Physics class During a fourteen lessons period students had 1) inquiry-based lessons where they filmed their own practical experiments relating to motion and 2) editing lessons where they created digital stories from the video clips captured at inquiry-based lessons. Students’ task for creating a digital story was two-fold. At first, students created their stories on the basis of the themes of the lessons. Later, to promote their progress and activity, students were given a frame story to attach their videos clips to (Kallunki et al. 2014). All the activities were part of the curriculum. All in all, the students from the three countries participated in two different projects. One (Finnable 2020) was internationally based and took place in October-December 2012. The data were gathered during that period of implementation. Another (SAVI project) investigated into the use of video stories for learning in Finnish primary schools in autumn 2013. The background for both was the use of mobile digital media for the creation and sharing of stories drawing from the human and the natural sciences respectively. In the Finnable 2020 project there was a total of 34 participating classrooms while SAVI involved 6 classrooms in phase 1. Participant selection for this study was random and was made upon convenience logic. Table 1 below presents characteristics of the students-participants in the study. Grade/nr of students/ Content of learning Context of learning gender California Two groups of 6-8 Human sciences International (students in graders this school collaborated (total 8 female students) with peers in Finland) Finland 9 groups of 5th graders Natural sciences Local (students in these (three schools) schools worked with (19 females+15 males, physical classroom total= 34 students) peers) Greece Two groups of 6th Human sciences International (students in graders (two schools) both schools (School 1= 4 female collaborated with peers students, 3=and pagination may change prior toinfinal California and Preview version of this paper.School Content publication. 2female+2male, total 8 Finland)

EdMedia 2014 - Tampere, Finland, June 23-26, 2014 students) Table 1. Student-participants’ characteristics, and learning content and context

Findings As the extract from the Finnish database below (table 2) reveals, the analysis of focus groups interviews involves a progressive movement from the participants’ actual utterances (or quotes) to reduced expressions to main categories and sub-divisions. Quotes

Reduced expressions

Main categories (Emergent sub-themes) Establish a relationship between peers and their world through and with the technological artifact (putting out and sharing ideas, giving feedback)

5H2: We also talked [in MoViE]. It was so cool to Talking to group be there [in the computer classroom] side by side members in MoViE with your group members and you could have just discussion forum was talked quietly, but then we just wrote everything nice down in there. R1: So you noticed that it was quite nice to do things like that? 5H1: Yeah. 5H2: Yeah. It was nicer than talking out loud. R1: Quite many of you liked to add comments, so Reading others’ ideas is what was so especially nice in that? similar to Facebook; 9H3: Well, that you could do just like in these are nice properties Face[book]. 9H2: Or like, you could see, what the others had put there. 9H4: Or what others were thinking about it. 3H3: We filmed by ourselves the one, the Unstable connection Establish an interpretative throwing of stone, but then it wasn’t, there was no prevented video upload relationship of the technological internet connection, so it didn’t go there [to artifact (unpredictability of how MoViE]. technology can function, invisible systems) 4H3: It was stupid to do those remixes, because Remixing was timeyou had to wait so long. They took so long. consuming and boring 7H4: I would have liked the editing more, if there It would be good to get Representation of reality / Establish would have been like more choices than only to more editing tools an interpretative relationship of the remix something. Like adding some things or technological artifact delete some clips or… (alternative technologies, 7H2: I think so too. technology as obstruct to creativity) 7H4: Or adjusting the volume or adding some things in there [draws a picture in the air with both hands]. 7H1: If you could like add music or something like that. I think it would be quite good, if you could Preview put a background picture in there, some tiny version of this paper. Content and pagination may change prior to final publication. picture and music. And then you would be able to take the extra noise away from there, if somebody

EdMedia 2014 - Tampere, Finland, June 23-26, 2014 is shouting there.

