Written for those interested in the createwithpixels app's development history.

Dr Corrie Uys, Dr Pat Harpur and I are working on a manuscript that explores the research implications of differences in Qualitative data analysis software (QDAS) packages’ support for live Twitter data imports. This paper's software comparison contrasts the four prominent QDAS tools that support such imports, namely ATLAS.ti™, NVivo™, MAXQDA™ and QDA Miner™. We discuss key discrepancies in their use during the organisational phase of qualitative research and address related methodological issues.

Outside the paper's scope, our software comparison also uncovered several suggestions that developers of these QDAS tools might follow to improve the user experience for Twitter researchers:

Written for readers interested in the directions that my future Post-doctoral research will take (and won't!)

Doing a PhD helps one understand that there are many gaps in human knowledge. It helps clarify the existence of important gaps and challenges one to do appropriate research that help with closing them. As part of writing Post-doctoral Fellowship applications, it became important to reflect on what my inter-disciplinary media studies research contributions have been so far and how I might build on them, and move onto new topics, in the future:

In working for UCT's 'ICT Access and Use' project (2011/12), I explored how media students followed a form of connected learning for developing identities linked to creative industry as undergrads. Together with Associate Professors Cheryl Brown and Laura Czerniewicz, we addressed a gap in the literature regarding university students’ extramural creative production with varied online services. Three case studies illustrated how Connected Learning can be empowering: each student provided a vivid example of digital practices embedded within social contexts, exemplifying the processes students undertake when constructing meaning and knowledge in the digital world. Such cases have been lacking in the literature, especially from developing country contexts (GAP1). Future research can build on ours by exploring how Connected Learning is experienced in other South  African contexts and more broadly in the global South.

My PhD thesis contributed to closing a research gap concerning digital inequality. Its research described how the e-portfolios of young Cape Town visual arts students at two secondary schools were shaped by their privileged or marginalised circumstances. There is an opportunity to extend this pathfinder project by looking at completely underserved schooling environments. For example, what digital repertoires are young visual creatives in Cape Town's marginalised settings (poor suburbs in schools without support for visual art or design) developing (GAP2)? This focus also suggests an opportunity to combine research interests in connected learning and participatory culture for exploring the visual creative productions that occur in underserved contexts outside formal academic settings in Cape Town and how these repertoires link to academic cultural capital, or not (GAP3). Multimodal researchers could also explore the longitudinal changes to visual creatives' e-portfolios (GAP4). For example, how students change their e-portfolio styles after leaving school and preparing to apprentice in creative industries or helping justify future study).

African design is an understudied and emergent field, which could benefit from more scholarship documenting its existing practices (Venter, 2018)}. After lengthy consideration, I have decided to develop an inter-disciplinary proposal for this field that addresses three distinct, but overlapping, concerns related to bitmap design, digital access and collaborative software design:

The first concern is what bitmap designs are marginalised young creatives producing and sharing online? This online content analysis will serve as a starting point for exploring the second concern- what does 'access' to digital design really mean in under-served contexts. For example: How accessible are apps and open source software to mobile-centric designers in highly constrained circumstances? What role does English as a 'global language' play in shaping Xhosa mother-tongue creatives' access and use to bitmap software? What cultural repertoires (i.e. fashion, gaming) seem to motivate interest in being a bitmap designer? The final concern is to contrast what happens when design thinking and design strategy approaches are used for collaborative software design focussed on localisation. I will describe the benefits and limitations of both, using workshops for aspirant, but under-resourced, visual creatives. They will be  consulted for understanding how Create With's new functional specifications for https://www.createwithpixels.com might provide better access for young South Africans.

By addressing these three concerns, my Post-doc research should make a solid contribution to the field of African design. It addition to its novel exploration of bitmap designers' content and circumstances, it should also generate interesting findings concerning the meanings of 'access', plus the differences between two design approaches' outcomes for collaborative software localisation.

