tag:blogger.com,1999:blog-60602742264062432002024-03-24T03:02:25.033-07:00體現互動設計梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.comBlogger76125tag:blogger.com,1999:blog-6060274226406243200.post-27290548419968377462024-03-24T03:00:00.000-07:002024-03-24T03:00:45.162-07:00week 6. Form and Material<p> I. Annotated portfolios Practice</p><p>2 students in a group</p><p>annotate a "common" artifact in advance</p><p>each member selects another new artifact and annotate it</p><p>together, make annotation of a group of artifacts</p><p>sketch new ideas according to the annotated portfolios </p><p>II. </p><h1 class="mediumb-text" style="background-color: white; font-family: Arial, Helvetica, sans-serif; margin-bottom: 0px; margin-top: 0px;"><span style="font-size: small;"><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/689/330"><span style="color: #111111; font-family: Arial; font-weight: 400;">On the Foundations of Interaction Design Aesthetics: </span><span class="italic" style="color: #111111; font-family: Arial; font-style: italic; font-weight: 400;">Revisiting the Notions of Form and Expression</span></a> </span></h1><div><span style="font-size: small;"> (revisit Expression of Doorbell design)</span></div><div><span style="font-size: small;"><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;">"function</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> being what things do as we use them"</span></span></div><div><span style="font-size: small;"><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;">"</span></span><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;">interaction</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> referring to what we do when we use a thing"</span></div><div><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;">"</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> </span><span class="italic" style="background-color: white; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><span style="color: #ffa400;">interaction design form</span></span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> as </span><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;">the way in which the thing or system we design we design relates </span><span class="italic" style="background-color: white; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><span style="color: #ffa400;">function</span></span><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"> and </span><span class="italic" style="background-color: white; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><span style="color: #ffa400;">interaction </span></span><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;">to each other</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;">."</span></div><div><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;">"</span><span class="italic" style="background-color: white; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><span style="color: #ffa400;">interaction design expression</span></span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> as </span><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;">that which displays interaction"</span></div><div><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><br /></span></div><div><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><p class="paragraph" style="font-size: 12pt; font-style: normal; line-height: 16pt; text-indent: 24pt;">interaction design variables:</p><ul style="font-family: Arial, Helvetica, sans-serif; font-size: 14px; font-style: normal; margin: 0.25em 0px 0.75em; padding: 0px 0px 0px 2.5em; text-align: left; text-indent: 0px;"><li class="bullet" style="font-family: "Times New Roman"; font-size: 12pt; line-height: 16pt; margin-left: -5pt; text-align: justify; text-indent: 0pt;"><span class="italic" style="font-style: italic;">Timing</span> – the rhythm and meter of use we introduce.</li><li class="bullet" style="font-family: "Times New Roman"; font-size: 12pt; line-height: 16pt; margin-left: -5pt; text-align: justify; text-indent: 0pt;"><span class="italic" style="font-style: italic;">Spacing</span> – the space of use we introduce.</li><li class="bullet" style="font-family: "Times New Roman"; font-size: 12pt; line-height: 16pt; margin-left: -5pt; text-align: justify; text-indent: 0pt;"><span class="italic" style="font-style: italic;">Connectivity</span> – the connections of use we introduce.</li><li class="bullet" style="font-family: "Times New Roman"; font-size: 12pt; line-height: 16pt; margin-left: -5pt; text-align: justify; text-indent: 0pt;"><span class="italic" style="font-style: italic;">Methodology</span> – the ways of use we introduce.</li></ul></span></div><div><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"><br /></span></div><div><span class="bold" style="background-color: white; color: #111111; font-size: 16px; font-weight: bold; text-align: justify; text-indent: 32px;">Timing</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> – 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? </span></div><div><span class="bold" style="background-color: white; color: #111111; font-size: 16px; font-weight: bold; text-align: justify; text-indent: 32px;">Spacing</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> – Function and interaction in use clearly have a spatial dimension linked to what X does in space.</span></div><div><span class="bold" style="background-color: white; color: #111111; font-size: 16px; font-weight: bold; text-align: justify; text-indent: 32px;">Connectivity</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> – Relating function and interaction in use is a matter of connecting; how does X relate what I do to with what X does?</span></div><div><span class="bold" style="background-color: white; color: #111111; font-size: 16px; font-weight: bold; text-align: justify; text-indent: 32px;">Methodology</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> – Relating function and interaction in use is a matter method. How do I relate what I do with what X does?