week 7. Form and Material

 I. Annotated portfolios Practice

2 students in a group

annotate a "common" artifact in advance

each member selects another new artifact and annotate it

together, make annotation of a group of artifacts

sketch new ideas according to the annotated portfolios 

II. 

On the Foundations of Interaction Design Aesthetics: Revisiting the Notions of Form and Expression 

 (revisit Expression of Doorbell design)

"function being what things do as we use them"

"interaction referring to what we do when we use a thing"

" interaction design form as the way in which the thing or system we design we design relates function and interaction to each other."

"interaction design expression as that which displays interaction"

interaction design variables:

• Timing – the rhythm and meter of use we introduce.
• Spacing – the space of use we introduce.
• Connectivity – the connections of use we introduce.
• Methodology – the ways of use we introduce.

Timing – Relating function and interaction in use clearly has a temporal dimension; how is what I do to be related with what X does in time? 

Spacing – Function and interaction in use clearly have a spatial dimension linked to what X does in space.

Connectivity – Relating function and interaction in use is a matter of connecting; how does X relate what I do to with what X does?

Methodology – Relating function and interaction in use is a matter method. How do I relate what I do with what X does?

Take the automatic door as an example

Questions: How to use these notions in annotated portfolios?

Material & Interaction:

Interaction Design as a Bricolage Practice

Giving form to computational things: developing a practice of interaction design

Temporal Form in Interaction Design

A Material Strategy: Exploring Material Properties of Computers

Methodology for materiality: interaction design research through a material lens

Living Artefacts: Conceptualizing Livingness as a Material Quality in Everyday Artefacts (a set of selected artifacts framed with livingness, centered at the discussion of phenomenon)

EX 3:

  Propose your own guidelines or strategies for annotated portfolios

Deadline: 4/11, 2022

week 6. Verplank's framework & movement based IXD

(I) students present annotated portfolios

(II) Interaction Design vocabularies  based on Verplank's framework

Open hci2011 (see p.18-29)

View more presentations from Rung-Huei Liang

1. How is "Design Basics" taught in design school?
Examples
Examples
Examples
設計是什麼
2. What is the basics of "Tangible Interaction Design" as a design discipline?
Interaction Design Process by Bill Verplank
What are the significant contrasts for Tangible Interaction?
What principles are applicable? For example, synectics triggers, (synnectics examples), basic systems in nature.

3. Material

"Materials touch directly on three major topics:
1. A designer may be motivated and stimulated directly by a particular material.
2. Materials are expressive, verying from fragile and refined to earthy and coarse.
3.Certain materials are chosen for their inherent physical properties that relate directly to the function of the finished work."

4. Expression

"Expression. Basically it describes any outward, visible manifestation of an inward condition, feeling, or mood: a shrug, a frown, a grimace, a smile -- physical indicators of inner emotional states. In design, expression refers to the act of overtly communicating a visual idea." Stoops & Samuelson.

"Three phases are involved in the design process, and each contributes to individual expressiveness:
1. Recognizing and delimiting the visual problems to be solved, and deciding what sort of action is needed.
2. Putting on paper a personal, imaginative, synthesis of ideas as the specific form and arrangement of the concrete physical solution develops. This middle phase, the imaginative, creative one, is the most characteristic phase of the whole design process. It embodies the designer's expression.
3. Finally the design is translated, built, printed, constructed, woven, fabricated by the designer or under the designer's supervision." Stoops & Samuelson.

"When designers reach the point in their creative development where considerations of placement, proportion, and empty space occur without conscious effort, their work may be called expressive." Stoops & Samuelson.

如何用 expression 開展設計

5. Function

"Form follows function" is probably the most often repeated statement about design. Clearly, it means that the form of an object should be defined by the work it has to do."

6. Form
Tangible Interaction=Form+Computing

7. Movement and Form

   "Some design researchers have come to investigate how form and digital behavior can be more closely coupled and how users could interact in richer ways with digital products (Djajadiningrat et al 2004; Jensen, Buur, Djajadiningrat 2005). "

  "Interaction designers have also developed an interest in bodily interaction, which can be pure movement (gestures, dance) or is related to physical objects (Hummels, Overbeeke, Klooster 2007)."

 Form-giving

 Meaning-making

 Movement-centered

 Bodily Rich Interaction

     reference:

Tangible products: redressing the balance between appearance and action

Move to get moved: a search for methods, tools and knowledge to design for expressive and rich movement-based interaction

 Movement

Laban Movement Analysis

Designing Behavior in Interaction: Using Aesthetic Experience as a Mechanism for Design

參考文獻:
1.Caroline Hummels, Kees C. Overbeeke, and Sietske Klooster. 2007. Move to get moved: a search for methods, tools and knowledge to design for expressive and rich movement-based interaction.Personal Ubiquitous Comput. 11, 8 (December 2007), 677-690.
2. Baskinger & Gross, "Tangible = Form + Computing", Interactions, 2010.
3. Heekyoung Jung and Erik Stolterman. 2010. Material probe: exploring materiality of digital artifacts. In Proceedings of the fifth international conference on Tangible, embedded, and embodied interaction (TEI '11). ACM, New York, NY, USA, 153-156. 


