Many scientific fields of study use formally established reportingstandards to foster research and experimental design, transparency,replicability, peer review, and student training. Examples includeCONSORT in medicine, the What Works Clearinghouse in educa-tion, JARS in psychology. Such standards yield agreement on studyreporting and evaluation, even if using different methodologies.CHI has not adopted reporting standards. Like other fields, CHI hasseen an increased number of low-quality submissions and reviewsfueled by AI. This panel’s objective is to discuss advantages and bar-riers of adopting reporting standards for SIGCHI. Panelists includerepresentatives with significant experience creating, adopting andoperationalizing reporting standards in adjacent fields: softwareengineering, CS education, and Programming Languages. The panelwill include an overview of the history of reporting standards, a livedemo of a standards-based peer review system, discussions of op-portunities, challenges, limitations for SIGCHI reporting standards,and an interactive discussion between attendees and panelists
This study investigates legal professionals’ knowledge of eyewitness testimony factors, including system and estimator factors, compared to laypeople. Previous research has questioned the adequacy of methods assessing legal actors’ understanding. To address this, 313 legal professionals and 400 laypeople completed a 21-item questionnaire embedded in case-specific scenarios using vignette methodology. Legal professionals achieved an accuracy rate of 66%, compared to 60.3% for laypeople. They more accurately identified estimator factors than system factors, with judges and prosecutors performing better than laypeople in both categories. These results reveal significant variations in knowledge of eyewitness testimony and underscore the need for targeted training programs. Enhancing legal professionals’ understanding of eyewitness factors could contribute to fairer and more accurate judicial outcomes.
Born-digital cultural heritage is an extremely broad category. However, there is no doubt that much of it includes activities that were created on the margins of the art world. Both the content itself, such as amateur games or demoscene productions, but also the efforts to archive them, are in effect often the work of amateur enthusiasts - dispersed groups that do invaluable work but at the same time do not meet institutional and academic standards, and often remain in tension with copyright law. In an era of increasing institutionalisation of digital heritage, how do we reconcile the expectations of all parties involved? Can the arrangement of this cooperation enable the rationalisation of resource management and facilitate similar activities in the future?
The article focuses on experiences from the COST Grassroots of Digital Europe project, in which we are trying to build a ‘network of networks’, connecting academics, GLAM institutions and enthusiasts, and providing all stakeholders with materials to support their work. Examples of good practices will be presented, but there will also be remarks on the difficulties and challenges of such an approach.
Otwarty dostępArtykułyJournal Article in Conference proceedings
Teatr Kombinat we Wrocławiu, Krupa Gallery Art Foundation we Wrocławiu, Miasto Wrocław
David Sypniewski is the creator of the titular bot in the performance "Grief//bot – a performance with the participation of an AI avatar." The event is an interdisciplinary and groundbreaking artistic and research project by the Kombinat Theatre in Wrocław, combining drama theatre, puppet theatre, and artificial intelligence technologies. In addition to the actor and puppet, the performance also features a bot, making the performance partially improvised and interactive, as it allows for a conversation between the audience and the bot. Sypniewski was a member of the creative team that designed the bot's role in the performance and its planned operation. He participated in a debate accompanying the performance, focusing on grief and technology. The performance premiered at the Krupa Gallery Art Foundation in Wrocław on February 20, 2026. The project received European Union funding from the National Reconstruction Plan.
Osiągnięcia artystycznePrace artystyczneauthorship of an artwork at an event
