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Résumé Cette recherche a débuté avec l’idée que l’Internet est en train de changer la manière dont nous créons des connaissances et du contenu culturel. Notre point de départ était d’utiliser l’Internet afin de rassembler et amplifier plusieurs points de vue dans un processus de design. Une approche complexe a exposé l’Internet comme un système et conséquemment comme une plateforme pour l’innovation. La structure ouverte de l’Internet a soutenu le mouvement participatif des usagers qui ont choisi de partager leurs besoins, leurs désirs et leurs solutions. Notre recherche a pour but d’étudier ce contenu généré par les usagers en ligne et comprendre sa valeur pour les designers. Les usagers créatifs veulent s’exprimer et participer activement dans le processus de design. Notre recherche tente de démontrer que les designers ont beaucoup à apprendre du contenu généré par les usagers car ceux-ci soumettent des éléments qui ont attrait à toutes les étapes du processus de design et révèlent des relations présentes dans la situation de design à l’étude. Pour en apprendre plus sur ce contenu nous nous demandons : Quel type d’information offre le contenu généré par les usagers pour la phase de recherche dans le processus de design. Afin de centrer la portée de l’étude, nous nous sommes aussi questionné si cette information est plus pertinente au design de produits, au design de services ou au design de système de produits et de services. Aspirant aux idéaux du design participatif, notre méthodologie fut développée afin d’apprendre comment le contenu généré par les usagers pourrait influencer le processus de design. Pour ce faire, nous avons choisi de chercher sur l’Internet pour du contenu qui concerne la mobilité via l’usage d’une automobile. Les trois différents types de média considérés étaient les vidéos sur YouTube, les images sur Flickr et les textes sur Blogger. Afin de répondre à notre première question de recherche, nous nous sommes penchés sur deux éléments lorsque l’on recherche pour le design : les espaces de design et les relations de design. Premièrement, nous avons catégorisé le contenu récolté selon l’espace problème, créatif et solution. Deuxièmement, nous avons catégorisé le contenu dépendant de laquelle des relations de design elle démontrait soit une combinaison d’usagers, objets et contextes. Dans le but de répondre à la deuxième question de cette recherche, nous avons examiné trois types V de produits de design : les automobiles privées comme produit, le partage de voiture comme système de produit et de service, et le taxi comme service. Chaque élément pertinent généré par les usagés trouvé dans cette recherche fut catégorisé jusqu’à ce que l’on récolte 50 échantillons pour chaque combinaison de ces variables. Nous en sommes arrivés avec une matrice de 50 éléments de chaque produit de design, pour chacun des médias, puis catégorisé selon les espaces de design et les relations dans le design. Cette recherche démontre que l’Internet, comme médium, produit les conditions avantageuses pour que les usagers partagent de grandes quantités de contenu original et diversifié qui est pertinent aux situations de design. À partir de nos données de recherche, nous avons identifié des tendances dans le contenu généré par les usagers. Notamment, nous sommes en mesure d’affirmer que le contenu généré par les usagers offre de l’information pertinente à la recherche pour le design, et ce dans tous les espaces de design et toutes les relations de design. Il en fut de même pour les différentes issues du design car du contenu sur les produits, les systèmes de produits et de services et les services était présent et pertinent. Bref, nous avons démontré que l’Internet supporte la créativité et conséquemment il y abonde de contenu créatif produit par les usagers. Suivant dans les traces dessinées par d’autres chercheurs en design participatif, cette étude devrait être considérée comme un nouvel exemple des moyens qu’ont les designers pour percevoir les besoins tacites des usagers en leur permettant d’exprimer leurs idées. Alors que ceux-ci créent librement et intuitivement ainsi exposant leurs besoins, solutions et idées, les designers peuvent porter un regard de tierce partie sur les résultats. Jumelant des techniques comme le crowdsourcing et le brainstorming, nous avons créé une nouvelle activité et le néologisme : brainsourcing. En demeurant dans une forme de pratique réflexive, les designers peuvent réfléchir et ajouter au contenu généré par les usagers qui lui n’est pas biaisé par une éducation ou une culture du design. Ce processus est similaire au design participatif professionnel où le brainsourcing est une activité parallèle lorsque le designer fait des recherches pour le design. C’est cette perspective sur la somme des idées des participants qui peut contribuer à comprendre la complexité de la situation de design. VI Cette recherche a aussi soulevé des questions par rapport à l’effet de démocratisation de l’Internet. Bien que les usagers n’ont pas l’éducation, ni les habiletés des designers, ils aspirent à démocratiser le processus du design en voulant participer activement et en exposant leurs besoins, idées et solutions. Nous avons pu déterminer que les usagers n’étaient pas qualifiés pour entreprendre le processus complet du design comme les designers professionnels, mais nous avons observé directement la capacité des usagers à mettre de l’avant leur créativité. À propos de la relation entre les usagers créatifs et les designers, nous avons étudié des langages communs tels les scénarios et les prototypes. Tous deux sont présents dans le contenu généré par les usagers que nous avons récolté dans nos recherches sur Internet. Ceci nous a mené vers une nouvelle perspective sur l’activité du design où des opportunités créatives ressortent d’une conversation avec les usagers. Cette recherche a dévoilé de grandes tendances dans la manière dont les usagers communiquent naturellement dans un processus de design. Nous espérons avoir offert un aperçu de comment les designers peuvent prendre avantage de tous les types de contenu généré par les usagers en ligne. Dans le futur, nous souhaitons que les designers aient la possibilité d’interagir avec les participants en prenant