1 INTRODUCTION
1 引言

The HCI and design research communities have long been concerned with studying and designing novel ways for people to use and live with interactive systems. The traditions of participatory design and co-design aim to directly involve people as core stakeholders in and across design processes. These approaches have enabled HCI and design researchers to make substantial contributions to improving and extending many ways in which technology can enable and support people across the many tasks and experiences that encompass their everyday lives. Yet, researchers who work closely with participants in the field are often confronted with ethical challenges. One specific issue is how to equitably and reciprocally “give back” to research participants once the project comes to an end [28,58,72]. While HCI and design researchers agree that plans need to be envisioned for what happens when a research project is completed and they “leave the field” (e.g., [32,41,67,70]), it still is a recurring challenge on how exactly such strategies can be feasibly enacted. Additionally, translating theoretical or empirical knowledge derived from HCI research into a form that can positively engage both the people that participated in the research itself and the general population alike, can be slow, unpredictable, and incongruent (e.g., [10,16,56]).
人机交互（HCI）和设计研究社区长期以来一直关注研究和设计人们使用和与交互系统共存的新方法。参与式设计和共同设计的传统旨在直接将人们作为设计过程中的核心利益相关者参与其中。这些方法使 HCI 和设计研究人员能够对改善和扩展技术在日常生活中支持人们的多种任务和体验方面做出重要贡献。然而，与参与者密切合作的研究人员常常面临伦理挑战。一个具体的问题是，在项目结束后，如何公平和互惠地“回馈”研究参与者[285872]。尽管 HCI 和设计研究人员一致认为需要设想研究项目完成后发生的情况以及他们“离开现场”时的计划（例如，[32416770]），但如何切实可行地实施这些策略仍然是一个反复出现的挑战。 此外，将来自人机交互研究的理论或实证知识转化为能够积极吸引参与研究的人员和普通大众的形式，可能是缓慢、不确定且不一致的（例如，[101656]）。

In what ways can HCI and design researchers contribute back to the research participants and communities that support the advancement of academic knowledge for our field? How could designing more engaging and accessible forms of knowledge for the populations we work with help us take a step toward supporting such relations? And, what insights might be reflexively revealed through producing such alternative forms of knowledge?
人机交互和设计研究者可以通过哪些方式回馈支持我们领域学术知识发展的研究参与者和社区？为我们所服务的人群设计更具吸引力和可获取性的知识形式，如何帮助我们朝着支持这种关系迈出一步？通过产生这些替代知识形式，可能会揭示出哪些反思性的见解？

Our point of departure into investigating these questions and grounding our own thinking in this space begins with our recent prior field study with 9 participants that are living with blindness [79]. The majority of HCI research related to people living with blindness has focused on overcoming practical challenges (e.g., spatial navigation [6] and usability [12]). The goal of our previous field research was to establish a grounded understanding in how technologies can be designed to support experiences of everyday reminiscence for blind people. Findings revealed that blind people drew on their sensorial capabilities, their possessions, and their social relationships as resources for reminiscence, and tensions emerged complicating their practices. Interpreting these findings led to opportunities for future research aimed at creating technology that better supports capturing, sharing, and reflecting back on significant memories of past life experiences for blind people.
我们调查这些问题并在这一领域建立自己思考的出发点始于我们最近对 9 名盲人参与者的实地研究[79]。与盲人相关的 HCI 研究大多数集中在克服实际挑战上（例如，空间导航[6]和可用性[12]）。我们之前实地研究的目标是建立对如何设计技术以支持盲人日常回忆体验的扎实理解。研究结果显示，盲人利用他们的感官能力、个人物品和社会关系作为回忆的资源，同时也出现了复杂化他们实践的紧张关系。对这些发现的解读为未来研究提供了机会，旨在创造更好地支持盲人捕捉、分享和反思过去生活经历中重要记忆的技术。

Another important finding was that participants realized that they had rarely been prompted to consider how they record, remember, and share their life experiences. Clearly, these practices are vital for blind people, as they are for all humans. Nearly all participants in the field study wished to find out more about the other study participants’ reminiscence practices and, more generally, the experiences of other people living with blindness. This desire from our participants indicates that there is a necessary and needed step to deliver the results from the field study back to the population of study in a form that is appropriate and accessible, to spark further conversations between participants, while opening a channel to researchers as a continuation to explore longer-term participatory research. This resulting implication is aligned with broader calls in HCI and design research communities to develop alternative ways of creating and distributing knowledge back to research participants in the service of establishing more equitable relations [44,48,58,64,74]. Yet, specific cases demonstrating how such rich, unique, and accessible forms of knowledge can be created through design practice, especially in engaging with diverse groups of participants, are relatively sparse and more examples are needed to nurture and diversify this emerging area.
另一个重要发现是，参与者意识到他们很少被促使考虑如何记录、记忆和分享他们的生活经历。显然，这些实践对盲人来说至关重要，对所有人类也是如此。几乎所有参与实地研究的参与者都希望了解其他研究参与者的回忆实践，以及更广泛的与盲人生活的其他人的经历。参与者的这种愿望表明，有必要并且需要将实地研究的结果以适当和可获取的形式反馈给研究人群，以激发参与者之间的进一步对话，同时为研究人员打开一个渠道，以继续探索更长期的参与性研究。这一结果的含义与人机交互和设计研究社区更广泛的呼吁相一致，旨在开发替代方式，将知识创造和分发回研究参与者，以建立更公平的关系。 然而，具体案例展示了如何通过设计实践，特别是在与多样化参与者群体互动中，创造出如此丰富、独特和可获取的知识形式的情况相对较少，需要更多的例子来培育和多样化这一新兴领域。

Building on our prior research [79], we describe and critically reflect on the seven-month design-led research process to create an engaging audio documentary made through the inclusion of our participants’ voices and narratives. While research communication has gained significant momentum in the recent years – most notably audio based artifacts and performances like podcasts and science slams – a key issue is that channels between participants and from participants back to researchers are usually lacking. Our goal was to create a form that can be given back to the participants themselves as well as the broader blind community. Through specific design decisions and, eventually, implementing our audio documentary via the interactive sound platform SoundCloud, we aimed to both give back and simultaneously open the opportunity for participants to communicate with us, the research team, as well as with each other. This form of research dissemination simultaneously helps us create a stronger relationship which is supportive to the longer-term participatory research we aim to produce and in building reciprocal relations. However, designing this audio documentary was not merely an act of translating their recent research paper into an audio format. Rather, this process required careful consideration to overcome several tensions related to narrative flow, treatment of participant voices, pacing, and building in communicative silences [1] for pause, reflection, and response.
基于我们之前的研究[79]，我们描述并批判性地反思了为期七个月的设计驱动研究过程，以创建一个通过参与者的声音和叙述而制作的引人入胜的音频纪录片。尽管近年来研究传播获得了显著的动力——尤其是以音频为基础的艺术品和表演，如播客和科学快闪——但一个关键问题是参与者与研究者之间的沟通渠道通常缺乏。我们的目标是创造一种形式，可以回馈给参与者自己以及更广泛的盲人社区。通过特定的设计决策，并最终通过互动音频平台 SoundCloud 实施我们的音频纪录片，我们旨在既回馈参与者，同时也为参与者与我们研究团队以及彼此之间的沟通打开机会。这种研究传播形式同时帮助我们建立更强的关系，支持我们旨在进行的长期参与性研究，并建立互惠关系。 然而，设计这个音频纪录片不仅仅是将他们最近的研究论文转化为音频格式。相反，这个过程需要仔细考虑，以克服与叙事流、参与者声音的处理、节奏以及在交流中建立沉默[1]以便于停顿、反思和回应相关的几种紧张关系。

To grapple with such tensions and frame our design inquiry, we are informed by concepts which are, in part, drawn from decolonial theory. Inspired by Tony Fry's assertion to ‘dig where you stand’ [31] – which broadly provokes designers and researchers to engage with the contemporary cultural, political, and ethical realities of where design work takes place – we were motivated to draw on key concepts from decolonial methodologies across our creative practice. Giving back to communities has long been a goal of participatory design, and this concern, along with key commitments to how knowledge is transferred, has also been examined through decolonization lenses. In the context of our own work, a set of distinct decolonial concepts helped to guide the design of the audio documentary.
为了应对这些紧张关系并框定我们的设计探究，我们受到了一些部分源自去殖民理论的概念的启发。受到托尼·弗莱“在你所站之处挖掘”的主张的启发，这一主张广泛地促使设计师和研究者关注设计工作所发生的当代文化、政治和伦理现实，我们因此受到激励，借鉴去殖民方法论中的关键概念，贯穿于我们的创作实践中。回馈社区一直是参与式设计的目标，这一关切以及对知识转移方式的关键承诺，也通过去殖民化的视角进行了审视。在我们自己的工作背景下，一组独特的去殖民概念帮助指导了音频纪录片的设计。

In this paper, we describe and reflect on our design-led process of creating this audio documentary and interpreting critical-reflexive insights emerging through our process to propose questions, commitments, and opportunities for future research and practice. This paper makes two contributions. First, it details insights into how a design-led process can be applied to transforming an HCI research publication into an intelligible alternative form for research participants in the service of supporting reciprocity. Second, it offers a case study that helps expand conceptual strategies for mobilizing audio-based forms of HCI research.
在本文中，我们描述并反思了我们以设计为导向的音频纪录片创作过程，以及通过这一过程所产生的批判性反思洞见，以提出未来研究和实践的问题、承诺和机会。本文有两个贡献。首先，它详细阐述了如何将以设计为导向的过程应用于将 HCI 研究出版物转化为研究参与者可理解的替代形式，以支持互惠。其次，它提供了一个案例研究，帮助扩展动员基于音频的 HCI 研究的概念策略。

2 BACKGROUND AND RELATED WORK
2 背景与相关工作

Related work falls into the two areas: 1) participation, reciprocity, and science communication & 2) decolonial theory and sound studies.
相关工作分为两个领域：1）参与、互惠和科学传播；2）去殖民理论和声音研究。

2.1 Participation, Reciprocity and Science Communication
2.1 参与、互惠与科学传播

Involving people is a common goal in design, as it improves the chance that design outcomes are aligned with people's life worlds and needs [60]. From ideation to deployment, there are many design processes that promote closer involvements and participations, including a wide variety of well researched workshops, methods, and toolkits. However, the beginnings and endings of participatory design processes are notoriously difficult issues to tackle. Most academic funding cycles have set start and end dates. It is difficult to begin participatory design work because researchers have to establish relationships with people, communities, and the general public; they have to build infrastructures for fruitful disagreement, joint decision making, and negotiating values and goals. It is similarly difficult to end participatory design work. After all, participants are often quite involved in the design process and later on, may continue to integrate the tangible outcomes of the participatory design process into their work and life. It is an open challenge to make sure results are sustained when the project ends and that participants are valued for their involvement [41,67]. As such, the participatory design community spends considerable research in designing touch points and bridges for successful onboarding and offboarding [71].
涉及人们是设计中的一个共同目标，因为这提高了设计结果与人们生活世界和需求相一致的机会[60]。从构思到实施，有许多设计过程促进更紧密的参与和参与，包括各种经过充分研究的工作坊、方法和工具包。然而，参与式设计过程的开始和结束是 notoriously 难以解决的问题。大多数学术资助周期都有设定的开始和结束日期。开始参与式设计工作是困难的，因为研究人员必须与人、社区和公众建立关系；他们必须建立有利于富有成效的分歧、共同决策以及价值和目标协商的基础设施。同样，结束参与式设计工作也很困难。毕竟，参与者通常在设计过程中相当投入，之后可能会继续将参与式设计过程的具体成果融入他们的工作和生活。确保在项目结束时结果得以持续，并且参与者因其参与而受到重视，是一个开放的挑战[4167]。 因此，参与式设计社区在设计触点和桥梁以实现成功的入职和离职方面进行了大量研究[71]。