Written for SA iTunes users with US iTunes Store accounts.

With the release of iTunes version 11, the iTunes Store was officially launched to South Africans in December, 2012. The entertaining shopping experience it provides is impressive. This begs the question for locals with iTunes US accounts, should we close the latter?

In making this decision, I suggest you weigh up the benefits of having two accounts against the inconvenience (and added risks) of managing accounts for multiple territories:

Under benefits, account holders of more than one iTunes Store can benefit from being able to select the best one for; i. speediest access and easiest browsing; ii. a wider product range or one better suiting their tastes, iii. lower prices and iv. quicker delivery. In my case, as a local iTunes Store and iTunes US customer (who predominately shops for music), my experience of these benefits has been:

i. Ease of access and browsing.
Accessing the SA store via iTunes is speedy and I seem to have less difficult being interrupted for  repeat logins which the US service requires when I'm purchasing music on my laptop or via other devices. Overall, the local service is better.

Written for iTunes users who are passionate about organizing their music library.

Out of iTunes 11's four library music views ('songs', 'albums', 'artists' and 'genres'), I now enjoy using artists the most. It wasn't always like that; an erratic collection of compilations had resulted in a long scrolling view that was irritating to navigate. Tired of the genre view and wanting a fresh way to select my music-of-the-moment, I decided to spend time improving my artists view.

Tagging album and song information more appropriately (as described in the tips below) was a good choice as I now have a much better iTunes-user experience: I not only have a speedy way to select an artist's songs and benefit from a more varied listening-experience (than my past reliance on playlists or Genius Mixes), but now also can quickly use the linked 'iTunes Store', 'Listeners Also Bought' and 'Related' options views to find pre-releases, live and cover versions, novelties and remixes that I ordinarily would not have been aware of.

Follow these steps below and you can also have a better iTunes experience using your artists view:

1. Find and change your compilations' album artist titles
The highest selling albums in South Africa have tended to be compilations, which may pose a challenge for local iTunes users' artists view as iTunes prioritizes the 'album artist' field when displaying an artist's albums and singles. This may result in some of your favorite artists, DJs and tunes being hidden in this view, particularly if they are labelled 'Various Artists', 'Various' et al. in the album artist field and their album is also ticked as a compilation type. It's easy enough to check the extent of this challenge in your library, by opening the 'compilations' and 'various artists' "artists" in your artist view and seeing their size (you should also check that there are no namesakes (like 'Various'). It is easy enough to fix, select the songs of your 'best of' albums and change the album artist name to his or her name. (N.B. If you tire of being automatically redirected to the start of your artist view, remember to use the shift and letter shortcut to get back to where you were making changes).

2. Hide artists best viewed under genre
Your library may feature artists who's oeuvre is not large or interesting enough to merit your focus in the artists view. Simply change their album artist field to 'Various Artists' and they will be hidden in the artists view.

3. Change individual album artist names to their more famous band's (or vice-versa)
To ease selection, you may want to move an individual artist under their band's name (say Agnetha Fältskog under ABBA). Simply change their album artist field to their band's name. Of course, this may be reversed, where relevant (i.e. by placing Cream under Eric Clapton). Although nitpicking purists may frown at this, it's your music collection to label and the resulting streamlined view is likely to take priority over complete accuracy.

4. Order tunes and the best remixes under your favorite DJs and producers
In those cases where DJ mixes, re-mixes or producer work are so distinctive that they merit being featured under artists, you should enter the DJ or producer's name in the 'album artist' field. I suggest you also append all DJ's names with DJ (i.e. 'DJ Tonka' or 'DJ Armin Van Buuren'), which makes it easy to select and see the DJs you follow under the artists view's DJ section (just press 'shift' key, followed by 'd' then 'j'). Unfortunately,  iTunes only supports one artist entry under its 'artist' and 'album artist' fields, so you may be forced to choose which DJ to highlight a seminal collaboration (such as DJs Sasha and John Digweed) or to label the duo as a distinctive artist.

