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The purpose of this study was to investigate whether the layout has an effect on cross-contaminations levels at farmers markets.

We used social cognitive theory's triadic reciprocity model to investigate how influencing the environment could change the behaviors of farmers’ market consumers and reduce the risk of microbial cross-contamination using a Fluorescent Compound (FC). For this purpose, a 3 × 2 experimental between-subject factorial design was utilized in this study: three farmers market layouts (i.e. U-shaped [U-S], L-shaped [L-S] and square-shaped [S–S]) and two different set-ups per market (i.e. produce and non-produce vendors completely separated, and alternating produce and non-produce vendors). FC was utilized to simulate microbial contamination on the participants (n = 54) hands. The participants were allowed to walk through the layout for 3 min and touch items after which a total of 475 swab samples were processed and recorded for absorbance levels.

The results indicated that the cross-contamination level of the U-S market was significantly lower (p < 0.001) than those of the L-S and S–S markets. The best market layout and set-up based on the average levels of simulated cross-contamination were the U-S market, particularly with the A set-up, where produce and non-produce booths were scattered.

This study is the first to use the quantification of FC to identify the impact of a farmers’ market layout/design on cross-contamination levels. These results can be used to provide guidance to market managers on layout and design from a safety standpoint to reduce the risk of cross-contamination.

This paper aims to present an iterative approach to creating a collaborative design-and-play skatepark videogame for a children’s museum physics exhibit. Intended for children of 5-8 years old and accompanying adults, this interactive tabletop game encourages players to build a skatepark and then skate through it with a skater character. This case study describes the authors’ design perspective shift to make the game’s possibilities for tinkering more “perceptible.”

This paper presents a case-based design narrative that draws on the project’s iterative playability testing with parent–child dyads and reflections from the design team’s endeavors. This analysis draws on methodological elements adapted from agile game development processes and educational design-based research.

The initial game prototype inhibited the collaborative tinkering of parent–child dyads because it used interface abstractions such as menus, did not orient to the task of tinkering with skatepark design and did not help players understand why their skatepark designs failed. Subsequent game versions adopted blocks as a metaphor for interaction, gave players explicit design goals and models and provided players with more explicit feedback about their skater’s motion.

Museum games that provide tinkering experiences for children are an emerging medium. Central concerns for those designing such games are presenting multiple modes of play for different players and contexts and clearly and quickly communicating the possible activities and interactions. The design approach in this study offers players the opportunity to – at both short and long timescales – take up game-directed challenges or explore the skatepark physics through self-generated goals.

The purpose of this study is to present a comprehensive approach to studying organizational culture using “soft measures” to facilitate sustainable quality development in organizations. The purpose is also to present, discuss and compare the results from a survey designed to measure a company’s value base.

A number of different methods were used to collect soft data to study and measure organizational culture and at the same time influence the culture and the leadership within three organizations. One method, the survey, was used on two different occasions to obtain an overview of the culture within an organization and to investigate if the activities had influenced the culture and the leadership.

The application of soft measures used by leaders to study and develop organizational culture resulted in statistically significant positive changes in organizational work culture, according to a pre-post survey after a short period of one year.

The approach can be used by leaders in different types of organizations as the challenge of changing the organizational culture through the leadership seems to be a common challenge regardless of line of business.

The study shows the benefits of using a comprehensive approach to assess an organization’s culture based on qualitative measures and analysis.

Digital ethnographers acknowledge that online spaces are always co-produced within the social, political, material and sensory – never distinct from what we may think of as ‘offline’. However, in documenting our fieldwork (e.g. fieldnotes, screenshots and recordings) and representing our findings in research outputs, scholars tend to draw more firm boundaries around our object of study. The excess, the digital life on the margins of digital ethnography often entangled with the fieldwork site, is cut away to present a neatened case study that can be analysed. In this chapter, I examine the excess and ‘unrelated’ screenshots I took during a digital ethnography project in 2020 to explore what these ‘offcuts’ can offer in contextualising my encounters with the short-form video app TikTok. Over nine months in 2020, I observed healthcare workers using the app to share health information and analyse their content. At the same time, with the pandemic unfolding across the world, I was scrolling through the news on Twitter, watching press conferences from health authorities, sharing funny TikToks with friends and receiving information in a family group chat. This layering of everyday experiences of the pandemic forms part of how I sensed and experienced TikTok content during my digital ethnography. I examine these ‘excess’ screenshots to think through the always more-than-digital boundaries of digital ethnographic fieldwork. I reflect on the messy entanglement of digital ethnography, where my own digital practices – intensified by COVID-19 lockdown conditions – and the broader conditions they emerged from, became inevitably enmeshed with my research practice.