</span></div><div><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"><br /></span></div><div><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;">Take the automatic door as an example</span></div><h1 class="mediumb-text" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin-bottom: 0px; margin-top: 0px;"><br /></h1><div><span style="color: red;">Questions: How to use these notions in annotated portfolios?</span></div><div><br /></div><div>Material & Interaction:</div><h1 class="mediumb-text" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin-bottom: 0px; margin-top: 0px;"><strong><a href="http://dl.acm.org/citation.cfm?id=2677199.2680594">Interaction Design as a Bricolage Practice</a></strong></h1><div><h1 class="mediumb-text" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin-bottom: 0px; margin-top: 0px;"><strong><a href="http://dl.acm.org/citation.cfm?id=2584567.2584588&">Giving form to computational things: developing a practice of interaction design</a></strong></h1></div><div><span style="background-color: white; color: #111111; font-family: Arial;"><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/2212/710">Temporal Form in Interaction Design</a></span></div><div><span face="Arial, Helvetica, sans-serif" style="background-color: white; color: #111111; font-size: 16px; font-weight: bold; line-height: 18px;"><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/628/309">A Material Strategy: Exploring Material Properties of Computers</a></span></div><div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1007/s00779-013-0686-7">Methodology for materiality: interaction design research through a material lens</a></span></h1></div><div><br /></div><div><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/3957/923"><span style="background-color: white; color: #111111; font-family: Arial;">Living Artefacts: </span><span class="Italic" style="background-color: white; color: #111111; font-family: Arial; font-style: italic;">Conceptualizing Livingness as a Material Quality in Everyday Artefacts</span></a> (a set of selected artifacts framed with livingness, centered at the discussion of phenomenon)</div><div><br /></div><p>EX 3:</p><p> Propose your own guidelines or strategies for annotated portfolios</p><p>Deadline: 4/8, 2024</p>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-24533877212680971012024-03-17T00:49:00.000-07:002024-03-17T00:55:00.529-07:00week 5. Verplank's framework & movement based IXD<div>(I) students present annotated portfolios</div><div><br /></div>(II) Interaction Design vocabularies based on Verplank's framework<br />
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<div><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">1. How is "Design Basics" taught in design school?</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://basicdesign2010.blogspot.com/search/label/Ex2" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">Examples</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://basicdesign2010.blogspot.com/search/label/EX3" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">Examples</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://basicdesign2010.blogspot.com/search/label/EX6" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">Examples</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://jazzliang.wordpress.com/2010/10/07/%E8%A8%AD%E8%A8%88%E6%98%AF%E4%BB%80%E9%BA%BC/" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">設計是什麼</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">2. What is the basics of "Tangible Interaction Design" as a design discipline?</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://www.billverplank.com/IxDSketchBook.pdf" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">Interaction Design Process by Bill Verplank</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">What are the significant contrasts for Tangible Interaction?</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">What principles are applicable? For example, </span><a href="http://members.optusnet.com.au/charles57/Creative/Techniques/syn_quest.htm" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">synectics triggers</a><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">, (</span><a href="http://www.google.com.tw/url?sa=t&source=web&cd=3&ved=0CCsQFjAC&url=http%3A%2F%2Fwww.wcboe.k12.md.us%2Fcustom_pages%2Finst_technology%2Fmain%2Fhs%2Fart%2Fdesign%2520synectics%2FDesSynec.doc&ei=3FxiTcvLIIOyvgOY8pjKAg&usg=AFQjCNFSSEgmOmaxgH5pSsfjtYw4l9piAQ" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">synnectics examples</a><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">), <a href="https://slideplayer.com/slide/14535597/">https://slideplayer.com/slide/14535597/</a></span><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">. <a href="https://www.spudart.org/synectics/#google_vignette">https://www.spudart.org/synectics/#google_vignette</a></span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">3. Material</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"></blockquote><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">"Materials touch directly on three major topics:<br />1. A designer may be motivated and stimulated directly by a particular material.<br />2. Materials are expressive, verying from fragile and refined to earthy and coarse.<br />3.Certain materials are chosen for their inherent physical properties that relate directly to the function of the finished work."</blockquote><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">4. Expression</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">"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.</blockquote><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><div style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"><blockquote>"Three phases are involved in the design process, and each contributes to individual expressiveness:<br />1. Recognizing and delimiting the visual problems to be solved, and deciding what sort of action is needed.<br />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.<br />3. Finally the design is translated, built, printed, constructed, woven, fabricated by the designer or under the designer's supervision." Stoops & Samuelson.<br /><br />"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.