5. Group soundtrack albums by their composer or director
Following on from DJs, there are also some composers (such as Angelo Badalamenti) or directors (like David Lynch) whose soundtracks are so distinctive that you want to group them under the composer's or director's name. Again specify the 'album artist' field to arrange it.

6. Collate an artist's pseudonyms under one artist's name
Electronic music artists in particular are well-known for using multiple aliases and it is helpful to use the 'album artist' field to group work that would otherwise be listed under distinct artists (i.e. AFX, Blue Calx, Bradley Strider, Caustic Window, DJ Smojphace, GAK, Martin Tressider, Polygon Window, Power-Pill, Q-Chastic, Tahnaiya Russell, The Dice Man, Soit-P.P., and speculatively The Tuss, for the Aphex Twin).

7. Get rid of multiple titles for an artist
iTunes does not support attribution to multiple artists, which I have found particularly problematic with classical music; where the conductor, composer and orchestra have all been attributed under the 'artist' field. To address this, I have decided to only use the artist field for the most important performer and to cut-and-paste the composer's information into the 'composer' field. How you address it depends on your priorities; you are most welcome to label Mozart under "artist", for example!

8. Get rid of 'one hit wonders'
To reduce the artists present in your view, you can also remove any one hit wonders {who only play for a short time when selected, anyway}. However, before doing this, check the artist's 'In The Store' view, just in case the 'one hit wonder' describes your library's content, not the artist's output :) !

If you have any other helpful tips, please share them in the comments box below.

Written for Apple iTune's developers and their future users. 

Written for NVivo 9's developers, QSR International, and their future NVivo users.

In 2011, I wrote Six key changes I'd like to see in NVivo 10. As NVivo 10's development nears completion, here's a further nine improvements for QSR International to consider implementing:

7. Provide a program execution status
It is useful for the user to know whether NVivo is initializing, running or shutting down. If the software seems to be unresponsive, seeing a status message, like: 'initializing', 'running', 'paused' or 'shutting down' would be helpful to the user and a better alternative than using Windows Task Manager to double-check.

8. Show closing down status messaging
Further, if NVivo is slow in closing, it would be useful to show how it is progressing. This is very important; if the user thinks that it has stalled, he or she may "force quit" the program when it prevents Windows shut down. As failing to close NVivo down properly can corrupt the project file, thereby costing the user much more time, the value of accurate status messaging (and even warning the user 'do not force quit') should not be underestimated.

9. Provide better communication when there are errors
Just as Microsoft impresses with problem messaging linked to solutions via its Solutions Centre, so too should NVivo consider linking its error messages to online help. For example when I was trying to fix an NVivo installation,  the message "Database component did not initialise" could have been made far more helpful by linking straight to an FAQ page with possible solutions.

Nvivo error message: 'Database component did not initialise' (10 April, 2012)

Given that NVivo users are qualitative researchers, it is unlikely that many of them have experience troubleshooting software. Providing us with more thorough and helpful error messaging will provide an improved user experience just where we experience most difficulty.

10. Report on third-party interference
I have noticed that NVivo's timebar may be paused (at 67%) for several minutes when an important Windows 7 process runs (such as deleting a backup snapshot, running a backup, et al.).

NVivo stalled at 67 percent progress (6 June 2012)

It would be helpful if the user could be shown that third-party software has interrupted NVivo, ideally in the software itself. Even a notification from Windows OS would be helpful.

11. Offer a back-up file option
Just as Apple's OS X Lion introduced Versions to protect users' files, so should NVivo consider adding a 'backup' option in addition to 'auto-save'. For users whose files became corrupted and had failed to create a back-up, this prompter could be very beneficial. 