le rôle de facilitateur de la conversation. La responsabilité du résultat ne tombe pas sur les épaules du designer car son mandat est d’assurer le bon fonctionnement du processus. Les designers rejoignent les usagers en ne demandant plus comment les choses peuvent être créées, mais pourquoi elles devraient exister. En tant que designers, nous aspirons à générer plus à partir de nouvelles connaissances, nous aspirons à créer plus de sens. Mots clés: Recherche en design, complexité, design participatif, contenu généré par les usagers, démocratisation, Internet, créativité, crowdsourcing, brainstorming, brainsourcing, réflexion-en-action. / Abstract This research started with the idea that the Internet is changing the way we gather knowledge and create content. The Internet was used to bring multiple points of views to interact and amplify each other within the design process. A complex approach helped understand the Internet as a system and consequently a platform for innovation. The Internet’s open structure led to a rise of participative users exposing their needs, wants and solutions. Our research has studied this user generated content over the Internet and its relevance to the design process. Creative users want to express themselves and to participate directly and proactively in the design development process. This research argues that designers have much to benefit from user generated content because users submit elements pertaining to all design spaces and reveal elements of the relationships present in a design situation under study. To learn more about this new content we ask: What type of information does user-generated content provide for researching for design? To further narrow the scope of this research, we also wondered: Is this information more pertinent to product design, service design or product service systems? In a participatory like effort, our methodology was developed to learn how user generated content could influence the design process. To do so, we chose to search over the Internet for content concerning mobility via the use of an automobile. The three different media types we considered were videos on YouTube, images on Flickr and text entries on Blogger. To answer our first research question, we focused our attention on two elements when researching for design: design spaces and design relationships. Firstly, we categorized the content we gathered between problem, creative and solution spaces. Secondly, we categorized the content depending on which design relationship it portrayed, thus affecting a combination of users, objects and contexts. To answer the second question of this research, we examined design outcomes of three types: private automobiles as a product, car sharing program as a product-service system, and taxis as a service. Each element of pertinent user generated content found in our research was categorized until we collected 50 samples for every combination of variables. We ended up with a matrix where 50 II elements of each design outcome had been collected in the form of each type of media and then categorized according to both design spaces and design relationships. This study has shown that the Internet as a medium produces the right conditions for users to share a large quantity of original and diverse content pertinent to a design situation. From our data collection, we were able to identify some trends in user generated content. More importantly, we can affirm that user generated content provides pertinent information when researching for design in all design spaces and design relationships. The same results were found for the outcomes of design as content relevant to products, product-service systems and services were all available and pertinent. In summary, we found that the Internet supports creativity and thus thrives on creative user content. Following in the path laid out by researchers in participatory design, this study should be considered as another example of a means for designers to perceive tacit needs by allowing for users to express their ideas. As the users create freely and intuitively while expressing their needs, solutions and ideas, the designers can have a third person point of view on the results. By combining techniques such as crowdsourcing and brainstorming, we have created a new activity and the neologism: brainsourcing. With some perspective on the sum of the participants’ ideas, the designers can better understand the complexity of the design situation. While remaining in a form of reflective practice, the designers can then reflect and add upon the users’ generated content which is unbiased by a design education or design culture. This process is similar to the professional participatory design process where we introduce brainsourcing as a similar activity. This research also raised the question whether the Internet could be democratizing the design process. Although users might not have the education and skills to be designers, they are democratizing the design process by participating actively and by exposing their needs, solutions and ideas. We determined that users weren’t undertaking the whole design process like professional designers but we observed that they were particularly creative. In light of this relationship between creative users and designers, we reviewed common languages, like scenarios and prototypes, which are III present in the user generated creative content we collected over the Internet. This led to a new point of view on the design activity where creative opportunities come from engaging a conversation with the users. This research has revealed many trends in the way users naturally communicate within a design process. In the end, we provided some insight on how designers can take advantage of all types of user generated content. In the future, we hope designers will be able to interact with participants while taking on the role of a facilitator of conversation, assuring the creative process is right. No longer are designers asking what products and services could be created, but why users would need it in the first place. Keywords: Design research, complexity, participatory design, user generated content, democratization, Internet, creativity, crowdsourcing, brainstorming, brainsourcing, reflection-in-action.