Practice :

 Reframe your annotated portfolios with Verplank's framework

week 5. annotated portfolios & strong concepts

 1. situated visualization: data collection examples demo

                                         Mutual Discourse Analysis Interview

2. Annotated Portfolios: hands-on practice:

    (1) Photostroller

    (2) Prayer Companion

    (3) Drift Table

    (4) Plane Tracker

    (5) Local Barometer

Reference slides

(Energy Babble)

Questions: 

   How to annotate? what level of descriptions (knowledge)? What are important for AP?

3. Annotated Portfolios

Annotated portfolios from Rung-Huei Liang

References:

annotated portfolios
Intermediate-level knowledge
The logic of annotated portfolios

Robots examples: 

Eliciting New Perspectives in RtD Studies through Annotated Portfolios: A Case Study of Robotic Artefacts

Strategies and examples: 

Strategies for Annotating Portfolios: Mapping Designs for New Domains

EX2: annotated portfolios (deadline 3/21)

1. choose a set of artifacts

2. make annotated portfolios for (1) each of them (2) the group

3. present next week

week 4. situated visualization

situated visualization
1. with sketch:
 

Sketching and Ideation Activities for Situated Visualization Design

2. with photos 

Botanical Printer: An Exploration on Interaction Design with Plantness

3. with (mock-up) prototype

Time-Turner: Data Engagement Through Everyday Objects in the Home

In speculative design, maybe with props (道具)

4. with booklet:

Bespoke Booklets: A Method for Situated Co-Speculation

5. with stickers

Exploring The Future of Data-Driven Product Design

Case study:

IoT speculation with "app LOGO" attached on home appliance (situated methods)

v.s.

Newspapers Do Work: Quick and Effective Entanglement Material for Speculation (workshop collage)

A. Light. 2006. Adding method to meaning: A technique for exploring peoples’ experience with digital products. Behaviour and Information Technology 25, 2, 175--187.

Ann Light 的論文  "為意義增添方法" (Adding method to meaning) [1]，詳細的描述了麥卡錫與萊特所定義的經驗一詞的特性與範疇，並且提出了具體的研究方法，以及實際的"經驗研究"個案。Light 提出了兩個步驟來研究經驗: (1) 外顯化資料收集 (explicitation data-gathering)， (2) 論述分析 (discourse analysis)。第一部分注重喚起 (evocation)參與者在經驗當下的種種感官與知覺事實，訪談的技巧側重在參與者的描述而刻意避免自我解釋；第二部分則更深入探究這些親身經驗 (felt experience)中的動機與解釋，訪談的方向從第一部分的"甚麼" (what)，轉向"為何"(why)、"如何"(how)。這時候，互動設計研究者的角色轉趨重要，必須隨時動態改變，以期達到麥卡錫與萊特所謂的"意義創造的自身對話性"(intrinsic dialogicality of meaning making)，研究者要細心聆聽，並適度參與對話，引發參與者的深度反思與對話。最後根據訪談所得到的說明 (accounts)，分析出質性的洞見 (insights) 與主題 (themes)。

論述分析 (Discourse Analysis) 的精神與方法
What is a proper method to interpret Cultural Probes? DA? Mixed Methods? (example: Designing to Support Social Connectedness: The Case of SnowGlobe)

Notice the use of Language
What are the codes (segments) and variations?
ex.  codes: Object-Practice-Meaning Framework (only for example)
       variations: self-presentation - others - emotional degree (only for example)

Reference:

1. http://interactionpodium.blogspot.com/2014/12/opa.html
2.  https://www.books.com.tw/products/0010723484 

(對話、論述研究法與文件分析，作者： Tim Rapley)

  http://www.weber.com.tw/document/pdf/SR07-007-01.pdf (第一章:論述研究法)

Discourse Analysis 練習

第六章，"關於對話"重點:
1. 將對話內容當作一種社會行動加以理解
2. 梅納德 (Maynard) 觀點-展示順序 (perspective-display sequence)
3. 注重談話旨在表現的行動，以及被選來表現該行動的工具
4. 詞彙選擇及分類
5. 結構組織 (言談的序列結構)
6. 對於說話者面向之一的觀察 (安排或引導方向)
7.由社會體制觀察拒絕與異議 (偏好，接受則明快，拒絕則遲疑)