12. Provide a video rewind shortcut
For researchers working with many video interviews, a rewind F button shortcut would be great. I recently started work on a PC laptop and simply having the F7 (play/pause) shortcut available is a real timesaver {after moving from Mac, where I did not have this option}.

13. Allow the user to set a volume limit
The user should be given an option that sets a limit to NVivo's volume. In working with listening to mobile phone videos of varied audio-quality through headphones, this would be useful to protect my hearing as I move from soft, low-quality files to very loud, high-quality ones and forget to change volume.

14. Offer a pseudonym generator
As qualitative research invariably involves the ethical requirement to protect the privacy of one's subjects, it would be a nifty value-add if NVivo added a pseudonym generator.

Written for the software developers behind Apple Mail's 'rules'.

Using rules to automatically sort out your Inbox is similar to baking a cake; just one poorly-judged ingredient can ruin the batter. One of 360 rules used to manage my Mail inbox was created in haste and had been placing nearly all the email messages I received into the wrong folder...  As testimony to how good Mail's search functionality is, this had happened for months and I only noticed my mistake last week!

To say it was a serious time-suck to resolve is an understatement. Rather than write on how I fixed it, here are five functionalities that would make it relatively easy for users to troubleshoot their badly-defined rules in Mail. Mail's software developers, please consider adding these ideas under Preferences > Rules, thanks!:

1. Show how often a rule has been actioned.
If the user can see that a rule is actioned with every single message, regardless of origin, it is likely that the rule is problematic and should be changed.

2. Show the date that each rule was created.
By seeing when misplaced messages were first placed, it is generally easy to spot the date at which the wrong rule was created. The user could then simply see which rule was created on, or just before, that date, then correct it.

3. Allow the user to sort rules by date.
It may be a problem local to my system, but I cannot sort the rules and am unsure how Mail goes about ordering them. It would be useful if users could sort the rules by their name and/or the date they were created.

4. Allow the scroll window size to be maximisable.
Scrolling through many rules in the small window, below, is an eye-straining, slow process.

Apple Mail Preferences' Rules (10 June, 2012)

The user should be given the option to maximise the rules window to speed it up.

5. Allow the user to define a default option for Mail 'rules'.
A new Mail rule currently defaults to whatever was last applied. However, it would be safer for users to given the option to create a default rule and choose whether it should be re-applied after every new rule is created.

I enjoy using Mail and it makes rules simple to create. However, if a user creates a poorly defined rule {amongst many other well-defined ones}, it can be difficult to identify his or her mistake. Here's hoping that Mail's developers will support 'occasional dummies' like me with better rules troubleshooting functionality in the not-too-distant-future.

Let my blog's readers know your thoughts in the comments box below. Ta.

Written for those struggling to install the embedded SQL software in an NVivo 9 installation.

NVivo 9 installer "File is corrupt." error message. 29 April 2012.

NVivo 9 standalone local connection error message. 29 April 2012.

Written for researchers interested in the ICT Access and Use Project's coding indices' development.

Three months after making the initial coding indices for the fourth phase of the ICT Access and Use project publically available, I have just updated indices for "Past -", "Current -" and "Future ICT Use" to reflect the subsequent additions to our NVivo 9 project file's nodes (as illustrated below). These coding additions were necessary to reflect new insights from our research subjects' first and second interviews. They are described below under their relevant index:

Personal ICT Use coding index changes

Scribbled changes to the previous coding index for Past ICT Use 1 (30 March, 2012)

Nodes were added for "Other ICT exposure 1.15" and "Self-taught 1.16" as not every student received formal schooling in ICT: for an example of 1.15; A Fort Hare university student had never had professional or formal classes in computing. For 1.16, the only training a Rhodes University student had was teaching himself; he fixed his family's computers himself. And a University of the Free State student "used to touch the home computer" to teach herself.

I thought it was a bit old school for freshers in 2011, but was suprised when MS Dos was mentioned as a first operating system! So, the node "MS Dos 1.26.4" was added.