For many years, disseminating knowledge in academic papers was the somewhat natural end-point for research, with papers often being published behind paywalls and relying on academic jargon, making them hard to get and hard to grapple for people. More recently, much progress has been made in disseminating scientific publications through alternative forms such as social media, science slams, comics, zines, podcasts, DIY tutorials, design artifacts, or exhibitions (e.g., [13,20,22,27,28,33,35,53]). Here, researchers explain or manifest their often complex and complicated work in more approachable and accessible terms or artifacts. Taken together, these approaches also open a way for the interested general public to have a direct backchannel to researchers. HCI design research is particularly well-suited to investigate novel avenues for opening and sustaining these modes of communication. Fallman [25] argues that the core activity of design research is to give shape and form to intangible knowledge, and in doing so, establish bridges between theory and practice. There exists a remarkable array of tangible design artifacts, aimed at initiating and upholding conversations between designers, co-designers, and the general public (e.g., [11,14,23,44,71]).
多年来，学术论文中的知识传播是研究的一个自然终点，论文常常在付费墙后发布，并依赖学术术语，使得人们难以获取和理解。最近，通过社交媒体、科学竞赛、漫画、杂志、播客、自制教程、设计作品或展览等替代形式，科学出版物的传播取得了很大进展（例如，[1320222728333553]）。在这里，研究人员用更易于接近和理解的术语或作品来解释或展示他们通常复杂和困难的工作。综合来看，这些方法也为感兴趣的公众提供了与研究人员直接沟通的渠道。人机交互设计研究特别适合探索开启和维持这些沟通方式的新途径。Fallman [25] 认为，设计研究的核心活动是将无形知识赋予形状和形式，并通过这样做在理论与实践之间建立桥梁。 存在着一系列显著的有形设计工件，旨在启动和维持设计师、共同设计者与公众之间的对话（例如，[1114234471]）。

There is, however, comparatively little attention on the opportunities of audio-based artifacts bridging design knowledge and practice. Such artifacts for science communication and knowledge dissemination span from hyper-audio to wiki-style knowledge structures explorable for marginalized groups [5], or better accessible within museum contexts [52], science songs, and even spoken newsletters in messenger apps [78]. Podcasts are perhaps the prime example of manifesting scientific knowledge in a digestible form that, together with social media, also enables a backchannel. They are valuable sources of exchange between the scientific community and the general public, acting as a public space to share and to discuss scientific knowledge, to get an informed understanding of science [3,43]. Certainly, listeners of podcasts may utilize social media to connect back to the speakers. But, audio-based artifacts have not been utilized to their full potential, to continue, to deepen, and to widen the conversations with and among participants.
然而，关于音频基础的文物在桥接设计知识与实践方面的机会，关注相对较少。这些用于科学传播和知识传播的文物，从超音频到可供边缘群体探索的维基式知识结构[5]，或在博物馆环境中更易获取[52]，科学歌曲，甚至在消息应用中的口头通讯[78]，都涵盖在内。播客或许是以易于消化的形式展现科学知识的最佳例子，它与社交媒体一起，也使得双向交流成为可能。播客是科学界与公众之间交流的宝贵来源，充当了一个分享和讨论科学知识的公共空间，以便对科学有一个知情的理解[343]。当然，播客的听众可以利用社交媒体与演讲者建立联系。然而，音频基础的文物尚未被充分利用，以继续、深化和拓宽与参与者之间的对话。

2.2 Decolonial Theory and Sound Studies
2.2 去殖民理论与声音研究

The history of Western sound studies research is foundationally tied to the World Soundscape Project, which primarily focused on recording soundscapes across time and exploring new ways of tracking environmental changes invisible to a visually centric society [69]. As the field has evolved from its environmentalist agenda in its early years [75], sound studies has become a theoretical approach to understanding a variety of sonic inquiries: the evolution of the ear and listening technology [37,54], the history of voice [9,18,40], and more recently an exploration of listening as a culturally diverse, racialized, and individually unique process [55,65,68]. For example, critical geography scholar Am Kanngieser examines the use of sound as a political and social tool to identify the presence of inequality in order to “build new and creative terrains for human and more-than-human negotiations” [42]. Collectively, the field of sound studies offers an ear to non-visual relationships through which to understand evolving realities between the natural world and human interaction. Similarly, the inequalities present in these sonic relations can also be used to illuminate inequalities among populations and communities [42].
西方声音研究的历史与世界声景项目密切相关，该项目主要集中于记录跨越时间的声景，并探索在以视觉为中心的社会中追踪不可见环境变化的新方法[69]。随着该领域从早期的环境主义议程演变[75]，声音研究已成为理解各种声音探究的理论方法：耳朵和听觉技术的演变[3754]、声音的历史[91840]，以及最近对听觉作为一种文化多样性、种族化和个体独特过程的探索[556568]。例如，批判地理学者阿姆·康吉泽（Am Kanngieser）研究声音作为政治和社会工具的使用，以识别不平等的存在，从而“为人类和超人类的谈判建立新的创造性领域”[42]。总体而言，声音研究领域为理解自然世界与人类互动之间不断演变的现实提供了非视觉关系的视角。 类似地，这些声学关系中存在的不平等也可以用来揭示不同人群和社区之间的不平等 [42]。

While these works are often referenced as pivotal forces and foundational texts for sound studies research, one prominent challenge of this field is that it is historically situated in colonial thinking and Euro-centric perspectives on listening. To decolonize this field, Dylan Robinson's research identifies the normative and unmarked forms of listening privilege that exist within settler colonial listening positionality. Confronting listening positionality as it is enacted through research production, researcher interviews, and the listening process, are integral to engaging in stories and conversations with individuals who exist within diverse perspectives. Robinson suggests that a critical listening positionality and decolonial lens seeks to prompt questions regarding “how we might become better attuned to the particular filters of race, class, gender, and ability that actively select and frame the moment of contact between listening body and listened-to sound” [55]. Sharing stories through sonic interventions extends a decolonial research approach, maintaining stories within shared story worlds [4], while also encouraging listeners to confront their own societal, cultural, physical, and emotional filters that impact how and why they engage in various listening practices.
虽然这些作品常被引用为声音研究的重要力量和基础文本，但该领域面临的一个突出挑战是，它历史上植根于殖民思维和以欧洲为中心的听觉视角。为了去殖民化这一领域，迪伦·罗宾逊的研究识别了存在于定居者殖民听觉位置中的规范性和未标记的听觉特权形式。面对听觉位置的表现方式，包括研究生产、研究者访谈和听觉过程，对于与处于多元视角中的个体进行故事和对话至关重要。罗宾逊建议，批判性的听觉位置和去殖民视角旨在引发关于“我们如何能够更好地适应种族、阶级、性别和能力的特定过滤器，这些过滤器积极选择和框定听觉主体与被听声音之间接触的时刻”的问题。 通过声音干预分享故事扩展了一种去殖民化的研究方法，保持故事在共享的故事世界中，同时也鼓励听众面对自身的社会、文化、身体和情感过滤器，这些过滤器影响他们如何以及为何参与各种听觉实践。

Another prominent decolonial dimension explored within the field of sound studies, and an integral aspect of sonic production, is the use of storytelling and voice in knowledge sharing and dissemination. Stories offer a glimpse into diverse lived realities and position researchers in response to these spaces; “Stories can intervene on dominant narratives, create space for counternarratives and in doing so challenge the settler-colonial status quo in pursuit of decolonial futures” [76]. Sonic forms of storytelling allow qualitative researchers to extend their work and create space for individuals to share using their own voice and on their own terms [76]. Considering a researcher's ethical implications in this work, Archibald remarks that a researcher needs to respond through a set of seven principles: respect, responsibility, reciprocity, reverence, holism, interrelatedness and synergy [4]. These principles demand that a researcher consider their participants in each aspect of research and production, ensuring that stories are not removed from their context and that individuals are not overlooked or abandoned throughout the process. In sum, storytelling can be explored through a decolonial lens by creating a space for participants to recall events and experiences, by appreciating diversity of lived experience, by honoring such as a powerful teacher [45], and by affirming the collaborative creation of knowledge [38,45]. In shared storytelling spaces, the collaborative nature may also open a dialogue from individual experience to a larger collective worldview [57].
在声音研究领域中探讨的另一个显著的去殖民化维度，以及声音生产的一个重要方面，是在知识分享和传播中使用叙事和声音。故事提供了对多样化生活现实的洞察，并使研究者能够对这些空间作出回应；“故事可以干预主流叙事，为反叙事创造空间，从而挑战殖民者-殖民地的现状，以追求去殖民化的未来”[76]。声音叙事的形式使定性研究者能够扩展他们的工作，并为个人提供空间，以自己的声音和自己的方式分享[76]。考虑到研究者在这项工作中的伦理影响，阿奇博尔德指出，研究者需要通过七项原则作出回应：尊重、责任、互惠、敬畏、整体性、相互关联和协同[4]。这些原则要求研究者在研究和生产的每个方面考虑他们的参与者，确保故事不脱离其背景，并且在整个过程中不忽视或遗弃个人。 总之，通过去殖民化的视角探索叙事，可以为参与者创造一个回忆事件和经历的空间，欣赏生活经历的多样性，尊重这种作为强大教师的存在[45]，并确认知识的协作创造[3845]。在共享叙事空间中，协作的性质也可能从个人经验开启对更大集体世界观的对话[57]。

The production of audio-based research may offer spaces to explore these new dialogues with participants in various settings, placing them in conversation through audio editing; however, there is still a need to decolonize research production itself, emphasizing legitimacy of sonic stories as a form of knowledge production and distribution [2]. Along these same lines, there has also been a push to recognize the social and political markers of this form of creative design-led research and distribution. Sonic production allows researchers to maintain affective responses held between interviewer and interviewee, while also encouraging and building ethical relationships with participants. By maintaining stories within the speaker's voice, it lends well to decolonial aspirations of storywork, maintaining stories within the communities, thereby building upon said principles of respect, responsibility, reciprocity, and synergy [4]. Similarly, community-led research projects can contribute to equitable, reciprocal relationships and increase public impact by engaging with the community beyond the interview process [61]. In essence, the primary issue that sonic forms of research aim to combat is the development of research that does not serve the community in conversation [21]; when working with specific communities there is accountability tied to how research findings are disseminated, to honour the process of learning and sharing as ceremonial [77]. From a listener's perspective, sonic production also develops a social activity in that listeners are unable to remain passive; instead, they are called into a form of conversation and dialogue, and, in this way, subtly asked to develop kinship with the narrators and storytellers as an attentive and responsive listener [39].
音频基础研究的制作可能为在各种环境中与参与者探索这些新对话提供空间，通过音频编辑将他们置于对话之中；然而，仍然需要对研究生产本身进行去殖民化，强调声音故事作为知识生产和分发的一种形式的合法性[2]。在这一方面，也有推动认识这种以创意设计为主导的研究和分发形式的社会和政治标志的趋势。声音制作使研究人员能够保持访谈者与受访者之间的情感反应，同时也鼓励并建立与参与者的伦理关系。通过保持故事在讲述者的声音中，它很好地契合了故事工作的去殖民化愿望，保持故事在社区内，从而建立在尊重、责任、互惠和协同等原则之上[4]。同样，社区主导的研究项目可以通过在访谈过程之外与社区互动，促进公平、互惠的关系并增加公共影响力[61]。 本质上，声学研究形式所要解决的主要问题是发展不服务于社区对话的研究[21]；在与特定社区合作时，研究结果的传播与责任密切相关，以尊重学习和分享的过程作为一种仪式[77]。从听众的角度来看，声学制作也发展了一种社会活动，因为听众无法保持被动；相反，他们被召唤进入一种对话和交流的形式，以这种方式，微妙地被要求与叙述者和讲故事者建立亲密关系，成为一个专注和响应的听众[39]。