本研究首先從文獻回顧及實際調查中深入探討影響參觀者使用博物館行動導覽系統的七大影響因素，接著據此設計並實作出在智慧型手機平台上使用之一套博物館行動導覽系統，以期有效解決現有參觀者遇到的導覽問題。研究中使用設計科學之研究方法，提出解決方案，並且依據實際環境、背景以及文獻基礎，設計整體的系統架構。接著以故宮為例，建構出本研究之博物館行動導覽系統手機應用程式。系統開發完成後，以實驗法進行設計之驗證，評估結果顯示：本研究所提出之行動導覽系統相較於傳統之紙本導覽，可提升參觀者使用博物館行動導覽系統的意願、感知價值及滿意度。本研究之博物館行動導覽系統建置過程、以及系統成效的驗證，可作為手機應用程式（APP）廠商建置行動導覽系統或使用設計科學法開發其他類別的APP之指引；亦或作為博物館策劃展覽活動與導入行動導覽系統之依據；此外本研究亦指出使用者預期實際使用系統之感知與預期系統需求之落差，以供未來相關研究參考。 / In this research, according to literature review and field observations, we first identify and discuss seven design factors affecting visitors’ usability in museum mobile navigation systems. We then design and construct a museum mobile navigation system on the basis of the seven factors. The purpose is to meet the visitors’ needs and increase the visitors’ intention and satisfaction toward using the museum mobile navigation system. Design science research method is used in this research to propose solution plans. According to actual environment, context, and literature, the complete system architecture is designed. We then build a mobile navigation application on Android for the National Palace Museum and evaluate the design to ensure this system can effectively solve the problems that the visitors encountered during navigation process. In this research, the building process of the mobile museum navigation system and the evaluation of the system performance could provide guidance to APP vendors; or a basis for museums to plan an exhibition and to implement a mobile navigation system. Moreover, the gap between users’ perception of using the real system and their expected system requirements can be identified; this could serve as the reference point of future related research.

Financial exclusion is a major developmental problem. Perception has it that financial exclusion emanates from the lack of access to banking and financial services, and the general understanding is that ICT-based access to such services is the solution. In this research, which was undertaken in Ghana, Critical Realism (CR) revealed deeper causes (generative mechanisms) that underlie financial exclusion. The research followed a mixed-method approach. The CR approach guided the research to create an initial model from which hypotheses were deduced and tested; the design science approach, guided the research to create the design theory and an instantiation of an application that uses the design theory; and the quantitative method, was used to evaluate the hypotheses. CR revealed how, in a credit economy, people have a need for credit to pursue business or education opportunities. The generative mechanisms identified have revealed how the credit market for the unbanked includes the reality that a wellfunctioning credit market is self-sustaining with two mechanisms: signalling and adoption. The signalling mechanism facilitates users’ access to credit, which they in turn are able to spend on more services. On the other hand, the adoption mechanism enables the development of more services making the market more valuable, thus attracting more users in a self-feeding loop. The key findings suggest that being banked does not necessarily lead to financial inclusion and financial wellbeing. Transactional banking only serves as an "enrichment agenda for the banks", with minimal benefit to the people. There are also other non-financial technologies such as sharing and social technologies that have an effect on the provision of credit; in addition to their main purpose of saving and/or earning income, for the unbanked, by sharing resources. In Ghana, despite having bank accounts, most of the banked do not use them, because of cost and inappropriate services. This research reveals that the unexamined notion of being banked as a fundamental requirement for financial inclusion may require further investigation. The research has found that the unbanked keeping to themselves and the use of cash creates anonymity and makes them invisible to formal financial institutions, who prefer identity over anonymity, thus contributing to their financial exclusion. The following design needs were identified: inexpensive credit and value-added services such as saving groups, financial accounting services, service to report delinquent customers and education. The research offers a conceptualization of a financial inclusion ICT artefact to draw attention to the multifaceted and complex environment financial inclusion effort is immersed. This calls for an integrated approach since the issues with financial exclusion extend beyond financials and have an effect on the broader society. The research, therefore, proposes a substantive framework for improving the design and development of financial inclusive systems, which helps build trust using obligation transactions. It offers an approach to computing an individual’s financial inclusiveness, which also helps safeguard his/her financial wellbeing. The thesis makes a contribution to Information Systems theory in proposing a framework on financial inclusion using ICT. The contribution to practice is the design of an ICT artefact. / School of Computing / Ph. D. (Computer Science)