One student accessed computers outside school and home at secondary school (hence "Internet cafe 1.43"), two students volunteered information on why they got mobile phones ("Why get a mobile phone 1.21.3"), another spoke about one's first computer tablet ("First tablet 1.28").

Current ICT Use coding index changes

Marked changes to the initial coding index for Current ICT Use 2 (30 March, 2012)

The largest index saw the most revisions. Given the research project's interest in the use of mobile phones, the most important change was adding nodes that would allow the research team to track the most common platforms used to access online services and apps ("Platforms used in access 2.26" included "Computer 2.26.1", "Laptop 2.26.1.1", "Desktop 2.26.1.2", "Mobile 2.26.2" and "Tablet 2.26.3").

I also added the online services ("Webmail 2.21.13", "Music downloads 2.21.14",  "Whatsapp 2.21.15", "Online forums 2.21.16", "YouTube 2.21.17", "Snap2 2.21.18", "Shazaam 2.21.19", "Online radio stream 2.21.20") and mobile phone apps ("Cognician 2.22.10" and "ToGo 2.22.11")recently mentioned by students. I also added the node "Does not use apps on mobile 2.22.9" to cover those students who explicitly stated that they did not download and/or use mobile apps.

Given the prevalence of iPods, I had to add "Music players 2.15.4" under the category "Other ICT owned"! Some students mentioned that they had "Access to ICT at home 2.17", while "Multitasking 2.23.9" was added as a theme that kept cropping up in students' use, for example of social media in the background as they worked on assignments.

The line between the use of social media for social and academic use is becoming blurred, as students report using social networking tools for both formal and informal academic work. This seems largely to be due to social media's affordances for ease of communication, efficient creation of academic groups and even saving money on MXit. This was reflected in student interviews and nodes for "Status update 2.24.10", "Messaging 2.24.11" and "Friending 2.24.12" were added, which could be applied to tracking affordances typical of social media.

Some first-year students also volunteered a fair amount of information on their preferences for response times ("Availability and feedback speed 2.25.11"), what they preferred to access services on ("Service preference 2.25.12"), how they felt about losing network access ("Mobile network access 2.25.13") and whether they experienced any limitations from their cellular provider ("Service limits 2.25.14").

Several students described having problems when using photocopying equipment for the first time ("Photocopies 2.31.7") and the importance of formal provision of either analogue and/or digital course material ("Textbooks and course reader 2.31.6").

Interviews revealed a wider range of actions with university software than initially identified, so the following nodes were added: "Group practicals 2.33.10", "Lecture notes 2.33.11", "Catch up missed classes 2.33.12", "Read announcements 2.33.13" and "Question and answer 2.33.14". And the following nodes were added under phases and types of academic use; "Frequency and duration of use 2.35.7", "Desired use 2.35.8" and "Self taught 2.35.9".

Future ICT Use coding index

Changes drawn on the coding index for Future ICT Use 3 (30 March, 2012)

Due to having recently upgraded mobile, laptop or other ICT technology and/or experiencing financial constraints, some students indicated that they did not want an upgrade ("No new mobile phone upgrade desired 3.11.2", "No new laptop upgrade desired 3.12.2" and "No other ICT desired 3.13.2").

Some students spoke about their ambitions at university ("University ambitions 3.24"), as well as the services they wanted to be on ("Academic services 3.31.1" and "Personal services 3.31.2"). Another University of Cape Town student mentioned his community involvement and promotion of ICT, so the node "Community involvement 3.4" was added to reflect this.

Lastly, a node "Play at Conferences 4" has been added to track the most interesting segments of student interviews. These are intended to be exported and formatted for playing at conferences by the project's research lead, Laura Czerniewicz, or principal investigator, Cheryl Brown.

2. If you work via a network, you can also expect big problems if you shut down your computer without closing NVivo properly.

Written for Visual Arts students interested in digitising and publishing a comprehensive record of their artworks online and for the educators helping them.