<br /></blockquote><br /><h1 class="entry-title" style="font-weight: normal; margin: 0px; position: relative;"><span style="font-size: 25.245px;"><a href="http://jazzliang.wordpress.com/2010/02/26/%E5%A6%82%E4%BD%95%E7%94%A8-expression-%E9%96%8B%E5%B1%95%E8%A8%AD%E8%A8%88/" style="color: #336699; text-decoration-line: none;"><blockquote>如何用 expression 開展設計</blockquote></a></span></h1></div><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">5. Function</span><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"></blockquote><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">"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."</blockquote><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">6. Form</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://interactions.acm.org/content/?p=1317" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">Tangible Interaction=Form+Computing</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span style="background-color: white; color: #333333; font-size: 14.85px;"><br /></span></div><div><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;">7. Movement and Form</span></div><div><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;"> "</span><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; widows: 3;">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).</span><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; widows: 3;"> "</span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; widows: 3;"><br /></span><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;"></span><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; widows: 3;"> "</span><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;">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)."</span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;"><br /></span><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;"></span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;"><span style="font-family: georgia, "times new roman", times, serif;"><span style="font-size: 15px; line-height: 22px;"> Form-giving</span></span></div><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;"><span style="font-family: georgia, "times new roman", times, serif;"><span style="font-size: 15px; line-height: 22px;"> Meaning-making</span></span></div><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;"><span style="font-family: georgia, "times new roman", times, serif;"><span style="font-size: 15px; line-height: 22px;"> Movement-centered</span></span></div><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;"><span style="font-family: georgia, "times new roman", times, serif;"><span style="font-size: 15px; line-height: 22px;"> Bodily Rich Interaction</span></span></div><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><div class="separator" style="background-color: white; clear: both; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; text-align: center;"><iframe allowfullscreen="allowfullscreen" frameborder="0" height="266" mozallowfullscreen="mozallowfullscreen" src="https://www.youtube.com/embed/hfHsPb8Nl2Q?feature=player_embedded" webkitallowfullscreen="webkitallowfullscreen" width="320"></iframe></div><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;"> reference:</span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><h1 class="mediumb-text" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; position: relative;"><strong><a href="http://dl.acm.org/citation.cfm?id=1023815" style="color: #cc6611; text-decoration-line: none;">Tangible products: redressing the balance between appearance and action</a></strong></h1><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;"><strong><br /></strong></div><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><h1 class="mediumb-text" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; position: relative;"><strong><a href="http://dl.acm.org/citation.cfm?id=1297126.1297131&coll=DL&dl=ACM&CFID=167167304&CFTOKEN=11587792" style="color: #cc6611; text-decoration-line: none;">Move to get moved: a search for methods, tools and knowledge to design for expressive and rich movement-based interaction</a></strong></h1></div><div><br /></div><div><span style="background-color: white; color: #333333; font-size: 14.85px;"><br /></span></div><div><span style="background-color: white; color: #333333; font-size: 14.85px;"> Movement</span></div><div><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"></blockquote><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"></blockquote><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">Laban Movement Analysis</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://www.ijdesign.org/ojs/index.php/IJDesign/article/view/765/294" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;"><blockquote></blockquote><blockquote></blockquote>Designing Behavior in Interaction: Using Aesthetic Experience as a Mechanism for Design</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /></div><br />
<br />
參考文獻:<br />
1.<a href="http://dl.acm.org/citation.cfm?id=1297126.1297131&coll=DL&dl=ACM&CFID=712909157&CFTOKEN=92042823"><span face=""verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white; font-size: 16px;">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.</span><em style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 16px;">Personal Ubiquitous Comput.</em><span face=""verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white; font-size: 16px;"> 11, 8 (December 2007), 677-690.</span></a><br />
2. <a href="http://dl.acm.org/citation.cfm?id=1649475.1649477&coll=DL&dl=ACM&CFID=66359646&CFTOKEN=36546203">Baskinger & Gross, "Tangible = Form + Computing", Interactions, 2010.</a><br />
3.<a href="http://dl.acm.org/citation.cfm?id=1935701.1935731"> <span face=""verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white; font-size: 16px;">Heekyoung Jung and Erik Stolterman. 2010. Material probe: exploring materiality of digital artifacts. In </span><em style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 16px;">Proceedings of the fifth international conference on Tangible, embedded, and embodied interaction</em></a><span face=""verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white; font-size: 16px;"><a href="http://dl.acm.org/citation.cfm?id=1935701.1935731"> (TEI '11). ACM, New York, NY, USA, 153-156.</a> </span><br />
