28 Matching Annotations
  1. Aug 2018
    1. User studies and intuition both suggest that the activities that a knowledge worker engages in change—sometimes dramatically—over time. Projects and milestones come and go, and the tools and information resources used within an activity often change over time as well. Furthermore, activities completed in the past and their outcomes often impact activities in the present, and ongoing activities will, in turn, affect activities that will be undertaken in the future. Capturing activity over the course of time has long been a problem for desktop computing.

      "Activities are dynamic"

      This challenge features temporal relationships between work and worker, in the past/present sense, and work and goals, in the present/future sense.

      Evokes Reddy's T/R/H temporal organization of work and Bluedorn's work on polychronicity.

    1. This means also that the predominantly linear time is comp-lemented by greater awareness of cyclical times and temporal routines which are overlapping each other.

      Evokes Adam's timescape concepts of other shapes/dimensions beyond linear/clock time experiences.

      This passage also seems to touch on Reddy et al's focus on temporal rhythms as an activity strategy

    1. phase-angle differ­ences simply refer to whether the phases, the parts of one rhythmic pattern,

      Phase-angle definition.

      "phase-angle differ­ences simply refer to whether the phases, the parts of one rhythmic pattern, lag, precede, or coincide with those of another."

  2. Jul 2018
    1. So does polychronicity scale? Or is it a nested phenomenon whereby someone might be monochronic within hour- long intervals but polychronic when the frame enlarges to a month? And if so, what might be the consequences of different nesting combinations?

      3rd wave: Does polychronicity scale over time periods larger than a daily work setting? Does it change depending upon the temporal trajectory, rhythm, or horizon?

    1. . When creating tools for schedulingandcoordination, it is crucial to provide ways for people to take into account not just the multiplicity of (potentially dissonant) rhythms [22, 46], but also the differential affective experiencesof time rendered by such rhythms.

      Design implication: How to accommodate rhythms and obligation with social coordination work?

      ".. one 'chunk' of time is not equivalent to any other 'chunk'"

    2. In contrast to the assumption oftime as linear, with ordered chunks progressing ina straightforward manner, people often negotiate time rhythmically, arranging timein patterns and tempos that do not always co-exist harmoniously.

      Does rhythmic time help to explain some of the tension in crowdsourcing crisis data from non-linear social media streams?

    3. In contrast to the assumption oftime as linear, with ordered chunks progressing ina straightforward manner, people often negotiate time rhythmically, arranging timein patterns and tempos that do not always co-exist harmoniously. In line with earlier CSCW findings [e.g., 4, 9, 45, 46], we term thisrhythmic time, which acknowledges both the rhythmic nature of temporal experience as well a potential disorderliness or ‘dissonance’ when temporal rhythms conflict.Like mosaic time, bringing dissonant rhythms into semi-alignment requires adaptation, work, and patience.

      Rhythmic time definition. Counters the idea of linear time.

      How does this fit (or not) with Reddy's notion of temporal rhythms?

    4. In previous temporalities research,scholars have drawn productively on Zerubavel’s similar concept of a sociotemporal order–an orientation to time that is shared amongst a social group and thusly produces coordinated rhythms and temporal alignments [15, 53]

      Definition of sociotemporal order as a common orientation to time which leads to coordinated social rhythms and ways to align, or reconcile conflicts in those rhythms.

    5. CSCW has been investigating the relationship of time and work practically from its inception as a scholarly fiel

      Classic CSWC literature on time includes: groupware calendaring systems, temporal rhythm, temporal trajectories, temporal ordering, temporal artifacts.

    1. Timing as a

      Could the multiple temporalities that symbolize importance account for a source of tension between always online volunteers and those who show up for random periods of time?

      Deployments have fixed time periods for data collection but no scheduling mechanisms for volunteers. Does this create a source of friction when there is no mechanism to signal social intent or meaning?

      How does this problem get reflected in Reddy's TRH model or Mazmanian's porous time idea?

      How can you manage social coordination of rhythms/horizons when there is no signal to convey intent/commitment?

      What part of the SBTF social coordination is spectral, mosaic, rhythmic and/or obligated? And when is it not?

    1. Trajectories and rhythms frame temporal horizons, de-scribed as knowledge of likely future activities that are drawn upon in the organization of current work. The three together bring orderliness to the working day, with the na-ture of temporal horizons dictating how flexibly work can be organised, and the urgency with which it needs to be carried out.

      Nice encapsulation as to how Reddy's trajectories, rhythms and horizons interact with one another.