The design-led process of creating the audio documentary detailed in this paper allowed us to consider the ways in which participants’ voices from our previous field study [79] traversed sonic spaces and how their experiences create collective soundings and understandings. In essence, this form of engagement encourages an empathetic listener, positioning them in conversation with the interviewee. Considering sound as a political medium [42], the use of sound and voice in this format helps to create spaces to challenge common forms of subjugation tied to the visually impaired communities. It allows for collective individual experiences to navigate shared various forms of reminiscence, and it enhances some of these experiences through sonic cues added in post-production. Similarly, the production of an audio documentary allows us to maintain communicative silences which carry embodied expression and emotion that are lost in translation of an audio format to written word [1].
本文中详细描述的以设计为主导的音频纪录片创作过程使我们能够考虑参与者在我们之前的实地研究中所表达的声音如何穿越声学空间，以及他们的经历如何创造集体的声音和理解。实质上，这种参与形式鼓励同理心的倾听者，使他们与受访者进行对话。将声音视为一种政治媒介，音频和声音在这种格式中的使用有助于创造挑战与视觉障碍社区相关的常见压迫形式的空间。它允许集体个体经历在共享的各种回忆中导航，并通过后期制作中添加的声音提示增强其中一些经历。同样，音频纪录片的制作使我们能够保持传达具身表达和情感的交流沉默，而这些在音频格式转化为书面文字的过程中往往会丧失。

Our work aims to bring together these strands of research. Drawing on guiding concepts from decolonial and critical sound studies literature, we want to investigate how an HCI research publication can be transformed into an intelligible alternative form for research participants in the service of supporting reciprocity. We aim to consider how a decolonial approach to creative research production with storytelling may offer new approaches to HCI research and design, exploring how their stories might help us find ways to disrupt and redesign existing ableist technologies and systems, and to open a backchannel for the exchange between the scientific community, our participants, and the general public. Through describing and unpacking our design-led approach through a critical-reflexive lens, a secondary goal is to extend strategies for mobilizing audio-based forms of HCI research.
我们的工作旨在将这些研究领域结合在一起。借鉴去殖民化和批判性声音研究文献中的指导概念，我们希望探讨如何将 HCI 研究出版物转变为一种可理解的替代形式，以支持研究参与者之间的互惠关系。我们旨在考虑，采用去殖民化的叙事创作方法可能为 HCI 研究和设计提供新的思路，探索他们的故事如何帮助我们找到颠覆和重新设计现有能力主义技术和系统的方法，并为科学界、我们的参与者和公众之间的交流打开一个后门。通过以批判性反思的视角描述和解构我们的设计导向方法，第二个目标是扩展动员基于音频的 HCI 研究形式的策略。

3 PROCESS AND APPROACH: DESIGNING THE AUDIO DOCUMENTARY
3 过程与方法：音频纪录片的设计

3.1 Theoretical Concepts and Motivation
3.1 理论概念与动机

Our approach originates with and is tied to the design-led research approach in HCI. We adopt a designer-researcher position that gives prominence to first-hand insights emerging through the creation of real things that materially ground conceptual ideas through their actual existence—“a process of moving from the particular, general and universal to the ultimate particular – the specific design” [46]. Designer-researchers often function as a small but multi-disciplinary team that is reflexively focused on the experimental and novel outcomes of the design process that critically and reflectively arrive through creative practice (c.f. [15,50]). Thus, design research in HCI can contribute a highly insightful, first-hand, and reflexive view of practices of making in relation to higher-level concepts, framing key decisions in the design process. From a high level, our work builds on a trajectory of research in DIS and HCI that emphasize the creation of new knowledge through design practice and a reflexive designer-researcher approach (e.g., [8,17,25,66,80]). We take inspiration from research calling for moments of pause and critical reflection on key episodic moments in longer-term design processes (e.g., [19,29,30,47,49,73]).
我们的方法源于并与人机交互中的设计主导研究方法紧密相关。我们采用设计师-研究者的立场，强调通过创造真实事物所产生的第一手见解，这些事物通过其实际存在在物质上扎根于概念思想中——“一个从特殊、一般和普遍到最终特殊——具体设计的过程”[46]。设计师-研究者通常作为一个小型但多学科的团队运作，反思性地关注设计过程中的实验性和新颖性成果，这些成果通过创造性实践批判性和反思性地到达（参见[1550]）。因此，人机交互中的设计研究可以为与更高层次概念相关的制作实践提供高度洞察、第一手和反思性的视角，框定设计过程中的关键决策。从高层次来看，我们的工作建立在一个强调通过设计实践和反思性设计师-研究者方法创造新知识的 DIS 和 HCI 研究轨迹上（例如，[817256680]）。 我们从研究中获得灵感，呼吁在长期设计过程中的关键事件时刻进行暂停和批判性反思（例如，[192930474973]）。

As a design research team, we created the audio documentary drawn from our prior fieldwork [79], to engage in a process of transforming their research publication into a format that could be given back to participants largely motivated by their own desires to better understand the experiences of each other. We wanted to create an engaging format that resonated with the research participants’ interest in audio as a rich format to tell stories. We also wanted to build in moments of pause to actively invite reflection, contemplation, and response throughout the audio documentary.
作为一个设计研究团队，我们创建了基于之前田野调查的音频纪录片[79]，旨在将他们的研究出版物转化为一种可以回馈给参与者的格式，这主要是出于他们希望更好地理解彼此经历的动机。我们希望创造一种引人入胜的格式，与研究参与者对音频作为讲述故事的丰富格式的兴趣产生共鸣。我们还希望在音频纪录片中设置暂停的时刻，以积极邀请反思、沉思和回应。

To frame our design inquiry, we are informed by concepts from decolonial theory and the need to strengthen the communication between researchers and participants. As noted earlier, our own research and the positionality of our design research team is primarily situated in a Canadian context where there exists a movement to engage with decolonizing methodologies, theories and ways of knowing in academic research and education (c.f. [36,62])1 . In this sense, decolonial methodologies also concern themselves with reciprocity and how knowledge can be shared with communities, which influenced the context of our own work that helped guide the creation of the audio documentary.
为了框定我们的设计探究，我们受到去殖民理论的概念和加强研究人员与参与者之间沟通的必要性的启发。如前所述，我们的研究及设计研究团队的立场主要位于加拿大背景下，在这里存在着一种参与去殖民化方法论、理论和知识方式的运动（参见[3662]）1。在这个意义上，去殖民方法论也关注互惠关系以及知识如何与社区共享，这影响了我们自己工作的背景，并帮助指导了音频纪录片的创作。

3.2 Method
3.2 方法

A set of distinct, but related concepts helped guide our design-led process of creating the audio documentary. We draw inspiration from concepts of storywork and storyworlds where the stories and sonic worlds bound in the voices of participants are maintained, allowing conversations to exist in reciprocal and interrelated ways [4]. This lens also pushes us to consider sound as a political medium through questioning the researcher and the listener positionalities, and, in this way, encouraging empathic listening by positioning the researcher and listener in conversation with the research participants [55]. We similarly have worked to produce an audio experience that aims to disrupt normative practices of research dissemination and production in HCI work through, in part, maintaining stories in the voices of our participants. This choice is one we have made to challenge listening positionalities, to situate the listener in a space to question their listening filters, and to consider a different worldview [55]. The production of an audio piece works to create these moments of listening through another space and in conversation with and among the other participants, and our structural format of the audio documentary, with the inclusion of questions, aims to prompt these moments of inquiry. Finally, the goals of our work are aligned with the decolonial recognition that written dissemination of knowledge is not ‘enough’ and that research must be returned in a way that supports and aligns with our participants and invites response [21]. Archibald remarks that a primary aspect of respect and responsibility when working with communities is to produce the research dissemination in a format most accessible and supportive of the community that had contributed to the work [4]. Our choice to create an audio documentary works to align itself with recent HCI initiatives to maintain relationships and dialogue following research (e.g., [58,64,67]), decolonizing the abstractive forms of interviewing by prioritizing equitable and relational forms of communication. The audio documentary format has been chosen because it is easily accessible for individuals to find online, and it is a supportive medium for our blind participants. Audio documentaries are also more accessible than written distribution which typically remains behind paywalls and institutional barriers.
一组独特但相关的概念帮助指导了我们以设计为主导的音频纪录片创作过程。我们从故事工作和故事世界的概念中汲取灵感，在这些概念中，参与者的声音中所蕴含的故事和声音世界得以保留，使得对话以互惠和相互关联的方式存在[4]。这一视角也促使我们将声音视为一种政治媒介，通过质疑研究者和听众的立场，从而鼓励同理心倾听，将研究者和听众置于与研究参与者的对话中[55]。我们同样努力制作一种音频体验，旨在通过在一定程度上保留参与者的声音中的故事，打破 HCI 工作中研究传播和制作的规范实践。这个选择是我们做出的一个挑战倾听立场的决定，旨在将听众置于一个质疑其倾听过滤器的空间，并考虑一种不同的世界观[55]。 音频作品的制作旨在通过另一个空间创造这些聆听的时刻，并与其他参与者进行对话，我们的音频纪录片的结构格式，包括问题，旨在促发这些探究的时刻。最后，我们工作的目标与去殖民化的认识相一致，即书面知识传播并不足够，研究必须以支持和与我们的参与者对齐的方式返回，并邀请回应[21]。阿基巴尔德指出，与社区合作时，尊重和责任的一个主要方面是以最易于社区获取和支持的格式制作研究传播，这些社区为该工作做出了贡献[4]。我们选择制作音频纪录片，旨在与最近的人机交互（HCI）倡议保持关系和对话，去殖民化抽象的访谈形式，优先考虑公平和关系导向的沟通方式。 音频纪录片格式被选择是因为它在网上易于获取，并且对我们的盲人参与者来说是一种支持性的媒介。音频纪录片也比书面传播更易于获取，因为书面传播通常受到付费墙和机构障碍的限制。

This audio documentary is part of an ongoing multi-year participatory design research project. Participants specifically asked us to share insights from all interviews to understand and to reflect on each other's experiences. For our participants, an audio format was preferred over written dissemination, specifically hearing each other's voices instead of researchers retelling stories on each participant's behalf. With this audio documentary we support reciprocity and mutual learning. At the same time, it was a collective decision among all parties to not involve participants directly in the production of the audio documentary. Importantly, upon completing the final draft of the documentary, we sent the audio file to participants to confirm that they are fully comfortable with what is being shared. In sum, the documentary serves to maintain, deepen, extend the conversation, and support subsequent participatory design work within our collective longer-term project.
这部音频纪录片是一个正在进行的多年度参与式设计研究项目的一部分。参与者特别要求我们分享所有访谈的见解，以理解和反思彼此的经历。对于我们的参与者来说，音频格式比书面传播更受欢迎，特别是听到彼此的声音，而不是研究人员代表每位参与者讲述故事。通过这部音频纪录片，我们支持互惠和共同学习。同时，所有各方共同决定不直接让参与者参与音频纪录片的制作。重要的是，在完成纪录片的最终草稿后，我们将音频文件发送给参与者，以确认他们对所分享内容感到完全舒适。总之，这部纪录片旨在维持、深化、扩展对话，并支持我们集体长期项目中的后续参与式设计工作。