The good news is that your Visual Arts educator has helped you to develop a showcase electronic learning portfolio (e-portfolio): in my research project, its two educators chose Carbonmade, because it met these criteria. The service suits the pedagogical aims in South African Visual Arts well, where a portfolio of 35 images is often more than sufficient to cover the learner's body of work for an end-of-year (matric) exhibition, as well as tertiary education applications.

The bad news is that the teachers' online portfolio choice seemed to learners to limit them to publishing 35 images online, thereby preventing the publication of their complete oeuvre! In response, an educator highlighted that learners are not limited to using Carbonmade and should consider creating presences with other services to publish the remainder of their artworks. Students could then create reciprocal links between these services to make them easy for Carbonmade's viewers to find; this is a common practice in the profiles of artists with featured portfolios. To help you identify a service you might want to use, I have listed the four commonly linked types, below:

1. An addition to the Social Network presence you already use 
(Popular examples: Facebook Pages and Google+)

The impressionist painter, Valérie Pirlot, provides links to many sites, which include online presences; her blog, Flickr account and a Facebook page, galleries; the Saatchi and Victoria Art, and an academy; the Royal West of England Academy.


The value of featuring all these links is that viewers can select specific aspects of her work that they are interested in viewing. It is also testifies to her professional status and the galleries and academy she associates with.

As a learner, you may already have a Facebook account and creating a Facebook page where you upload your artworks should have the benefits of being very convenient, whilst making it easy to share with your Facebook friends.

Valérie Pirlot's Facebook Page (8 March 2012)

Google account holders users should consider using Google+. If your digitized artworks are well-labelled, this may have the benefit of producing better ranked search engine results on the world's most popular search engine, relative to other services.

Leodor Selenier's Google+ page (8 March 2012)

2. A Photo Sharing Presence
(Popular examples: Flickr, Picasa)

1. There is a relatively high limit on the number of images that can be uploaded each month;
2. It includes a social networking component making it easy to share photos, comments and notes plus join groups you are interested in;
3. You could also upload videos;
4. It is compatible with many mobile phone applications, so easy to share to when using your phone's camera.

3. A Blog Presence
(Popular examples: Blogger and WordPress)

Marek Tarnawski's concise Carbonmade profile (8 March 2012)

Science fiction concept artist, Marek Tarnawski, provides a link to his blog http://farvus-craft.blogspot.com. His blog was created with Blogger, but you could consider using WordPress or other popular blogging software.

The benefit of choosing to blog for you could include:

1. There is no limit on the number of images that can be uploaded;
2. You could also upload other media (such as videos);
3. You can provide descriptions of your working process;
4. Viewers can choose to subscribe to your blog;
5. You can create reciprocal links with other blogs via a blogroll.

The biggest challenge of using a blog is the importance of writing well and being able to prioritise the time to publish content to it regularly. Before choosing to blog, please read the 1stwebdesigner article "Questions to consider before becoming a blogger". It can help you decide whether blogging is the right medium for you!

4. Another Online Portfolio Service Presence
(Popular examples: behance.net, cghub.com)

Carbonmade is just one of many other online portfolio software services focussed on enabling creatives to publish their online portfolios. Each service provides a distinct combination of affordances to cater for the type of creatives they serve; so it's important to define what you may need before selecting one.

For example, CGHub promotes itself as "an online community where computer graphics artists share their latest work, tips, and tools, network with friends, search jobs, and more." So, if you want to improve your computer graphics skills, this may be useful to join. However, if you want to interact with creative professionals outside of computer graphics illustration and want the best visibility of your online portfolio, you should consider using behance.net.

Nook's Carbonmade About page features a button that links to his portfolio on the Behance Network (14 March 2012)

I hope that this overview was useful for you. If there is a type of service I have missed, please mention it in the comment box below. Or if you have any other guidance, please do share. Thanks!