This dissertation presents, describes and discusses an interdisciplinary study which investigated the design and development of a language learning instructional solution to address the problem of inadequate aural skills acquisition for college ESP (English for Special Purposes) students. Specifically, it focused on the use of mobile technology to expand learning beyond the classroom. The eighteen-month process of data collection and analysis resulted in a conceptual model and design principles for a Mobile-Enabled Language Learning (MELL) solution. Mobile-Enabled Language Learning Eco-System was thus designed, developed and trialled in the real-life learning context. Through the iterative process of the design, development and evaluation of the MELL system and its components, design principles were also generated. These design recommendations were refined and reformulated in a cyclical fashion with the help of more than 100 students and ten experts. The resulting MELLES design framework encompasses guidelines addressing the essential characteristics of the desired MELL intervention as well as procedures recommended to operationalize those features. The study also resulted in a better understanding of the broader context of ESP learning using mobile devices and the role of elements of environment, ultimately contributing to real-life praxis of the Ecological Constructivist framework and the complementary approach of Design-Based Research (DBR) methodology. / 2012-06

Résumé Cette recherche a débuté avec l’idée que l’Internet est en train de changer la manière dont nous créons des connaissances et du contenu culturel. Notre point de départ était d’utiliser l’Internet afin de rassembler et amplifier plusieurs points de vue dans un processus de design. Une approche complexe a exposé l’Internet comme un système et conséquemment comme une plateforme pour l’innovation. La structure ouverte de l’Internet a soutenu le mouvement participatif des usagers qui ont choisi de partager leurs besoins, leurs désirs et leurs solutions. Notre recherche a pour but d’étudier ce contenu généré par les usagers en ligne et comprendre sa valeur pour les designers. Les usagers créatifs veulent s’exprimer et participer activement dans le processus de design. Notre recherche tente de démontrer que les designers ont beaucoup à apprendre du contenu généré par les usagers car ceux-ci soumettent des éléments qui ont attrait à toutes les étapes du processus de design et révèlent des relations présentes dans la situation de design à l’étude. Pour en apprendre plus sur ce contenu nous nous demandons : Quel type d’information offre le contenu généré par les usagers pour la phase de recherche dans le processus de design. Afin de centrer la portée de l’étude, nous nous sommes aussi questionné si cette information est plus pertinente au design de produits, au design de services ou au design de système de produits et de services. Aspirant aux idéaux du design participatif, notre méthodologie fut développée afin d’apprendre comment le contenu généré par les usagers pourrait influencer le processus de design. Pour ce faire, nous avons choisi de chercher sur l’Internet pour du contenu qui concerne la mobilité via l’usage d’une automobile. Les trois différents types de média considérés étaient les vidéos sur YouTube, les images sur Flickr et les textes sur Blogger. Afin de répondre à notre première question de recherche, nous nous sommes penchés sur deux éléments lorsque l’on recherche pour le design : les espaces de design et les relations de design. Premièrement, nous avons catégorisé le contenu récolté selon l’espace problème, créatif et solution. Deuxièmement, nous avons catégorisé le contenu dépendant de laquelle des relations de design elle démontrait soit une combinaison d’usagers, objets et contextes. Dans le but de répondre à la deuxième question de cette recherche, nous avons examiné trois types V de produits de design : les automobiles privées comme produit, le partage de voiture comme système de produit et de service, et le taxi comme service. Chaque élément pertinent généré par les usagés trouvé dans cette recherche fut catégorisé jusqu’à ce que l’on récolte 50 échantillons pour chaque combinaison de ces variables. Nous en sommes arrivés avec une matrice de 50 éléments de chaque produit de design, pour chacun des médias, puis catégorisé selon les espaces de design et les relations dans le design. Cette recherche démontre que l’Internet, comme médium, produit les conditions avantageuses pour que les usagers partagent de grandes quantités de contenu original et diversifié qui est pertinent aux situations de design. À partir de nos données de recherche, nous avons identifié des tendances dans le contenu généré par les usagers. Notamment, nous sommes en mesure d’affirmer que le contenu généré par les usagers offre de l’information pertinente à la recherche pour le design, et ce dans tous les espaces de design et toutes les relations de design. Il en fut de même pour les différentes issues du design car du contenu sur les produits, les systèmes de produits et de services et les services était présent et pertinent. Bref, nous avons démontré que l’Internet supporte la créativité et conséquemment il y abonde de contenu créatif produit par les usagers. Suivant dans les traces dessinées par d’autres chercheurs en design participatif, cette étude devrait être considérée comme un nouvel exemple des moyens qu’ont les designers pour percevoir les besoins tacites des usagers en leur permettant d’exprimer leurs idées. Alors que ceux-ci créent librement et intuitivement ainsi exposant leurs besoins, solutions et idées, les designers peuvent porter un regard de tierce partie sur les résultats. Jumelant des techniques comme le crowdsourcing et le brainstorming, nous avons créé une nouvelle activité et le néologisme : brainsourcing. En demeurant dans une forme de pratique réflexive, les designers peuvent réfléchir et ajouter au contenu généré par les usagers qui lui n’est pas biaisé par une éducation ou une culture du design. Ce processus est similaire au design participatif professionnel où le brainsourcing est une