With this as a backdrop, the development of the audio documentary consisted of the following. Over the course of seven months, we carefully reviewed the data from our previous fieldwork [79], which consisted of mostly raw interview recordings and theoretical literature. Similar to Schön's notion of design as a conversation with materials [59], we engaged in a reflexive dialogue with the empirical and theoretical, our understanding of our participants and academic jargon, and rounds of development and critique, to arrive at the final audio documentary. This iterative and creative process enabled us to reflectively examine the interplay among the original field recordings of the participants’ stories, voices and lived environments, the script developed to thematically guide the listener, sound design choices to amplify the participants’ storyworlds, the SoundCloud platform for distribution, and their individual and collective relation to our conceptual framing.
在此背景下，音频纪录片的开发包括以下内容。在七个月的时间里，我们仔细审查了之前田野调查的数据[79]，这些数据主要由原始访谈录音和理论文献组成。类似于舍恩关于设计作为与材料对话的概念[59]，我们与经验和理论进行了反思性对话，审视了对参与者的理解和学术术语，并进行了多轮的发展和批评，以最终形成音频纪录片。这个迭代和创造性的过程使我们能够反思参与者故事、声音和生活环境的原始田野录音、为主题引导听众而开发的剧本、增强参与者故事世界的声音设计选择、用于分发的 SoundCloud 平台，以及他们与我们概念框架的个体和集体关系之间的相互作用。

3.3 Researcher Positionality & Ethics
3.3 研究者的立场与伦理

Our design research team was comprised of four researchers. None of which are blind or experience severe visual impairments; and it is important to acknowledge our positionality. Author 1 has conducted 2 years of participant engagement and observation with a local non-profit organizational branch of a major national institute for the blind. Author 2 has not had experience working directly with blind populations. However, author 2 has recently completed a graduate degree in communication, specializing in sound studies and decolonial theory. Alongside the academic work, author 2 has ample experience as a sound designer and audio producer in both academic and community roles. Author 3 has prior experience in volunteering with a non-profit social program that paired younger adults with older adults that are living with vision impairment, where the primary goal is to support positive intergenerational socialization and dialogue. Author 3 also has over a decade of experience in sound design and music production. Author 4 has completed 1 year of community service volunteer work in a school for blind and visually impaired students and, more broadly, has 6 years of experience in co-designing together with people from different walks of life and different abilities.
我们的设计研究团队由四名研究人员组成。没有人是盲人或经历严重的视觉障碍；承认我们的立场是重要的。作者 1 在一个主要国家盲人机构的地方非营利组织分支进行了两年的参与者参与和观察。作者 2 没有直接与盲人群体工作的经验。然而，作者 2 最近完成了传播学的研究生学位，专攻声音研究和去殖民理论。除了学术工作，作者 2 在学术和社区角色中作为声音设计师和音频制作人有丰富的经验。作者 3 曾在一个非营利社会项目中做志愿者，该项目将年轻人与生活有视觉障碍的老年人配对，主要目标是支持积极的代际社交和对话。作者 3 在声音设计和音乐制作方面也有超过十年的经验。 作者 4 在一所盲人和视力障碍学生的学校完成了 1 年的社区服务志愿工作，并且更广泛地说，拥有与来自不同背景和不同能力的人共同设计的 6 年经验。

The lived experiences that the participants have largely provided our design research team, individually and collectively, offered first-hand insights into the lives of people with vision impairment. However, we ourselves cannot experience what it is like to live with vision impairment or blindness; and this is an important limitation to acknowledge. These experiences did play a role in our intention to extend our prior field research [79] through a decolonial lens that aimed to situate participants’ voices and stories in relation to each other in a rich audio format that could potentially be more engaging and inviting than the original paper, which was primarily written for an academic HCI audience. For this audio documentary participants agreed to have their voices used and shared, their names have been anonymized and the Research Ethics Board of the first author's university approved this approach.
参与者的生活经历在很大程度上为我们的设计研究团队提供了第一手的见解，揭示了视力障碍者的生活。然而，我们自己无法体验视力障碍或失明的生活，这一点是一个重要的局限性，需要承认。这些经历确实在我们通过去殖民化视角扩展先前的实地研究[79]的意图中发挥了作用，旨在将参与者的声音和故事相互关联，以一种丰富的音频格式呈现，这种格式可能比原始论文更具吸引力和邀请性，而原始论文主要是为学术 HCI 受众撰写的。在这部音频纪录片中，参与者同意使用和分享他们的声音，他们的名字已被匿名处理，第一作者所在大学的研究伦理委员会批准了这种方法。

We documented our design-led process as it progressed, and annotated key design choices and decisions in light of our conceptual framing as we moved towards the final audio documentary. This paper offers a collective account by us as a research team; however, it does not aim to report on each and every design decision. We attend to specific design decisions that were productively shaped by key higher-level concepts, as well as cases in which frictions emerged. Next, we offer a synthesized account of design decisions and instances in relation to key guiding theoretical concepts.
我们在设计驱动的过程中记录了我们的进展，并根据我们的概念框架对关键设计选择和决策进行了注释，以便在最终的音频纪录片制作过程中进行参考。本文提供了我们作为研究团队的集体叙述；然而，它并不旨在报告每一个设计决策。我们关注那些受到关键高层概念积极影响的特定设计决策，以及出现摩擦的案例。接下来，我们提供了与关键指导理论概念相关的设计决策和实例的综合叙述。

4 BEYOND LOOKING BACK: UNPACKING THE MAKING OF THE AUDIO DOCUMENTARY
超越回顾：解读音频纪录片的制作

Our previous field study explored the reminiscence experience for people with blindness and draws design insights that could enrich the experience from 9 interviews with people with blindness [79]. Largely, the findings are categorized in three areas; (i) Pathways to Capturing and Remembering the Past – how people with blindness currently reminisce, (ii) Possessions as Resources for Reminiscence – types of personal belongings that provoke recollections and tensions in social sharing, and (iii) Towards the Future of Reminiscence – alternative and possible ways to extend the reminiscence experience. Building on these findings, we suggested design implications in three areas; sound, social interaction and tactile expression. The audio documentary aims to translate and describe these research outcomes to give back to the participants and the community.
我们之前的实地研究探讨了盲人回忆体验，并通过对 9 位盲人的访谈提炼出可以丰富这一体验的设计见解[79]。总体而言，研究结果分为三个领域；（i）捕捉和记忆过去的途径——盲人目前如何进行回忆，（ii）作为回忆资源的物品——引发回忆和社交分享中紧张关系的个人物品类型，以及（iii）回忆的未来——扩展回忆体验的替代和可能方式。基于这些发现，我们在三个领域提出了设计启示；声音、社交互动和触觉表达。音频纪录片旨在翻译和描述这些研究成果，以回馈参与者和社区。

The graphic featured in Figure 1 offers a visual description and annotation of the audio documentary. Additionally, we encourage the reader to listen to the Beyond Looking Back audio documentary which is available on SoundCloud.2 The visual overview of the audio documentary (Figure 1) outlines color codes and different types of markers. Importantly, this figure does not aim to marginalize or quantify our participants’ participations, but to recognize and appreciate their contributions, in addition to provide a reference for navigating the documentary. The main foci are the three themes in the findings section of the paper with a hint of the design initiatives in the discussion section. The opening begins with explaining the purpose, motivation, positionality as well as participant introduction. Largely, the first and the last themes are identical, but the second theme is focused more on the digital media, social interactions, and tensions in reminiscing together with the loved ones. The audio documentary concludes with the appreciation to the participants and an invite to get involved in future research. In what follows, we report on the key frictions that we encountered through the process of making the audio documentary and the design decisions with underlying theories that supported us in ultimately overcoming these frictions in three separate categories: Composition, Production and Publishing.
图 1 中的图形提供了音频纪录片的视觉描述和注释。此外，我们鼓励读者收听可在 SoundCloud 上获取的《超越回顾》音频纪录片。音频纪录片的视觉概述（图 1）概述了颜色编码和不同类型的标记。重要的是，这个图形并不旨在边缘化或量化参与者的参与，而是为了认可和欣赏他们的贡献，并提供一个导航纪录片的参考。主要关注点是论文结果部分的三个主题，以及讨论部分设计倡议的提示。开头部分解释了目的、动机、立场以及参与者介绍。总体而言，第一个和最后一个主题是相同的，但第二个主题更侧重于数字媒体、社交互动以及与亲人共同回忆时的紧张关系。音频纪录片以对参与者的感谢和邀请他们参与未来研究的方式结束。 在接下来的内容中，我们报告了在制作音频纪录片过程中遇到的关键摩擦，以及支撑我们最终克服这些摩擦的设计决策和相关理论，这些内容分为三个类别：创作、制作和出版。

4.1 Composition
4.1 组成

At the early stage, design goals prior to recording were to reduce the complexity of the audio documentary for better digestion, and to offer questions that bring the listener into this reflective conversation. In composing the audio documentary, we describe the frictions in the following areas; (i) Setting a Proper Tone, (ii) Equity and Equal Representation in Large Data, and (iii) Creating Space for Reflection and Engagement.
在早期阶段，录音前的设计目标是减少音频纪录片的复杂性，以便更好地消化，并提出引导听众参与反思性对话的问题。在创作音频纪录片时，我们描述了以下几个领域的摩擦；（i）设定适当的基调，（ii）大数据中的公平与平等代表性，以及（iii）创造反思和参与的空间。

4.1.1 Setting a Proper Tone. The first key decision was defining an appropriate tone for the audio documentary while considering our positionality. Translating academic knowledge from a published paper required a critical reflection on who we are, why we do this translation, what we translate, and finally, how we deliver this knowledge. Inspired and influenced by epistemic decolonization [63], the audio documentary is our attempt to shun the misperception of assuming ourselves as representatives of knowledge, generated through working with the blind community. Our dissemination of the voice recordings is us “talking back” and with [63] our participants and the community. While the publication from our prior field study [79] offered a space to collectively explore some of the topics, themes, and quotes that emerge across participants, the audio documentary is not to report the research findings in an academic tone. Our goal was to ensure the audio documentary is approachable and amalgamates the research outcome into an easily digestible audio format for our main audience.
4.1.1 确定适当的语调。第一个关键决策是为音频纪录片定义一个合适的语调，同时考虑我们的立场。从已发表的论文中翻译学术知识需要对我们是谁、为什么进行这种翻译、我们翻译什么，以及最后我们如何传递这些知识进行批判性反思。受到知识去殖民化的启发和影响[63]，音频纪录片是我们试图避免将自己视为知识代表的误解，这种知识是通过与盲人社区的合作产生的。我们传播声音录音的方式是我们与[63]我们的参与者和社区“对话”。虽然我们之前的实地研究出版物[79]提供了一个共同探索参与者之间出现的一些主题、话题和引用的空间，但音频纪录片并不是以学术语调报告研究结果。我们的目标是确保音频纪录片易于接近，并将研究成果融入一种易于消化的音频格式，以便我们的主要受众理解。

We wrote the script in plain language that avoids technical or theoretical terms, and academic jargon. Also, grammatical structures were revised. For example, long and complex sentences are broken into simpler structures, and impersonal pronouns are replaced by definitive pronouns. Further, we were careful in using analytical words. Interpretive terms, such as ‘effective’, ‘investigate’ or ‘study’, were removed and rephrased to neutral terms, such as ‘tell’, ‘explain’ or ‘describe’. We focused on elaborating in-depth statements on our positionality, intensions, and personal motivations, rather than introducing a thorough theoretical background and preceding research. In sum, we aimed to maintain the affective responses and emotional relationships that were held between interviewer and interviewee, as well as their recollections of memories.
我们用简单的语言编写了脚本，避免使用技术性或理论性术语以及学术行话。同时，语法结构也进行了修订。例如，长而复杂的句子被拆分为更简单的结构，非人称代词被替换为明确的代词。此外，我们在使用分析性词汇时也非常谨慎。解释性术语，如“有效”、“调查”或“研究”，被删除并重新表述为中性术语，如“告诉”、“解释”或“描述”。我们专注于深入阐述我们的立场、意图和个人动机，而不是介绍全面的理论背景和前期研究。总之，我们旨在保持采访者与被采访者之间的情感反应和情感关系，以及他们对记忆的回忆。