    2. Plastic time is described as unanticipated, un-reflexive and fluid, as the “experience of temporal ‘scraps’, of gapsin the schedule”, and as “the negative space of busyness”[p. 233]. Plastic time flies under the radar, being unplanned and non-immersive, and associated with neither productivi-ty nor leisure. It is interruptible, but can also expand until some other activity presents itself.

      Definition of plastic time.

      Adds nuance to the idea of digital time as plastic -- morphable in some ways. rigid in others, asynchronous but also rhythmic in its own way (especially around the examples of web surfing and TV viewing) when the experience of time is lost.

      Does plastic time also hint at kind of materiality?? Time as tangible?

  3. May 2018
    1. The broad pattern of work in the unit is governed by sets of large-scale andfiner-grained rhythms

      In SBTF work:

      Large-scale rhythms are collective information-seeking (crowdsourcing) and the patterns of responding to an activation request, on-boarding during a new activation, volunteers getting comfortable with new documents/processes, moving from data collection to verification to cleaning, etc.

      Fine-grained rhythms are the start/midpt/end peaks for questions about data entry, subsequent adjusting of instructions, creating new data sheets in the midst of the deployment when new info needs become apparent.

    2. An analytical approach that highlights a temporalcharacteristic of work at a collective level is the concept oftemporal rhythms.The concept of rhythms directs our attention to the re-occurring patterns ofwork and how people use their knowledge of these re-occurring patternsduring their patient care and organizational activities in the unit.

      Temporal rhythms are workers' response to re-occurring patterns in collective activities and how people use those rhythms to build knowledge for later information-seeking and sensemaking.

    3. There are major differences between the rhythms of the day shift and nightshift nurses (Zerubavel, 1979

      This is somewhat reminiscent of the Euro vs US timezones. There are more Europeans who are active Slack channel participants so late afternoon/early evening UTC +/- 1 is fairly busy. The US starts coming on board when the Europeans are going to bed.

      I suspect "shift work" also varies for the place of disaster. It would be interesting to know if the "day shift" for Cyclone Pam/Vanuatu was Australian timezones and Nepal Earthquake was Indian timezones. Or if they both remained Euro-centric because that's where the volunteers largely live.

    4. The first period of intense activity is at the beginning of the shift.The nurse going off duty ‘‘gives report’’ to the incoming nurse taking over forher. During this information exchange, which usually lasts for 30 minutes,the incoming nurse must rapidly assimilate all the information about thepatient and the daily plan of care for the patient. Immediately after shiftreport, the nurse ensures that all the medications are available and checks onthe patient. The next intense period of activities follows the SICU teammorning rounds; the nurse implements or helps the physicians implement theplan of care decisions made during the rounds. The final intense period ofactivity occurs at the end of the shift.

      SBTF has tried to institute these more familiar rhythmic/routine activities but it doesn't seem to stick. Because there's such a lack of shift work mentality in the work, there isn't a convenient benchmark for assembling the latest information for Core Team/Coords or Leads/Volunteers.

      This has proven to be pretty problematic, especially when decisions are made but buried in Slack transcripts.

  4. Feb 2017
    1. , it seems. Snatches

      The terminal caesura and enjambment here stands out. What effect do they carry?

    1. You, too, have seenthe bulbs flash from the sea. You, too, have feltit breathing down your neck. You eat fish. You’ve heardthat mermaids sing.

      Structurally, the syntax contrasts between realistic and unrealistic imagery. Why? Also, unlike the first septet, the rhythm is more markedly disturbed with enjambment and initial and medial caesura. Why?

  5. Nov 2015
  6. Oct 2015
    1. speeds, rhythms, and duration patternsplay an important role in performing a sense of place and time that is asunique as the flows themselve

      Speed, rhythms, and duration do not determine the way of life instead they play a role in behavior.

    2. Depending on schedules, dis-tance, lifestyle, and other variables, some people may travel as frequently asalmost every day or as infrequently as once, twice, or half a dozen times ayear, or even never.

      The rhythms of people's lives combined with the rhythm of boat arrivals and departures influences the ability to travel.

  7. Oct 2013
    1. These three clauses are best pronounced when the voice is suspended on the first two members of the period, and comes to a pause on the third.
    1. but in a speech we need dignity and the power of taking the hearer out of his ordinary self.

      A right balance in rhythm to gain this effect.

    2. We have now seen that our language must be rhythmical and not destitute of rhythm, and what rhythms, in what particular shape, make it so.

      balanced rhythm

    3. Prose, then, is to be rhythmical, but not metrical, or it will become not prose but verse.

      Prose vs. verse.

    1. These are the three things -- volume of sound, modulation of pitch, and rhythm -- that a speaker bears in mind.

      ways to make the audience listen and actually hear what you are saying

    2. various rhythms that suit various subjects

      Interesting. What are some examples of this?