activité parallèle lorsque le designer fait des recherches pour le design. C’est cette perspective sur la somme des idées des participants qui peut contribuer à comprendre la complexité de la situation de design. VI Cette recherche a aussi soulevé des questions par rapport à l’effet de démocratisation de l’Internet. Bien que les usagers n’ont pas l’éducation, ni les habiletés des designers, ils aspirent à démocratiser le processus du design en voulant participer activement et en exposant leurs besoins, idées et solutions. Nous avons pu déterminer que les usagers n’étaient pas qualifiés pour entreprendre le processus complet du design comme les designers professionnels, mais nous avons observé directement la capacité des usagers à mettre de l’avant leur créativité. À propos de la relation entre les usagers créatifs et les designers, nous avons étudié des langages communs tels les scénarios et les prototypes. Tous deux sont présents dans le contenu généré par les usagers que nous avons récolté dans nos recherches sur Internet. Ceci nous a mené vers une nouvelle perspective sur l’activité du design où des opportunités créatives ressortent d’une conversation avec les usagers. Cette recherche a dévoilé de grandes tendances dans la manière dont les usagers communiquent naturellement dans un processus de design. Nous espérons avoir offert un aperçu de comment les designers peuvent prendre avantage de tous les types de contenu généré par les usagers en ligne. Dans le futur, nous souhaitons que les designers aient la possibilité d’interagir avec les participants en prenant le rôle de facilitateur de la conversation. La responsabilité du résultat ne tombe pas sur les épaules du designer car son mandat est d’assurer le bon fonctionnement du processus. Les designers rejoignent les usagers en ne demandant plus comment les choses peuvent être créées, mais pourquoi elles devraient exister. En tant que designers, nous aspirons à générer plus à partir de nouvelles connaissances, nous aspirons à créer plus de sens. Mots clés: Recherche en design, complexité, design participatif, contenu généré par les usagers, démocratisation, Internet, créativité, crowdsourcing, brainstorming, brainsourcing, réflexion-en-action. / Abstract This research started with the idea that the Internet is changing the way we gather knowledge and create content. The Internet was used to bring multiple points of views to interact and amplify each other within the design process. A complex approach helped understand the Internet as a system and consequently a platform for innovation. The Internet’s open structure led to a rise of participative users exposing their needs, wants and solutions. Our research has studied this user generated content over the Internet and its relevance to the design process. Creative users want to express themselves and to participate directly and proactively in the design development process. This research argues that designers have much to benefit from user generated content because users submit elements pertaining to all design spaces and reveal elements of the relationships present in a design situation under study. To learn more about this new content we ask: What type of information does user-generated content provide for researching for design? To further narrow the scope of this research, we also wondered: Is this information more pertinent to product design, service design or product service systems? In a participatory like effort, our methodology was developed to learn how user generated content could influence the design process. To do so, we chose to search over the Internet for content concerning mobility via the use of an automobile. The three different media types we considered were videos on YouTube, images on Flickr and text entries on Blogger. To answer our first research question, we focused our attention on two elements when researching for design: design spaces and design relationships. Firstly, we categorized the content we gathered between problem, creative and solution spaces. Secondly, we categorized the content depending on which design relationship it portrayed, thus affecting a combination of users, objects and contexts. To answer the second question of this research, we examined design outcomes of three types: private automobiles as a product, car sharing program as a product-service system, and taxis as a service. Each element of pertinent user generated content found in our research was categorized until we collected 50 samples for every combination of variables. We ended up with a matrix where 50 II elements of each design outcome had been collected in the form of each type of media and then categorized according to both design spaces and design relationships. This study has shown that the Internet as a medium produces the right conditions for users to share a large quantity of original and diverse content pertinent to a design situation. From our data collection, we were able to identify some trends in user generated content. More importantly, we can affirm that user generated content provides pertinent information when researching for design in all design spaces and design relationships. The same results were found for the outcomes of design as content relevant to products, product-service systems and services were all available and pertinent. In summary, we found that the Internet supports creativity and thus thrives on creative user content. Following in the path laid out by researchers in participatory design, this study should be considered as another example of a means for designers to perceive tacit needs by allowing for users to express