4.1.2 Equity and Equal Representation in Large Data. Our next dilemma was rooted in pursuing equity and fairness. We aimed to equally balance each participant's share (duration in audio). This is to appreciate and recognize all participant's contribution to the project. For those whose voices are not featured in the documentary (due to technical issues), their contributions are recognized by mentioning their pseudo-names and describing their stories in the narration. After the first round of editing, we noticed that assembling merely the quotes presented in the academic paper resulted in over three hours of audio before the narration was attached. While we aimed to integrate each participant equally, there were moments where we had to highlight quotes from certain participants and drop less significant themes. Compared to academic publications in a written format, audio snippets were much harder to cut or paraphrase. For example, when participants used pronouns (e.g., it, him, we, they…), a proper context must be provided, which made the quote even longer. In another situation, if participant quotes included extensive descriptions, we had to decide whether to include such details for richness or to remove them for the sake of space. We must find an adequate balance between completeness and compactness, while paying careful attention that we do not lose each participant's intention in the quotes.
4.1.2 大数据中的公平与平等代表性。我们面临的下一个困境源于追求公平与公正。我们的目标是平衡每位参与者的分享（音频时长）。这是为了欣赏和认可所有参与者对项目的贡献。对于那些在纪录片中未被呈现声音的参与者（由于技术问题），我们通过提及他们的假名并在叙述中描述他们的故事来认可他们的贡献。在第一次编辑后，我们注意到，仅仅将学术论文中呈现的引用汇编在一起，音频时长就超过了三个小时，随后才附上叙述。虽然我们旨在平等整合每位参与者的声音，但有时我们不得不突出某些参与者的引用，并舍弃不太重要的主题。与书面格式的学术出版物相比，音频片段的剪辑或改述要困难得多。例如，当参与者使用代词（例如，它，他，我们，他们……）时，必须提供适当的上下文，这使得引用变得更长。 在另一种情况下，如果参与者的引用包含了大量描述，我们必须决定是为了丰富性而包含这些细节，还是为了节省空间而将其删除。我们必须在完整性和简洁性之间找到一个适当的平衡，同时仔细注意不要失去每位参与者在引用中的意图。

Also, we re-structured the themes in the audio documentary. Presenting more themes may offer additional areas to reflect from the listener's point of view; however, from the second author's previous experience, we noticed there is a higher mental load for the listener as the running time of the audio documentary would become quite long. Following this insight, our audio documentary is designed to remain under an hour. We had to be very selective about what we cover in the documentary. The audio documentary is a linear structure with little movement and confusion between larger themes and sub-themes so that themes can flow easily and concisely for the listener. We found the audio format is not efficient for presenting a complex structure as opposed to an academic publication in a written document. In a written document, accessibility tools, such as screen readers, are available to assist people with blindness to move between the overall structure by reading the headings. With such tools, even in the middle of the document, it is possible to skip back to anchor points for each heading as checkpoints. However, it is much more challenging in the context of an audio documentary as the listener may get lost in the complex thematic structure. Therefore, sub-themes in the research findings were pruned and re-arranged for a better flow in the audio format.
此外，我们重新构建了音频纪录片中的主题。呈现更多主题可能为听众提供额外的反思领域；然而，根据第二作者的以往经验，我们注意到，随着音频纪录片的播放时间变得相当长，听众的心理负担会增加。基于这一见解，我们的音频纪录片设计为保持在一小时以内。我们必须非常谨慎地选择纪录片中涵盖的内容。音频纪录片采用线性结构，较少在较大主题和子主题之间移动和混淆，以便主题能够为听众流畅而简洁地呈现。我们发现，音频格式在呈现复杂结构方面的效率不如书面出版物。在书面文件中，提供了可访问性工具，例如屏幕阅读器，帮助盲人通过阅读标题在整体结构中移动。借助这些工具，即使在文档中间，也可以跳回每个标题的锚点作为检查点。 然而，在音频纪录片的背景下，这一过程要困难得多，因为听众可能会在复杂的主题结构中迷失。因此，研究结果中的子主题被修剪和重新排列，以便在音频格式中实现更好的流畅性。

In the original data analysis, we developed three major themes, which were broken into 13 sub-themes and 5 sub-sub-themes. In the published paper [79], these findings were distilled to three major themes, and 9 sub-themes in total, merging and dropping minor themes that are described by fewer quotes. In the audio documentary, although the number of themes and sub-themes remained the same, we re-organized the structure to emphasize themes that were shared by the participants. For example, our theme on mementos is one of the key findings that shows how participants used physical possessions as a gateway to their past memories. In the paper, this topic is presented under the theme of sensorial impressions. However, since all participants mentioned mementos and described how they cherish them, we decided to create a separate sub-theme for the audio documentary. Overall, these decisions and reconstructions have yielded a more compact, tightly organized documentary which we were able to produce in a shorter timeframe.
在原始数据分析中，我们发展了三个主要主题，这些主题被细分为 13 个子主题和 5 个子子主题。在已发表的论文[79]中，这些发现被提炼为三个主要主题，总共 9 个子主题，合并并删除了由较少引用描述的次要主题。在音频纪录片中，尽管主题和子主题的数量保持不变，我们重新组织了结构，以强调参与者共同分享的主题。例如，我们关于纪念品的主题是一个关键发现，显示参与者如何将物质财产作为通往他们过去记忆的入口。在论文中，这个主题在感官印象的主题下呈现。然而，由于所有参与者都提到了纪念品并描述了他们如何珍惜这些物品，我们决定为音频纪录片创建一个单独的子主题。总体而言，这些决策和重构产生了一个更紧凑、结构更紧密的纪录片，我们能够在更短的时间内制作完成。

4.1.3 Creating Space for Reflection and Engagement. Once quotes, themes and the structure were set, the next friction that surfaced from our motive for creating space for the listener to engage with the participants and our inquiries in the documentary. Written accounts of participants’ narratives are often unable to capture the emotional impact of phrasing and the pauses that contain stories in and of themselves. Thus, audio is a suitable medium for offering sonic space for asynchronous conversation. We achieved this goal by implementing two techniques in the documentary: three types of reflective questions and communicative silences [1].
4.1.3 创造反思和参与的空间。一旦引用、主题和结构确定，接下来出现的摩擦来自我们创造空间让听众与参与者及我们在纪录片中的探讨进行互动的动机。参与者叙述的书面记录往往无法捕捉到措辞的情感影响以及包含故事的停顿。因此，音频是一种适合提供声学空间以进行异步对话的媒介。我们通过在纪录片中实施两种技术来实现这一目标：三种类型的反思性问题和交流沉默[1]。

Building on our analysis and reflections, we posed questions for the listener. These questions offer a different dimension in the audio documentary that pushes the boundary beyond the passive listening. They intend to lead a dialogue between various audiences: the researchers and the participants, the participants themselves, and the participants and listeners. They encourage listeners to reflect on the reminiscence experiences described and unfolded from our participants’ stories. As a result, we developed three types of questions – Correlate, Expand, and Envision
基于我们的分析和反思，我们向听众提出了问题。这些问题为音频纪录片提供了不同的维度，推动了超越被动聆听的界限。它们旨在引导不同观众之间的对话：研究者与参与者、参与者之间，以及参与者与听众之间。它们鼓励听众反思从我们参与者的故事中描述和展开的回忆体验。因此，我们开发了三种类型的问题——关联、扩展和设想。.

Correlating questions ask the listener to think back on their own personal experiences in connection to what's presented in the documentary. For example, “What are the ways you recall memories?” “What are your own ways of using digital possessions to look back on your past?” “What does it mean for you to craft a legacy? What are the possessions that you would like to pass down?”
相关问题要求听众回想与纪录片中所呈现内容相关的个人经历。例如，“你回忆记忆的方式有哪些？” “你自己使用数字财物回顾过去的方式是什么？” “为你来说，创造遗产意味着什么？你希望传承的财物有哪些？”

Building on the listener's personal experiences, Expanding questions encourage the listener to think further into what is described in the documentary, to consider new insights given participant's stories and research findings. “What are some other ways that we could create a moment of collaborative reminiscence?” “What are some other ways that encourage deeper engagements between blind and sighted people in remembering and sharing memories together?”
基于听众的个人经历，扩展性问题鼓励听众进一步思考纪录片中所描述的内容，考虑参与者的故事和研究发现所带来的新见解。“我们还有哪些其他方式可以创造一个协作回忆的时刻？”“还有哪些其他方式可以鼓励盲人和有视力的人在共同回忆和分享记忆时进行更深入的互动？”

Envisioning questions invite the listener to imagine experiencing a given situation. “Suppose you are able to create a figure that represents a specific moment from the past. What moment would you create? How would it be translated into a physical figure?” “What if an audio repository collects audio recordings paired with additional information captured at the time of recording, such as timestamp, GPS location data, weather, date, or season? How would you use this audio repository?”
设想性问题邀请听众想象经历特定情境。“假设你能够创造一个代表过去某一特定时刻的形象。你会创造哪个时刻？它将如何转化为一个具体的形象？” “如果一个音频库收集与录音时捕获的附加信息（如时间戳、GPS 位置数据、天气、日期或季节）配对的音频录音，你将如何使用这个音频库？”

In the context of our research, the asynchronous dialogue works to create a form of pseudo-synchronicity to maintain the participatory nature of this project and encourage reflection in specific moments. The explicit moments, created by a mixture of three types of reflective questions invite the listener to enter the co-design mindset. Correlating questions put the listener on the same page with the participants by asking them to share in similar experiences. Finally, expanding questions and envisioning questions are aimed to explore future participations and imply our research inquiries.
在我们研究的背景下，异步对话旨在创造一种伪同步性，以维持该项目的参与性并鼓励在特定时刻进行反思。这些明确的时刻是通过三种类型的反思性问题的混合而产生的，邀请听众进入共同设计的思维模式。相关问题通过要求听众分享类似的经历，使他们与参与者保持一致。最后，扩展性问题和设想性问题旨在探索未来的参与，并暗示我们的研究询问。

Another important quality throughout the piece is the maintenance of silence. Throughout the documentary, there are a few moments where silences are removed to ensure the flow of the sonic piece, but there are numerous pauses that contained emotion and communication within the stories. In this asynchronous conversation, the maintenance of silence plays an important role in creating a sensitive connection, inspired by Acheson's perspective of communicative silence. As Acheson explores, we consider silences in the documentary as more than “a background for expressed thought”. Rather, we actively use silence as a “gesture” where the listener, the participants in the documentary, and the listener's inner self are encouraged to meet together [1].
在整部作品中，另一个重要的特质是保持沉默。在整个纪录片中，有几个时刻为了确保声音作品的流畅性而去除了沉默，但有许多停顿蕴含着情感和故事中的交流。在这种非同步的对话中，保持沉默在建立敏感的联系中发挥着重要作用，这一观点受到阿切森对交流沉默的看法的启发。正如阿切森所探讨的，我们将纪录片中的沉默视为不仅仅是“表达思想的背景”。相反，我们积极地将沉默作为一种“手势”，鼓励听众、纪录片中的参与者以及听众的内心自我相互交汇。