Table 2. Extract from the Finnish data: The analytical process The analysis, therefore, progresses from empirical data to categories and emergent sub-themes. As such, this constitutes an abductive content analysis (Tuomi and Sarajärvi 2002) in the sense that abduction is an act of interpretation. In this respect, abduction offers a possible explanation of events (i.e., those discussed through student quotes) by limiting them to members of a class (i.e., through categorizing, thematizing etc.) (Polkinghorne (1983, 123). As final categories and sub-themes resulting from the first cycle analysis (Saldana 2009) of student interviews indicate (table 3), technological stabilities in mediated publics are, rather than clear-cut and divergent, complex and intersecting. For example, as students-storytellers explain how they incorporate connective technologies for learning, they reveal technology as the context of the experience. This reflects a background relation, as technology acts like the light of the refrigerator that makes the content visible following the opening of the food container. In a similar way, as Student 3 (S3) from California explains ‘… they got to see our everyday dress, how we dress everyday and when we got to see them when they were doing their introductions, we saw that they were all covered, like they were cold and stuff…’ she actually makes evident that while her Finnish peers lay beyond vision, they are now brought into view through MoViE (Ihde 1979, 30). Additionally, this relation brings forward an interpretative one, as, at the same time, the networked environment enables a representation of reality where peers project own and look at others’ perspectives and landscapes. This becomes evident when one Californian student (ffS2) claims that ‘Finland was interesting because we got to look at their perspective I guess and [they] ours. And we can be like well, to them, water means rain because it rains a lot, but to us water means like, a tap or sea life …’ Building upon the previous utterance, ffS1 adds, ‘To me it means San Francisco because we’re surrounded by water and it’s very wet all the time’. Similarly, the Greek S2-f12-sc1 expresses the notion of establishing relationships with peers when commenting that, ‘We discovered that we like similar things, by looking into … topics that we are all interested to explore during the project’. As the student elaborates on how collaboration with her physical team evolved, she reveals that the experience with the connective environment enabled idea sharing and grounding shared concerns by jointly agreeing upon themes for investigation. In addition to sharing ideas and building agreement on the themes of investigation, technology also served as a means to give and receive feedback toward the improvement of the artifact. In this way, students also get acknowledgement as video creators, as comes up when the Finn 9H4 clarifies, ‘[You could see] what others were thinking about it’. Further than that, these students’ views reveal that a certain degree of interpretation occurred while operating Preview version of this Content change prior final publication. the networking environment or,paper. in Ihde’s (1979,and 55) pagination terms, whenmay working ‘with the to technological artifact’. It seems, therefore, that a kind of dialogue was going on, one that created the space for students to

EdMedia 2014 - Tampere, Finland, June 23-26, 2014 further expand their knowledge of digital environments. This becomes obvious, for example, when the Greek S2-f12-sc1 claims, ‘We did learn more about computers’ and S1-f12-sc1 confirms and expands ‘This means that we can make safer use of the computer now, without fearing that something will go wrong. We believe that now we know’. The communication, therefore, does not only concern the student-to-student interaction. It also involves a sort of digital ‘language’ that is developing at the student-to-computer/networking environment level that allows for, among others, digital literacies to grow. This comes to add to language capabilities and skills that students enhance in L1 (mother language) and L2 (second or other language) in order to achieve their common, internationally based or classroom-set goals. Evidently, the Finnish students also discuss instances where MoViE created the space for developing relationships with their classroom peers despite the fact that, in this case, activities were focused at the local learning space. Similarly to the ‘dialogue’ with the technological artifact we discussed earlier, the Finnish students seem to come up with an interpretation of the networking environment functionality. As this student (7H4) explains, ‘I would have liked the editing more, if there would have been like more choices than only to remix something’. In this way, the sub-theme of technology as obstruct to creativity comes up. This seems to be an issue for consideration in the networking environment design process for future development. The student’s peers share and confirm this view (e.g., 7H4: Or adjusting the volume or adding some things in there... 7H1: If you could like add music or something like that…). Emergent stabilities of the mediated public, therefore, are not only multiple. They are also the points where subjectivities and artifacts intersect. In order to resolve implications arising from the stability of relationship as interpretation of the technological artifact (table 3), therefore, we need to consider the cluster of related, though quite distinct, variables. These involve a multiplicity of issues ranging from purely technical (e.g., unpredictability and invisible technological systems) to factors touching upon content and narrativity (e.g., the story as whole and the message conveyed) to aspects concerning user choice and relationships to cognitive factors (e.g., technology as obstruct to creativity). Table 3 below presents the main categories that resulted from the analysis. These represent types of perceptual and mediation of action while working with MoViE. In this sense, these constitute the stabilities of the networking environment. Sub-categories and sub-themes are also included in the table. As context of experience,  invitation, discouragement Representation of reality  cultural landscape (weather), content of learning (natural phenomena), language, people o Looking at connected peers perspectives o Projecting own perspectives, expectation for interpretation Establish a relationship between peers and their world through and with the technological artifact  putting out and sharing ideas  mobilizing imagination  traveling  making stories Establish a relationship of interpretation of the technological artifact  unpredictability of how technology can function  invisible systems (technology as Pandora’s box)  conveying meaning (brings people together, work together, internet as a world on its own)  the story as whole Preview version of this paper. Content and pagination may change prior to final publication.  choice in what, who you work with and where you work (e.g., moving out of the classroom)  as evolving relationship