their ideas. As the users create freely and intuitively while expressing their needs, solutions and ideas, the designers can have a third person point of view on the results. By combining techniques such as crowdsourcing and brainstorming, we have created a new activity and the neologism: brainsourcing. With some perspective on the sum of the participants’ ideas, the designers can better understand the complexity of the design situation. While remaining in a form of reflective practice, the designers can then reflect and add upon the users’ generated content which is unbiased by a design education or design culture. This process is similar to the professional participatory design process where we introduce brainsourcing as a similar activity. This research also raised the question whether the Internet could be democratizing the design process. Although users might not have the education and skills to be designers, they are democratizing the design process by participating actively and by exposing their needs, solutions and ideas. We determined that users weren’t undertaking the whole design process like professional designers but we observed that they were particularly creative. In light of this relationship between creative users and designers, we reviewed common languages, like scenarios and prototypes, which are III present in the user generated creative content we collected over the Internet. This led to a new point of view on the design activity where creative opportunities come from engaging a conversation with the users. This research has revealed many trends in the way users naturally communicate within a design process. In the end, we provided some insight on how designers can take advantage of all types of user generated content. In the future, we hope designers will be able to interact with participants while taking on the role of a facilitator of conversation, assuring the creative process is right. No longer are designers asking what products and services could be created, but why users would need it in the first place. Keywords: Design research, complexity, participatory design, user generated content, democratization, Internet, creativity, crowdsourcing, brainstorming, brainsourcing, reflection-in-action.

This study focuses on student support service quality with particular reference to an Open Distance Learning (ODL) environment. Taking student support services as anchors in mainstreaming ODL, the aims of the study are to develop an instrument that can accurately measure student support service quality in an Ethiopian ODL environment. Simultaneously, it is to investigate an alleged gap between students’ expectations and experiences of service quality in the Ethiopia-UNISA context. In doing so, an attempt is made to determine the students’ level of satisfaction with the student support services provided. The study relies on quantitative methods and a design-based research strategy, which involves iterative and step-by-step processes of investigation. The theoretical framework employed in this study is Gaps Model by Parasuraman, Ziethaml and Berry (1985). Using an instrument of which the possible level of external and internal validity has been ensured, data are collected and quantitatively analysed using a standard Statistical Package for the Social Sciences (SPSS). The data suggest that there are five dimensions that play a cardinal role in the measurement of student support service quality in an ODL context, namely supervision support, infrastructure, administrative support, academic facilitation and corporate image. In the Ethiopian context, there appears to be a discrepancy between students’ expectations and their experiences of the quality of student support services. More than often their expectations exceed their actual experiences of quality service provision. Students’ satisfaction levels are negatively affected by the quality of four of the support services provided by UNISA as measured through expectations and experiences. In contrast, the students’ responses show that they are highly satisfied with the corporate image UNISA holds both in Ethiopia and internationally. From among the five dimensions, however, corporate image and supervision support stand out to be the most important dimensions in contributing to the students’ satisfaction and dissatisfaction, respectively. As a recommendation, this study highlights that these two dimensions must be focal areas by UNISA as more effort must be exerted to build the image of UNISA in Ethiopia and to improve the supervision support provided to students. / Educational Leadership and Management / D. Ed. (Education Management)

Thesis submitted in fulfilment of the requirements for the degree Doctor of Education in the Faculty of Education and Social Sciences at the Cape Peninsula University of Technology 2013 / Parental involvement in rural multigrade schools in South Africa is poor. This is mainly due to a lack of support for and insufficient knowledge regarding the development of a programme that would increase parental involvement at rural multigrade schools in South Africa. The context of multigrade education in South Africa reflects the reality of a lack of parental involvement. South African rural multigrade education is beset by a variety of internal and external challenges which have a detrimental effect on effective parental involvement. However, in the rural multigrade school context, parents have untapped potential that needs to be identified and acted upon in order to empower parents; this could provide the rural marginalised children with meaningful access to quality education. Research