Overall, having the right tone, equal balance for each participant, and being able to interact with the silences between participant stories, narration, and reflective questions, all contribute to offer a nuanced and relational understanding of our participants’ responses, offering insight which is removed from the edited textual descriptions. Next, we report on the frictions and challenges we faced when working with the audio files in the process of producing the audio documentary.
总体而言，正确的语调、对每位参与者的平衡以及能够与参与者故事、叙述和反思性问题之间的沉默互动，所有这些都为我们提供了对参与者回应的细致和关系性的理解，提供了超越编辑文本描述的洞察。接下来，我们将报告在制作音频纪录片过程中处理音频文件时所面临的摩擦和挑战。

4.2 Production
4.2 生产

In producing the audio documentary, we aimed to emphasize the emotional textures that are present within our participants’ stories. We believed an emphasis on these emotions could help to immerse the listener in the documentary and engage in active listening by responding to participants’ stories and reflective questions. For this purpose, we decided to use the participants’ own voices in the documentary. Yet, the dominant challenge was to address sonic disruptions in audio files so that we could feature each voice clearly, ensuring they blend well with the other sonic components in the documentary (e.g., narration and background music) for a better listening experience.
在制作音频纪录片时，我们旨在强调参与者故事中的情感层次。我们相信，强调这些情感可以帮助听众沉浸在纪录片中，并通过回应参与者的故事和反思性问题来进行积极倾听。为此，我们决定在纪录片中使用参与者的声音。然而，主要挑战是处理音频文件中的声音干扰，以便能够清晰地呈现每个声音，确保它们与纪录片中的其他声音元素（例如旁白和背景音乐）良好融合，从而提供更好的听觉体验。

4.2.1 Overcoming Sonic Disruptions in Interview Recordings. Audio quality was one of the key determining factors as to whether we included a participant's voice from their recorded interview. When we conducted in-person interviews, we did not anticipate the field recordings would be used for another project in the future. Their interviews were conducted in participants’ homes and, thus, casual ‘living’ noises (e.g., children playing, home appliances) had leaked into the field recordings. We had to listen to the audio field recordings and determine which clips should be included based on the audio quality, as some recordings are muffled while moving the mic, some are distorted by small electrical blips from the microphone, and some recorded in loud / noisy situations which disruptions like a car honking or airplane engines overhead. By ensuring we had clear audio, it was much easier to sonically invite the listener to the interview location and to clearly disseminate the findings in a succinct and clear way.
4.2.1 克服访谈录音中的声学干扰。音频质量是决定我们是否包含参与者录音中声音的关键因素之一。当我们进行面对面访谈时，并未预料到这些现场录音会在未来用于其他项目。访谈是在参与者的家中进行的，因此，随意的“生活”噪音（例如，孩子玩耍、家用电器的声音）渗入了现场录音中。我们必须听取音频现场录音，并根据音频质量确定哪些片段应被包含，因为有些录音在移动麦克风时声音模糊，有些则因麦克风的小电流干扰而失真，还有一些是在嘈杂环境中录制的，干扰声如汽车鸣笛或飞机引擎声。通过确保我们拥有清晰的音频，能够更容易地在声学上邀请听众进入访谈地点，并以简洁明了的方式清晰地传播研究结果。

Participants’ voices add uniqueness not only to the listening experience but also to their personal stories that were shared in the audio documentary. Unlike reading participant quotes in academic publications, getting to know each participant by their voices and paying attention to their tones as they tell their stories establishes a strong emotional connection. This connection is first introduced in the beginning of the audio documentary when the participants’ voices are attached to their individual introduction statements. While this introduction increased the overall length of the documentary, we strongly felt it is a needed portion in the documentary. Yet, another friction arose for the participants who did not have a quote in the documentary, either due to poor audio quality or those who were removed for space. We had gone through an extensive discussion about whether to hire voice actors to fill in these gaps, but we decided not to bring in a third person to ‘act’ on behalf of our participants as we did not want to blur the authentic value of the voices; instead, we wanted to prioritize consistency by featuring the participants’ voices only. There was one quote in particular where Luis was describing his experience of seeing natural phenomena through his friend's eyes. His voice could not be included in the final audio edit even after careful adjustments to the clip, as it was overpowered by loud sonic disruptions. Instead, we borrowed the narrator's voice to describe the scene and the experience on behalf of the participant to preserve a seamless flow in the documentary.
参与者的声音不仅为听觉体验增添了独特性，也为他们在音频纪录片中分享的个人故事增添了独特性。与在学术出版物中阅读参与者的引用不同，通过他们的声音了解每位参与者，并关注他们讲述故事时的语调，建立了强烈的情感联系。这种联系在音频纪录片的开头首次引入，当参与者的声音与他们各自的介绍语句相结合时。虽然这个介绍增加了纪录片的整体时长，但我们强烈认为这是纪录片中必不可少的一部分。然而，对于那些在纪录片中没有引用的参与者来说，又出现了另一个摩擦，这些参与者要么由于音频质量差，要么由于空间限制而被删除。我们曾就是否雇佣配音演员来填补这些空白进行了广泛讨论，但我们决定不引入第三方“代替”我们的参与者，因为我们不想模糊声音的真实价值；相反，我们希望通过仅展示参与者的声音来优先考虑一致性。 有一句话特别引人注目，路易斯描述了他通过朋友的眼睛看到自然现象的经历。尽管对片段进行了仔细调整，他的声音仍无法包含在最终的音频编辑中，因为被强烈的声音干扰所淹没。相反，我们借用了旁白的声音来描述场景和参与者的体验，以保持纪录片的流畅性。

4.2.2 Re-creating Scenes with Additional Sonic Layers. Jo-Ann Archibald utilizes the term storywork [4] to signify the importance of Stó:lö stories and storytelling as a form of knowledge. Archibald shares there is power in stories and teachings outside of structured educational and social value. Inspired by these concepts and decolonial aspirations of knowledge formation and dissemination, we began to consider the implications of our work when abstracting stories from our participants for written dissemination and analysis. In essence, we were stripping our participants and storytellers of their voices through an extractive editable format. Wanting to give back to this community and consider the importance of maintaining stories with our storytellers, an audio documentary allowed us to explore these aims and to develop reciprocal and responsible relationships with our participants. Creating an audio documentary surrounding the interview recordings worked to situate the listener in conversation, as well as the participants in conversation with another. These moments for cross-conversation between shared perspectives emerge throughout the audio documentary and offer moments of synergy and connection. They also develop an empathetic listening experience where listeners are invited to listen and respond to the questions and considerations, creating moments for both speaker and listener to engage in storywork or communal discussion within the space of shared storytelling. Sonically, there are moments where we were able to develop the soundscapes of our participants’ storyworlds. In conversations with participants’ who share the importance of these sonic cues, we are able to transport the listener to these locations and memories, to situate the story within the soundscape, and to sonically embody their emotional experience.
4.2.2 通过额外的声音层重现场景。乔安·阿基博尔德使用“故事工作”一词[4]来强调斯托洛故事和讲故事作为一种知识形式的重要性。阿基博尔德分享了故事和教学在结构化教育和社会价值之外的力量。受到这些概念和去殖民化知识形成与传播的愿望的启发，我们开始考虑在将参与者的故事抽象化以进行书面传播和分析时，我们工作的影响。实质上，我们通过一种可编辑的提取格式剥夺了参与者和讲述者的声音。希望回馈这个社区，并考虑与我们的讲述者保持故事的重要性，音频纪录片使我们能够探索这些目标，并与参与者建立互惠和负责任的关系。围绕采访录音制作音频纪录片的过程使听众能够参与对话，同时也让参与者之间能够进行交流。 这些共享视角之间的交叉对话时刻贯穿于音频纪录片中，提供了协同和连接的时刻。它们还发展出一种富有同理心的倾听体验，邀请听众倾听并回应问题和思考，为讲述者和听众在共享叙事的空间中参与故事创作或集体讨论创造了时刻。在与参与者的对话中，我们能够发展出参与者故事世界的声音景观。通过与分享这些声音线索重要性的参与者的对话，我们能够将听众带到这些地点和记忆中，将故事置于声音景观中，并在声音上体现他们的情感体验。

When we began to edit the audio documentary, we relied heavily on the contextual clues from the written quotes in the academic paper and the voices from the interview recordings to design the sonic environments imaged by the participants. After numerous iterations, we implemented carefully chosen sounds that highlight the characteristics of participants in connection to their descriptions. For example, when Janet describes a boating trip, the listener will hear the sound of water and boat engines in the background. At other times when there was no hint to a sound reference in a participant's quote, we chose moments where the addition of a soundscape felt natural. Yet, there were some moments in editing where we noticed that additional sound effects took away from a rich description, as it became too distracting, or it felt out of place. For example, Rob described the shared experience of creating a documentary with his family. While there may have been an opportunity to include sonic cues in this space, to imagine the soundings of this family memento, the addition of these sounds would detract from the sincerity of the story and would deter listeners from focusing on Rob's emotive experience. In this scenario, his storytelling and voice required full listening attention. Moreover, the background music was used for boosting an emotional atmosphere of the stories and as a sonic cue for smooth transitions between different sections (e.g., themes, reflective questions and communicative silences). From the producer's perspective, designing and choosing sounds and soundscape had been a unique experience as we constantly reimagining and reflecting on re-creating participants’ rich experiences through sound.
当我们开始编辑音频纪录片时，我们在很大程度上依赖于学术论文中书面引用的上下文线索和采访录音中的声音，以设计参与者所描绘的声音环境。经过多次迭代，我们实施了精心挑选的声音，以突出参与者与其描述之间的特征。例如，当珍妮特描述一次划船旅行时，听众会在背景中听到水声和船舶引擎声。在其他时候，当参与者的引用中没有声音参考的提示时，我们选择了添加声音景观感觉自然的时刻。然而，在编辑过程中，我们注意到一些时刻额外的音效削弱了丰富的描述，因为它变得过于分散注意力，或者感觉不合适。例如，罗布描述了与家人一起制作纪录片的共同经历。 虽然在这个空间中可能有机会加入声音提示，以想象这个家庭纪念品的声音，但这些声音的加入会削弱故事的真诚性，并使听众无法专注于罗布的情感体验。在这种情况下，他的讲述和声音需要全神贯注的倾听。此外，背景音乐用于增强故事的情感氛围，并作为不同部分（例如主题、反思性问题和交流沉默）之间平滑过渡的声音提示。从制作人的角度来看，设计和选择声音及声音景观是一次独特的体验，因为我们不断重新构想和反思通过声音重现参与者丰富的体验。

The sound layers form a well-blended mix of focused sound (e.g., a participant's voice and additional sounds to their stories) and ambient sound (e.g., soundscape and background music to help create the mood and the scenes) , which extends our previous study's finding on the two types of sound components [79]. Participants’ reflections in the form of focused sound, mixed with additional forms of ambient sound, was designed to offer a rich listening experience. Overall, sharing the stories through sonic interventions extends our decolonial approach, maintaining the stories within the participants’ shared storyworlds, while also following Robinson's suggestion of challenging listener positionality [55], encouraging listeners to confront their particular perspectives and worldviews that impact how and why they engage in certain moments of shared listening.
声音层形成了一种良好融合的混合音效（例如，参与者的声音和他们故事中的额外声音）与环境音（例如，声音景观和背景音乐，以帮助营造氛围和场景），这扩展了我们之前研究中关于两种声音成分的发现[79]。参与者以聚焦声音的形式进行反思，混合了额外的环境声音，旨在提供丰富的听觉体验。总体而言，通过声音干预分享故事扩展了我们的去殖民化方法，保持了故事在参与者共享的故事世界中，同时也遵循了罗宾逊挑战听众位置性的建议[55]，鼓励听众面对影响他们如何以及为何参与某些共享聆听时刻的特定视角和世界观。