EdMedia 2014 - Tampere, Finland, June 23-26, 2014  as obstruct to creativity Table 3. Content analysis: categories and sub-themes

Discussion of Findings The analysis of content indicates that student-storytellers’ experiences make different stabilities of Mobile Video Experience visible in terms of how they appropriate the connective environment as a symbolically and technologically mediated space for learning in ‘public’ (or mediated public). One such stability arises from the view of the connective environment as context for the learning experience, one that invites for building knowledge and relationships. It does so by opening up the space for a representation of reality through video stories on the one hand. On the other, it invites for or, at other times, discourages from an interpretative appreciation of the phenomena (e.g., natural phenomena and cultural landscapes) projected in them, as well as the people and the medium of communication. In all cases, however, the mediated public allows storytellers to look at connected peers’ perspectives as well as project own views. Importantly enough, this learning space enhances building relationships as peers exchange ideas, use imagination and ‘travel’ across settings and situations, in order to create and share, and respond to peers’ stories. In this environment, where technological mediation is activated, storytellers reconsider how they perceive the world and the learning process and how they act with others. One aspect of such acting concerns acting through and with technologies (Ihde 1979) for learning. Acting through technologies enables embodiment in learning by bringing close and making visible what was previously at a distance and invisible. Acting with the connective technology allows user interpretation to appear. This involves not only interpretation of connected peers’ cultural landscapes but a critical look into the different aspects of the technology as well. The latter becomes visible when sub-themes, such as technical unpredictability and invisible systems come forward in the study participants’ speech. These are issues that call for consideration in the design and the evaluation in the process of future development.

Conclusions Overall, the findings of the study indicate that technological mediation in mobile connective environments for learning concerns both the perceptual and the relational experience of student-users. As students tell stories and build knowledge and bonds with connected peers in physical and in virtual proximity, mediation through the technological artifact enables the extension of the bodily self-experience. In this respect, the variation of technology as means shows up. In addition to this, mediation with the technological artifact allows for the peer-to-peer and the user-technology dialogue to start up and evolve. In this process the interpretative aspect of the human-technology relationship in the particular user context emerges. However, as the analysis indicates, the boundaries of such relationships, rather than clear-cut, are intersecting and, at times, overlapping. Certainly, this bears implications for the design and the developmental process of the technological artifact. As figure 1 below shows, when it comes to MoViE, the evolution of the environment through time speaks to the increasing complexity of the situation.

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EdMedia 2014 - Tampere, Finland, June 23-26, 2014

Figure 1. The development of MoViE through time The passage from the story generator in the 2000’s to the mediated public in the 2010’s is indicative of the requirements that characterize each historical period and situation. It becomes, then, more and more apparent that, in addition to existing design variables, content and context variables need to be taken care of. In this way, along with ongoing user-based insights and evaluation, the increasing requirement for multiple usergenerated content in social connective spaces can be satisfied.

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