has proved that parental involvement has a positive effect on the quality of education. According to research, the six types of parental involvement are parenting, communicating, volunteering, learning at home, decision-making and collaborating with the community. In this study the focus was on involving parents in learning and allowing them to become active partners in education. To increase parental involvement in learning at rural multigrade schools in South Africa, an intervention was needed. This intervention came in the form of a school, community and family partnership programme. The core elements of a school, community and family partnership programme (SCAF partnership programme) were the creation of partnerships and communication channels between the school, community and family, as well as the utilisation of existing community resources. These core elements had a specific focus on learning. This study used Bourdieu's (1986) theory on capital and Epstein's (1995) theory of overlapping spheres of influence. The purpose of this study was to determine the characteristics of an effective school, community and family partnership programme that would increase parental involvement in learning at rural multigrade schools in South Africa. Design-based research was employed in order to design, develop and test the proposed programme. Research was conducted in two phases. During the preliminary phase, a needs and content analysis, review of literature, and the development of a conceptual or theoretical framework for the study were conducted. This was followed by a prototyping phase which is an iterative design phase consisting of iterations, each being a micro-cycle of research with formative evaluation as the most important research activity, and which is aimed at improving and refining the intervention. Summative evaluation was conducted during the prototype phase in order to determine whether the solution or intervention met the pre-determined specifications. Data gathered during this study indicated: 1. The SCAF partnership programme can increase parental involvement in learning at rural multigrade schools if certain product and process characteristics are active. 2. The SCAF partnership programme allows utilising school, home and community capital through interaction and collaboration to increase parental involvement in learning. 3. A SCAF partnership programme should focus on learning through creating partnerships and opportunities for communication, and utilising community resources. 4. A SCAF partnership programme should be employed through a specific process. 5. Design research offers an appropriate and powerful approach to design, develop and implement a SCAF partnership programme that increases parental involvement in learning at rural multigrade schools. Keywords: Parental involvement, Parents, Design Research, Rural multigrade schools, Rural multigrade education

Les phases préliminaires du processus de conception sont celles qui influencent le plus le résultat. Elles sont caractérisées par l’incertitude : le processus ne peut être précisément défini à l’avance. L’approche Design Thinking est particulièrement adaptée pour gérer cette spécificité. L’introduction de supports numérique pendant ces phases de conception préliminaire a été identifiée comme une piste de recherche à fort potentiel. L’analyse de ces phases amont a permis de définir des postulats à partir desquels construire ces nouveaux supports numériques. Ces dispositifs sont constitués de deux surfaces tactiles, multi-utilisateurs ; une orientée horizontalement pour favoriser le foisonnement, l’autre orientée verticalement pour favoriser la focalisation. Par conséquence, ces plateformes ont été identifiées avec l’acronyme HOVER (HORizontale VERticale). La méthodologie de recherche comporte deux phases. Lors de la première phase, des expérimentations ont permis de comparer les dispositifs numériques avec les dispositifs actuels. Cette phase avait pour objectif de déterminer si les dispositifs numériques étaient acceptables dans la situation d’usage préconisée. Lors de la deuxième phase, les dispositifs numériques ont été testés dans des situations de travail réelles, afin de déterminer s’ils améliorent ces situations de travail. Ces expérimentations, ont été faites sur une spécifique plateforme HOVER, dénommés plateforme TATIN-PIC (Table Tactile Interactive –Plateforme Intelligente de Conception), construite à l’Université de Technologie de Compiègne. Les quatre expérimentations de la première phase ont révélées un niveau d’acceptabilité satisfaisant. En outre, cette phase permis d’identifier plusieurs pistes d’amélioration notamment au niveau des interactions homme-machines. La prise en compte des données collectées lors de cette phase a conduit à la conception d’une nouvelle version des dispositifs numériques. Cette nouvelle version, dénommée plateforme Digital Project Space (DPS), a été utilisée pour tester le dispositif dans des situations d’utilisation réelles. Les résultats de ces tests préliminaires montrent que les utilisateurs sont satisfaits des améliorations apportées par la plateforme DPS, et que ses performances, sont au pire, comparable aux meilleures prestations des supports papier actuellement disponibles. Des tests complémentaires sont néanmoins nécessaires pour avoir des résultats généralisables. Les perspectives sont de continuer la dissémination des dispositifs DPS dans la sphère productive afin d’obtenir des données quantitatives sur l’efficacité et l’efficience. L’objectif étant d’identifier des modèles prescriptifs de l’impact des dispositifs sur le processus de