4.3 Publishing
4.3 出版

Finally, we report on the design and ethical decisions regarding the public dissemination of the audio documentary, during and after completing the audio documentary. We hope our audio documentary maintains the emotional aspects of storytelling which further sensitize the listener and the design team as they are able to sort through the data and stories through the voices of our participants. Further, we wish to establish a continuous communication around and beyond the audio documentary by publishing the audio recording on a platform with public access.
最后，我们报告了在完成音频纪录片期间及之后，关于音频纪录片公开传播的设计和伦理决策。我们希望我们的音频纪录片能够保持叙事的情感方面，从而进一步增强听众和设计团队的敏感性，使他们能够通过参与者的声音梳理数据和故事。此外，我们希望通过在一个公众可访问的平台上发布音频录音，建立围绕音频纪录片及其之外的持续沟通。

4.3.1 Publishing as Single Episode Documentary. Our audio documentary naturally flows as a form of knowledge translation from story to listener when situated in this format. It is made from multiple rounds of edits that collectively tell a story, but the flow from the storytelling space to the listening experience feels quite linear, moving from the recording to audio sharing experience easily. The role of the sound designer resembles that of the writer of an article, choosing quotes, mixing, and mastering voices to develop a sonic world. However, where writing has more leeway to move or paraphrase words to create seamless reading, manipulating a quote to abstract the key theme in sonic dissemination is far more difficult and often impossible to manipulate flawlessly. Thus, the individual's knowledge and experience sharing is fully maintained, pulling their full description and relaying this to the listener's experience.
4.3.1 作为单集纪录片的发布。我们的音频纪录片在这种格式下自然地作为知识传播的形式，从故事到听众流动。它由多轮编辑组成，共同讲述一个故事，但从叙事空间到听觉体验的流动感觉相当线性，轻松地从录音过渡到音频分享体验。声音设计师的角色类似于文章的作者，选择引用、混音和母带处理声音，以构建一个声音世界。然而，写作在移动或改写词语以创造无缝阅读方面有更多的自由，而操控引用以抽象出声音传播中的关键主题则要困难得多，往往无法完美操控。因此，个体的知识和经验分享得以完全保留，将他们的完整描述传达给听众的体验。

To better present these collective and homogeneous stories from 9 interviews, we chose to produce the audio documentary as a single episode – a dedicated, independent episode that gives a sense of completeness. It also allows for enough time to invite listeners to hear the stories of the participants and research findings without placing any expectations on their return for future episodes. We hoped to capture audiences in one sitting, to introduce them to the topic and share key findings. The purpose of project is not to deliver the entire analysis. It is meant to be a gift for participants and therefore the design of a single episode to be distributed also aligns with this goal.
为了更好地呈现来自 9 次访谈的这些集体和同质化的故事，我们选择将音频纪录片制作成一个单独的独立集，这样可以给人一种完整感。它还允许有足够的时间邀请听众聆听参与者的故事和研究发现，而不对他们未来回归的期望施加任何压力。我们希望能够在一次性收听中吸引观众，向他们介绍主题并分享关键发现。该项目的目的并不是提供完整的分析。它旨在作为对参与者的礼物，因此单集的设计也与这一目标相一致。

4.3.2 Choosing the Platform for Distribution. We had carefully reviewed and selected a platform to publish the audio documentary. In selecting the platform, we did not have deeper knowledge on whether the platforms support accessibility features and are compatible with screen readers. We leveraged our broader network and relationships with the blind community to elicit their own opinions and experiences on using various digital platforms for listening to audio. Although these discussions touched on platforms like Anchor, PodBean, and YouTube, SoundCloud emerged as the most promising platform for distribution. SoundCloud is an open audio distribution platform that has a large popularity among people living with blindness and visual impairments due to its integration on smartphones and well supported accessibility features. Equally, there exist numerous sound studies scholars and sound artists that regularly upload audio projects and documentaries to SoundCloud for distribution. It allows the creator to easily embed their sound on other websites in accessible formats. SoundCloud is also highly participatory in nature as it allows listeners to comment on specific sections or on the piece as a whole. This quality was well aligned with our goal of inviting listeners to respond to the reflective questions posed in our audio documentary. A free SoundCloud account allows for up to 3 hours of audio (maximum file size of 4 Gb). Thus, we uploaded the full audio documentary, while also uploading separate sections which we combined into one playlist. In this way, listeners can choose to engage with the full audio documentary or jump to specific themes. The process of distribution through SoundCloud creates space for facilitating participation and co-creation as listeners are encouraged to respond to the questions via comments or potentially to reach out to us directly.
4.3.2 选择分发平台。我们仔细审查并选择了一个平台来发布音频纪录片。在选择平台时，我们对这些平台是否支持无障碍功能以及与屏幕阅读器的兼容性没有深入了解。我们利用与盲人社区的广泛网络和关系，征求他们对使用各种数字平台收听音频的意见和经验。尽管这些讨论涉及了像 Anchor、PodBean 和 YouTube 等平台，但 SoundCloud 成为了最有前景的分发平台。SoundCloud 是一个开放的音频分发平台，由于其在智能手机上的集成和良好的无障碍功能，在盲人和视觉障碍人士中非常受欢迎。同样，许多声音研究学者和声音艺术家定期将音频项目和纪录片上传到 SoundCloud 进行分发。它允许创作者以无障碍格式轻松地将他们的声音嵌入到其他网站。 SoundCloud 具有高度的参与性，因为它允许听众对特定部分或整个作品进行评论。这一特性与我们邀请听众回应我们音频纪录片中提出的反思性问题的目标非常契合。一个免费的 SoundCloud 账户允许上传最多 3 小时的音频（最大文件大小为 4 Gb）。因此，我们上传了完整的音频纪录片，同时也上传了分开的部分，并将其合并为一个播放列表。通过这种方式，听众可以选择参与完整的音频纪录片或跳转到特定主题。通过 SoundCloud 的分发过程为促进参与和共同创作创造了空间，因为听众被鼓励通过评论回应问题，或者可能直接与我们联系。

5 DISCUSSION & IMPLICATIONS
5 讨论与启示

Although participatory design and related approaches have been widely adopted in the HCI and design research communities, the need to develop novel and diverse strategies for nurturing reciprocal relationships with research participants remains a central concern. In parallel to recent research [28,58,67], our approach to making the audio documentary directly aims to cultivate a reciprocal connection with research participants and continue dialogue after a major phase of field research had concluded and the research team had ‘left the field.’ A key contribution of the audio documentary is to employ a design-led practice to create an alternative form of research publication for the participants. Inspired by guiding concepts at the intersection of decolonial scholarship and critical sound studies, we created this transformation and extension of knowledge by foregrounding participants’ own voices and engaging in storywork to set them in dialogue. We also leveraged their sonic environments and our own subtle sound design techniques to generate unique storyworlds that re-create lived experiences. Through integrating reflective questions and communicative silences, we provoke the listener to consider their own positionality and encourage involvement in the moment of listening and, potentially, in future stages of our participatory research. Next, we explore and reflect further on our making and unpacking of the audio documentary and articulate opportunities this design research case suggests for future HCI research.
尽管参与式设计及相关方法在 HCI 和设计研究领域得到了广泛应用，但发展新颖多样的策略以培养与研究参与者的互惠关系仍然是一个核心问题。与最近的研究相呼应，我们制作音频纪录片的方法直接旨在培养与研究参与者的互惠联系，并在主要的实地研究阶段结束、研究团队“离开现场”后继续对话。音频纪录片的一个关键贡献是采用以设计为主导的实践，为参与者创造一种替代的研究出版形式。受到去殖民化学术与批判声音研究交汇处指导概念的启发，我们通过突出参与者自身的声音并参与故事创作，使他们进行对话，从而实现了知识的转化和延伸。我们还利用他们的声音环境和我们自己微妙的声音设计技巧，生成独特的故事世界，以重现生活经历。 通过整合反思性问题和交流沉默，我们促使听众考虑他们自己的立场，并鼓励他们在倾听的瞬间参与，并可能在我们参与性研究的未来阶段中参与。接下来，我们进一步探索和反思我们制作和解读音频纪录片的过程，并阐明这一设计研究案例为未来的人机交互研究所提供的机会。

5.1 Mobilizing a Decolonial Lens for Supporting Reciprocity through Audio-based Interactions in HCI Research
5.1 动员去殖民视角以通过基于音频的互动支持 HCI 研究中的互惠关系

A decolonial lens may offer different ways to view the Research through Design process and to question and unlearn the researcher and listener positionalities. Listening to the stories as storywork is a prominent decolonial choice that has been made through this process that challenges the listening positionality. Situating our findings within the stories and participants’ own voices leaves power in their soundings and places participants in conversation with one another. Our recognition of this positionality and the inquiries we offer, aims to encourage listeners (and ourselves) to confront these positionalities and unlearn some of our ingrained behaviour and sensory processing. This recognition could suggest a new perspective on how researchers design sonic interaction to communicate research inquiries or findings with participants. Throughout the research process, different types of communication can occur. It could be interactive and synchronous, such as screening procedures and individual/group interviews. For this type of communication, there is an opportunity to include a sonic interaction designed around participants’ or researcher's voices to explore motivations, inspirations, and instructions in a collective listening experience. This strategy could give rise to stronger emotional connection and shared understanding among participants and researchers, as opposed to reading findings or questions from a prepared script. For communication that is more subtle and asynchronous like emails and letters, sonic interventions could come into play; on top of the written words, a supplementary audio instruction can be attached to offer a rich emotional layer that text alone cannot deliver.
去殖民化的视角可能提供不同的方式来审视设计研究过程，并质疑和重新学习研究者和听众的立场。将故事视为故事工作是通过这一过程所做出的一个显著的去殖民化选择，这一选择挑战了听众的立场。将我们的发现置于故事和参与者自身的声音之中，使权力体现在他们的声音中，并使参与者彼此对话。我们对这种立场的认识以及我们提出的探究，旨在鼓励听众（和我们自己）面对这些立场，并重新学习我们一些根深蒂固的行为和感官处理。这种认识可能暗示了一种新的视角，即研究者如何设计声音互动，以便与参与者沟通研究问题或发现。在整个研究过程中，可以发生不同类型的沟通。这可以是互动的和同步的，例如筛选程序和个人/小组访谈。 对于这种类型的交流，有机会包括围绕参与者或研究者声音设计的声音互动，以探索集体聆听体验中的动机、灵感和指示。这种策略可能会在参与者和研究者之间产生更强的情感联系和共同理解，而不是从准备好的脚本中阅读发现或问题。对于像电子邮件和信件这样更微妙和异步的交流，声音干预可以发挥作用；在书面文字之上，可以附加补充的音频指示，以提供文本所无法传达的丰富情感层次。

