A few AO Requirement Engineering approaches support traceability by providing mapping and influence of requirements-level concerns on subsequent phase artefacts. This is not sufficient to ensure that the architecture actually meets the specified requirements (as some requirements lead to architectural decisions, establish trade-offs, etc). Equally, without knowledge of such traceability relationships it becomes very difficult to predict change impact and thus understand the causes of system instability. In order to improve this situation, we have developed a concern-oriented dependency taxonomy that enables us to capture the dependency relationships between requirements-level concerns and their manifestation at the architectural level. We have applied the dependency taxonomy on a real-world case study to explore and identify unstable architectural components, which are most likely to be impacted by change.

This paper describes PETRAD, a pattern-based approach to aid educators in the selection of appropriate eLearning technologies for specific teaching and learning situations. Those responsible for the selection and adoption of learning support technologies do not always have full and complete knowledge of what is available and under what conditions such technologies are suitable for use. We have developed a pattern-based approach that encapsulates expert knowledge and best practice of eLearning technology selection and adoption. This knowledge is presented in an easily accessible form, allowing inexperienced analysts to make informed decisions regarding the use of complex technologies. In this paper we present the developed approach and evaluate its effectiveness and utility by applying it to a real-world case study.

The growth of mobile devices with near PC equivalent capabilities has brought with it the possibility of mobile P2P systems. However, the nature of mobile devices brings additional issues that need to be considered during the development process, and in particular when the system architectures are being proposed. This paper presents our work on a tool-supported methodology that aims to assist designers in developing secure mobile P2P systems, specifically encouraging them to consider architectural issues from an early stage.

Many organizations use opportunistic reuse as a low-cost mechanism to improve the efficiency of development. Scrapheap reuse is a particular form of opportunistic development that we explore in this paper with the aid of an experimental study.

The growth of mobile devices with near PC equivalent capabilities has brought with it the possibility of mobile P2P systems. However, the nature of mobile devices brings additional issues that need to be considered, especially for when considering system security. This paper presents our initial work on the EU funded PEPERS project that seeks to support the development of secure mobile P2P applications. A core part of this support is with the design and development of a mobile P2P security platform.

In the creative environment where research takes place not everything can be improved. The creative "essence" of research must be undisturbed while "accident" wasted effort is reduced to a minimum. In this paper we discuss the types of knowledge at play in the research environment, introduce a new abstract model of knowledge, and using the model explain how we should focus our effort on research students and on particular types of knowledge transfer in order to gain an over all improvement in our research processes. Just as we teach to facilitate student learning, so too can we supervise, teach and guide to facilitate better and faster researching in our academic computer science departments.

Digital technologies have become more and more prevalent in digital performance and installation art systems. As these systems increase in complexity, the likelihood of failure also increases, with serious consequences for the artists and performers who rely upon them. This paper describes a support architecture, on which installation and performance control software can run, which helps to improve the dependability of such systems. The developed architecture is based on recognized best practice from critical systems research, and the support features provided have been designed using insight gained from the authors' experiences as practitioners in the digital arts domain.

It is through our mental models of the world that we understand it. Advances in science are nothing more than improvements to the model. This paper presents the development and refinement of our model of the research process as we seek to understand and improvement the process through three generations of case studies. We conclude by introducing an approach to help manage and plan research projects.

The inherent freedom of playful arenas combined with intimate ubiquitous technologies has led to a new breed of guerrilla performance. We draw on theory from computing, performance and club culture to illustrate the Performance Triad model, a method for the analysis, deconstruction and understanding of tripartite interaction in playful arenas. We then apply the Performance Triad model to Schizophrenic Cyborg a part reversal of wearable computing technology where the user is outfitted with an electronic communication display and yet this display is visible to others not the cyborgs themselves. This ubiquitous performance investigates the shifting boundaries between performer, participant and observer and of technology-enhanced guerrilla performance.

The empowerment and facility of new ubiquitous sensor technologies combined with the inherent freedom of playful arenas has led to a new breed of performance. These new performances meld atoms and bits, performer and audience, fantasy and fact to create an intimate connection between our physical and virtual world and to affectively augment our notion of expectation. Low-cost sensing and quick set up allows for more flexible, spontaneous and mobile performances which infiltrate unanticipated performance spaces. Our interest lies in how technology stimulates the desire of the clubber to create and be performative within this space; how the technology promotes dialogue between itself and the user; how the use of such technology may signal new and innovative performance practices. We perceive the underground club space as an arena where all who contribute to its status as a communal event embrace participation, performance and play. The clubbing environment invites individuals and groups to gather together, to suspend time and to engage in a social activity which allows them to play with and destabilise notions of identity and reality. New possibilities are envisaged through collaborative creativity. Observable participation encouraged by playful arenas may be planned and intentionally invoked by the performance. Alternatively, participation may be unplanned and proactive on the part of the audience. Performativity infuses a club event throughout and manifests on both formal and informal levels. Clubbers use of costume is often highly imaginative and can be extended further into sustained role-play. Clubbers themselves add to a sense of the theatrical experience by adopting “characters” who interact with the crowd over the course of a night. This intentional shape shifting and willingness to “other” provides us as technologists and performers with a fertile ground for experimentation and innovation. A significant aspect relating to the use of hi-tech elements in playful arenas is the apparentness of technology in performance which can either impress or intimidate observers. Alternatively, an apparent lack of technology may have a larger impact if the technology is hidden and only the effects of its usage are seen or felt, without being obscured by the edifice of the technology itself. In this paper, we investigate the use of high technology in performance, specifically within clubbing environments, and deploy our own pieces in these spaces to expose the technical, conceptual and aesthetic parameters associated with such use. The increased uptake of technology in performance runs in parallel with the changing nature of performance itself. In a variety of performance environments, such as galleries and theatres, observers are conditioned and engrained with the rigid rules of acceptable behaviour. New environments are rapidly emerging which do not bring with them such preconceived baggage of acceptable behaviour and are particularly conducive to physical engagement and interaction, with their emphasis on play in a spirit of festival and carnival. In these conditions, interaction thrives and participation flourishes from the unfamiliar interplay between audience, performer and technology, often blurring the boundary between observers and observed. Our paper explores how such relationships change our preconceived notions of acceptable behaviour and with it our legacy of expectation.