conception préliminaire. / The early preliminary phases of the design process are the most impactful on the final outcomes. However, they are ill defined, the path to follow is not clear. Design-thinking approaches are a good solution to tackle the incertitude of these phases. The introduction of computer tools during these phases has been identified as an interesting research path to explore. Through the analysis of these early preliminary design phases, a list of high-level assumptions has been made. These high-level assumptions delimited the perimeter of action for the design of a new kind of computer supported design platforms. These platforms are composed of two multi-touch, multi-users surfaces; one is horizontal to favor divergent thinking, while the other is vertical to favor convergent thinking. By this fact, I identified them with then name “HOVER” (HORizontal - VERtical) platforms. The preconized research methodology has two steps. The first step consists in the experimental comparison of the new tool with existing ones. The aim of this evaluation is to determine if HOVER platforms are applicable to the situation for which they have been designed. The second step consists in ethnographic observations of real case studies to establish if HOVER platforms have successfully improved the existing situation. This study has been conducted on a specific HOVER platform, the TATIN-PIC platform (French acronym for Table Tactile Interactive – Plateforme Intelligente de Conception) built at the Université de Technologie de Compiègne. The first step, composed of four quasi-experimental observations, showed a satisfying level of applicability. Besides, it provided multiple indications for the improvement of the HOVER platforms regarding Human Machine interactions. For example, it has confirmed the need for an interconnected vertical and horizontal surface, the need for a natural manipulation of intermediary objects, the need for a smooth circulation among design methods and, as well, the need for new design methods to be implemented. Thanks to these indications, a second version of a HOVER platform has been made. This improved platform, called Digital Project Space (DPS) platform, has been used for success evaluation in a real context. From these preliminary tests emerged that users are satisfied by the support of the DPS platform. Performances are in the worst-case scenario, as good as actual tools. Further and more accurate real case studies are needed to generalize these findings. This outlines the future perspectives, such as the definition of prescriptive models of the impact of such device on the early preliminary design phases. / Le fasi preliminari del processo di progettazione sono caratterizzate dall’incertezza, sia in termini di conoscenza che di azioni da compiere. Al contempo, pero, sono le fasi cruciali per il risultato globale del processo di progettazione. L’approccio Design Thinking è particolarmente adatto per le caratteristiche di queste fasi. L’introduzione di strumenti digitali durante il processo di progettazione preliminare è stata identificata come una pista di ricerca interessante da esplorare. L’analisi di queste fasi ha permesso di emettere una lista di postulati su cui progettare nuovi strumenti digitali. Questa classe di strumenti ha le sembianze di una piattaforma composta da due superfici tattili multi-utilizzatore; una è orizzontale per favorire il pensiero divergente, mentre l’altra è verticale per favorire il processo convergente. A causa di ciò, abbiamo deciso di identificare queste piattaforme con l’acronimo HOVER (HORizontal and VERtical). Il forte divario in termini di curva d’apprendimento tra i dispositivi esistenti (principalmente basati su carta) e le piattaforme HOVER, ha richiesto la definizione di una metodologia di ricerca adeguata. Questa metodologia ha inoltre il compito di garantire un rigore metodologico nell’approccio di ricerca. Due fasi di questa metodologia sono state eseguite. Nella prima fase, il nuovo dispositivo è comparato sperimentalmente con i dispositivi esistenti al fine di determinare se è applicabile alla situazione per cui è stato concepito. Nella seconda fase, il dispositivo è valutato in una situazione reale al fine di determinare se ha apportato, con successo, un miglioramento alla situazione esistente. Questi studi sono stati condotti su una specifica HOVER platform chiamata TATIN-PIC (acronimo francese per Table Tactile Interactive – Plateforme Intelligente de Conception), progettata e construita all’Université de Technologie de Compiègne. La prima fase, che ha visto quattro esperimenti, ha mostrato un livello di applicabilità soddisfacente, ha inoltre fornito molteplici piste di miglioramento in termini d’interazione uomo macchina. Grazie a questi feedback una seconda versione del dispositivo è stata creata. Tale versione, chiamata piattaforma Digital Project Space (DPS) è stata utilizzata per testare il successo del dispositivo in situazioni di reale utilizzo. Da questi test preliminari è emerso che gli utilizzatori sono rimasti soddisfatti dell’apporto fornito dal dispositivo, e che le performance sono nel caso peggiore equivalenti alla situazione attuale. Ulteriori e approfondite osservazioni di uso in situazioni reale sono necessarie per avere dei riscontri generalizzabili. Questo traccia gli scenari per il futuro; continuando la disseminazione nell’ambito industriale del dispositivo, sarà possibile ottenere dei riscontri quantitativi in termini diefficienza ed efficacia, grazie ai quali, estrapolare dei modelli prescrittivi dell’impatto del dispositivo sul processo di progettazione preliminare.