Revisiting Robinson's view, critical listening positionality challenges the listener to seek for the filters (e.g., race, class, gender, etc.) that select and frame what we listen and how we listen [55]. This idea of critical listening positionality has a potential to influence participatory design and inclusive design approaches. Storytelling is one of the dominant methods in inclusive design for respectful engagement with knowledge from a different perspective [7] and for unpacking unique and situational experiences [51]. Critical listening could offer an additional layer to reflect on how the stories are heard and presented. For example, through the development of small pockets of storyworlds (e.g., Luis’ boating trip), the listener is transported to these moments of intimate, nonhuman storytelling. Decolonizing listening in these spaces requires the listener to consider some of the ways that they not only relate to those forms of sonic information, but also how they relate to our soundings. Unlearning the leading position in research could re-define the researcher's positionality to situate themselves equally with participants in considering new insights together and forming collaborative research relationships. Thus, a recognition of the listeners and researchers’ positionality, a push towards listening outside of this positionality, and an appreciation of sound in and amongst sounding agents, can all be applied in future HCI research aimed at better supporting reciprocity with the communities that research teams design for and with. More broadly, these implications build on and extend recent efforts in the HCI and design research communities to continue dialogue and relations after leaving the field and critically reformulate research ‘outcomes’ in more reciprocal and equitable ways [28,58,64,67].
重新审视罗宾逊的观点，批判性倾听的立场挑战听众去寻找那些选择和框定我们所听内容及其听取方式的过滤器（例如，种族、阶级、性别等）[55]。批判性倾听立场的这一理念有潜力影响参与式设计和包容性设计方法。讲故事是包容性设计中一种主要的方法，用于以不同的视角尊重地参与知识交流[7]，并解构独特和情境化的体验[51]。批判性倾听可以为反思故事是如何被听到和呈现提供额外的层面。例如，通过发展小型故事世界（例如，路易斯的划船之旅），听众被带入这些亲密的、非人类的讲故事时刻。在这些空间中去殖民化倾听要求听众考虑他们不仅如何与这些声音信息形式相关联，还要考虑他们如何与我们的声音相关联。 解除研究中的主导地位可能会重新定义研究者的立场，使他们能够与参与者平等地考虑新的见解，并形成协作研究关系。因此，认识到听众和研究者的立场、推动超越这种立场的倾听，以及对声音在发声主体之间的欣赏，都可以应用于未来旨在更好地支持与研究团队为之设计和与之合作的社区之间的互惠关系的人机交互研究。更广泛地说，这些影响建立在并扩展了人机交互和设计研究社区最近的努力，以在离开现场后继续对话和关系，并以更互惠和公平的方式批判性地重新构建研究“成果”。

5.2 Embracing Different Forms of Engagement with and Embodiments of Participants’ Data
5.2 接纳参与者数据的不同参与形式和体现

Performing research with a specific community requires that a researcher be highly attuned to the needs and preferences of that community [77]. Our research participants asked us, the research team, to produce a piece of knowledge transfer in a form they could access, absorb, and use to reflect. These desires and our reciprocal creation and distribution of the audio documentary highlight how creating such artifacts can be useful, if not essential, to keeping longer-term participatory processes going, even if they are not created by everyone involved. This also highlights the need for design research teams to be flexible and to adapt the participatory design process when circumstances and participants ask for such.
进行特定社区的研究要求研究者高度关注该社区的需求和偏好[77]。我们的研究参与者要求我们研究团队以他们能够获取、吸收并用于反思的形式制作一份知识转移。这些愿望以及我们共同创作和分发音频纪录片的过程突显了创造此类文物在维持长期参与过程中的有用性，甚至是必要性，即使这些文物并非由所有参与者共同创作。这也强调了设计研究团队需要灵活应变，并在情况和参与者要求时调整参与设计过程的必要性。

When working with people living with blindness, there is an accountability of knowledge sharing that is tied to the research findings and honouring the relationships with participants that emerged through the research project. Selecting and working within an accessible medium that participants already utilize demonstrates the researcher team's flexibility to these needs. Likewise, it demonstrates that the team is not only honouring the relationships built and stories told, but they are maintaining a healthy relationship with current and future participants. In our case of continually working with research participants from our previous work [79], the most accessible medium was audio. There are two key factors that guided us to arrive at the final form; (i) participants’ preferences and experiences and (ii) the characteristics of collected data.
在与盲人合作时，知识共享的责任与研究结果密切相关，并且需要尊重通过研究项目与参与者建立的关系。选择并使用参与者已经使用的可访问媒介，展示了研究团队对这些需求的灵活性。同样，这也表明团队不仅在尊重建立的关系和讲述的故事，还在与当前和未来的参与者保持健康的关系。在我们与之前工作中的研究参与者持续合作的案例中，最可访问的媒介是音频。有两个关键因素指导我们最终形成；（i）参与者的偏好和经验，以及（ii）收集数据的特征。

Insight into participants’ preferences and experiences were originally developed and synthesized through our previous field study [79]. From the collected data, it was clear their research participants preferred a few dominant qualities: physical presence, tactile impression, social interaction, and audio. We chose two of these qualities in the form of audio documentary – social interaction, as sharing stories, and audio. We believed the audio documentary resonates well with participants because they expressed a high sensitivity to different forms of audio and, more practically, all possessed digital devices that can play sound files as well as audiobooks. We could have pursued creating other alternative forms of knowledge derived from the reporting from the prior field study. For example, a series of 3D-printed souvenirs that represent a snapshot of moments the research findings, which was a proposed design implication in their work, although it likely would not produce the same narrative form, emotional resonance, and capacity to initiate further dialogue and bring participants together.
对参与者的偏好和体验的洞察最初是通过我们之前的实地研究[79]开发和综合而成的。从收集的数据来看，研究参与者偏好几个主要特质：身体存在、触觉印象、社交互动和音频。我们选择了这几个特质中的两个，以音频纪录片的形式呈现——社交互动（分享故事）和音频。我们相信音频纪录片与参与者产生了良好的共鸣，因为他们对不同形式的音频表现出高度敏感性，并且更实际的是，他们都拥有可以播放音频文件和有声书的数字设备。我们本可以追求创造其他基于之前实地研究报告的知识替代形式。例如，一系列 3D 打印的纪念品，代表研究发现的瞬间快照，这在他们的工作中是一个提出的设计含义，尽管这可能不会产生相同的叙事形式、情感共鸣以及启动进一步对话和将参与者聚集在一起的能力。

In HCI and design research, there exist an ongoing interest in exploring alternative forms of representing data (e.g., [24,26]). Our approach shares the same view, focusing on a corpus of field data collected and analyzed for an HCI audience. Looking into the characteristics of the participant data can suggest creative ways of connecting research outcomes to an alternative form. While there are other types of data, including photos, field notes and video clips, audio files from interviews are often the most prominent data. Indeed, audio can encapsulate many rich elements in the recording, such as tonal qualities, soundscapes, emotions in each participant's voice, and social interactions when participants’ loved ones jumped in the conversation. The qualities captured in the data are not easily reproduced. There is an opportunity for future research to extend this approach through new design cases and unpack how field data can be given new forms that, in turn, might inspire new ways of explorations conversations about research outcomes with research participants. Our research expands existing methods of science communication by utilizing participants voices. This approach may offer the added benefit of enabling interviewees to listen to the other interviews in a structured way and to relate to or reference them when being involved in future participatory design work. In this way, interviewees are extended the opportunity to come up with their own, perhaps more fitting, analysis that might illuminate details that the research team may not have been able to grasp. More broadly, future research in this area could lead to new insights on how creating alternative forms of HCI knowledge can further open pathways toward participatory sensemaking, analysis, and design among research and the communities they work with, while also contributing to ongoing efforts aimed at supporting broader distribution [20,22,28,33,34,53].
在人机交互和设计研究中，持续存在对探索替代数据表示形式的兴趣（例如，[2426]）。我们的方法持有相同的观点，专注于为人机交互受众收集和分析的现场数据语料库。研究参与者数据的特征可以暗示将研究结果与替代形式连接的创造性方式。虽然还有其他类型的数据，包括照片、现场笔记和视频片段，但来自访谈的音频文件通常是最突出的数据。实际上，音频可以封装录音中的许多丰富元素，例如音调特征、声景、每位参与者声音中的情感，以及当参与者的亲人参与对话时的社会互动。数据中捕捉到的特质并不容易重现。未来的研究有机会通过新的设计案例扩展这种方法，并探讨如何赋予现场数据新的形式，从而可能激发与研究参与者讨论研究结果的新方式。我们的研究通过利用参与者的声音扩展了现有的科学传播方法。 这种方法可能还提供了一个额外的好处，使受访者能够以结构化的方式聆听其他访谈，并在参与未来的参与式设计工作时与之相关或引用它们。通过这种方式，受访者有机会提出他们自己可能更合适的分析，这可能揭示出研究团队未能掌握的细节。更广泛地说，该领域未来的研究可能会带来新的见解，关于如何创造替代形式的人机交互知识可以进一步为研究与他们所合作的社区之间的参与式意义构建、分析和设计开辟途径，同时也为支持更广泛分发的持续努力做出贡献。

6 CONCLUSION AND FUTURE WORK
6 结论与未来工作

We have described and critically reflected on our design process of creating an audio documentary that aims to extend HCI research back to participants in a valuable and accessible form. Reflecting on the entire process of creating the documentary, from composition and production to publishing, we described key frictions that we encountered and explained how we worked to eventually address them. To support our design decisions, we drew on guiding concepts at the intersection of decolonial theory and critical sound studies, using techniques such as storywork, storyworlds and communicative silence to achieve a better way of unpacking research outcomes. Based on these reflections, we highlighted opportunities for adopting a decolonial lens in the context of HCI research for future explorations into alternative approaches for engaging with participant data against the backdrop of longer-term participatory design processes with research participants. As the audio documentary is finished and published, we distributed the documentary to our participants as we move toward the next research stage. In this way, the audio documentary not only serves as a gift for participants, but also acts as a genuine invitation for future research. Ultimately, we hope our approach inspires future research into how academic knowledge produced in the HCI and design communities can be more approachable and delivered to the broader public, especially research participants and their relevant community members.
我们描述并批判性地反思了我们创建音频纪录片的设计过程，该纪录片旨在以有价值和可获取的形式将人机交互（HCI）研究反馈给参与者。在反思整个纪录片的创作过程时，从构思、制作到发布，我们描述了遇到的关键摩擦，并解释了我们如何努力最终解决这些问题。为了支持我们的设计决策，我们借鉴了去殖民理论与批判性声音研究交汇处的指导概念，使用故事工作、故事世界和交流沉默等技术，以实现更好地解读研究成果。基于这些反思，我们强调了在 HCI 研究背景下采用去殖民视角的机会，以便在与研究参与者的长期参与设计过程中探索参与者数据的替代方法。随着音频纪录片的完成和发布，我们将纪录片分发给参与者，迈向下一个研究阶段。 通过这种方式，音频纪录片不仅为参与者提供了一份礼物，还真正邀请未来的研究。最终，我们希望我们的方法能够激励未来的研究，探讨人机交互和设计领域所产生的学术知识如何变得更加易于接近，并传递给更广泛的公众，特别是研究参与者及其相关社区成员。

ACKNOWLEDGMENTS
致谢

We thank our study participants, the reviewers for their comments, and Ana Lucia Diaz de Leon Derby, Jordan White and Amy Chen for their assistance in conducting the fieldwork project that our audio documentary focuses on. This research is supported by the Natural Sciences and Engineering Research Council of Canada (NSERC) and the Social Sciences and Humanities Research Council of Canada (SSHRC). We also acknowledge open access support from the German Research Foundation (Deutsche Forschungsgemeinschaft DFG) – project number 491460386 – and the Open Access Publishing Fund of Anhalt University of Applied Sciences. This research took place in Vancouver, Canada on the unceded traditional territories of the Coast Salish peoples that include the Kwantlen, Musqueam
我们感谢参与研究的参与者、审稿人的意见，以及 Ana Lucia Diaz de Leon Derby、Jordan White 和 Amy Chen 在我们音频纪录片所聚焦的实地项目中的协助。本研究得到了加拿大自然科学与工程研究委员会（NSERC）和加拿大社会科学与人文学科研究委员会（SSHRC）的支持。我们还感谢德国研究基金会（Deutsche Forschungsgemeinschaft DFG）提供的开放获取支持——项目编号 491460386——以及安哈尔特应用科技大学的开放获取出版基金。本研究在加拿大温哥华进行，地点位于未被割让的海岸萨利什人民的传统领土，包括 Kwantlen 和 Musqueam 部落。