<br /><br />Practice :<div> Reframe your annotated portfolios with Verplank's framework</div><div><br /></div><div>
Project:</div><div> How can we make annotated portfolios with generative AI tools?</div><div> What are the issues to be solved in GAI-aided annotated portfolios?</div><div> What roles can GAI play in making annotated portfolios? Which stage (part) should GAI take in?<br />
<br /></div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-12435251006508369262024-03-10T00:10:00.000-08:002024-03-10T00:15:17.956-08:00week 4. annotated portfolios & strong concepts<p>0. cultural probes idea presentation </p><p>1. situated visualization: data collection examples demo</p><p> Mutual Discourse Analysis Interview</p><p>2. Annotated Portfolios: hands-on practice:</p><p> (1) Photostroller</p><p> (2) Prayer Companion</p><p> (3) Drift Table</p><p> (4) Plane Tracker</p><p> (5) Local Barometer</p><p><a href="https://slideplayer.com/slide/3934804/?fbclid=IwAR0eEY39G2MrJTOz0CCoi39e4y5qvWWsv375duJt74VUNNEDs6MlfXiZ86g">Reference slides</a></p><p>Questions: </p><p> How to annotate? what level of descriptions (knowledge)? What are important for AP?</p><p>3. Annotated Portfolios</p><p><br /></p>
<iframe allowfullscreen="" frameborder="0" height="485" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/aNvdWpwC1tLhti" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="595"> </iframe> <br />
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<strong> <a href="https://www.slideshare.net/jazzliang/annotated-portfolios-94100134" target="_blank" title="Annotated portfolios">Annotated portfolios</a> </strong> from <strong><a href="https://www.slideshare.net/jazzliang" target="_blank">Rung-Huei Liang</a></strong> </div><div style="margin-bottom: 5px;"><br /></div><div style="margin-bottom: 5px;"><br /></div><div style="margin-bottom: 5px;">References:</div><div style="margin-bottom: 5px;"><a href="http://dl.acm.org/citation.cfm?id=2212877.2212889" style="background-color: white; color: #cc6611; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; text-decoration-line: none;">annotated portfolios</a><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><a href="http://dl.acm.org/citation.cfm?id=2405716.2405725" style="background-color: white; color: #cc6611; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; text-decoration-line: none;">Intermediate-level knowledge</a><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><a href="http://dl.acm.org/citation.cfm?id=2317968" style="background-color: white; color: #cc6611; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; text-decoration-line: none;">The logic of annotated portfolios</a></div><div style="margin-bottom: 5px;">Robots examples: </div><h5 class="issue-item__title" style="background-color: white; box-sizing: border-box; color: #0077c2; font-family: Merriweather, serif; font-size: 16px; font-weight: 500; margin-bottom: 10px; margin-top: 0px;"><span class="hlFld-Title" style="box-sizing: border-box;"><a href="https://dl.acm.org/doi/10.1145/3461778.3462134" style="background-color: transparent; box-sizing: border-box; cursor: pointer; outline: 0px; text-decoration-line: none;">Eliciting New Perspectives in RtD Studies through <span class="single_highlight_class" style="background: rgb(255, 253, 189); box-sizing: border-box;">Annotated</span> <span class="single_highlight_class" style="background: rgb(255, 253, 189); box-sizing: border-box;">Portfolios</span>: A Case Study of Robotic Artefacts</a></span></h5><div>Strategies and examples: </div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/3357236.3395490">Strategies for Annotating Portfolios: Mapping Designs for New Domains</a></span></h1><div><br /></div><div>EX2: annotated portfolios (deadline 3/18)</div><div>1. choose a set of artifacts</div><div>2. make annotated portfolios for (1) each of them (interaction and domain knowledge) (2) the group (trajectory strategy and ecosystem strategy)</div><div>3. present next week</div><div><br /></div><div><br /></div>
梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-33966495912603829842024-03-03T00:30:00.000-08:002024-03-03T00:31:49.911-08:00week 3. situated visualization & discourse analysissituated visualization<br />
1. with sketch:<br />
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<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/doi/10.1145/3322276.3322326">Sketching and Ideation Activities for Situated Visualization Design</a></h1>
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2. with photos </div>
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<a href="https://dl.acm.org/citation.cfm?id=3196809">Botanical Printer: An Exploration on Interaction Design with Plantness</a></h1>
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3. with (mock-up) prototype</div>
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<a href="https://dl.acm.org/citation.cfm?id=3079122">Time-Turner: Data Engagement Through Everyday Objects in the Home</a></h1>
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In speculative design, maybe with props (道具)<br />
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<div>4. with booklet:<br />
<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/citation.cfm?id=3322311">Bespoke Booklets: A Method for Situated Co-Speculation</a></h1><div><br /></div><div>5. with stickers</div><div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/abs/10.1145/3313831.3376560">Exploring The Future of Data-Driven Product Design</a></span></h1></div><div><br /></div>
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Case study:</div>
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IoT speculation with "app LOGO" attached on home appliance <span style="color: #ffa400;">(situated methods)</span></div><div>v.s.</div><div><div style="background-color: #fcfcfc; box-sizing: border-box; font-family: Georgia, serif; font-weight: 400; letter-spacing: 0.008em; line-height: 1.3; margin: 0px 0px 8px; text-align: left;"><span style="color: #333333;"><a href="https://link.springer.com/chapter/10.1007/978-3-030-78221-4_5">Newspapers Do Work: Quick and Effective Entanglement Material for Speculation</a> </span><span style="color: #ffa400;">(workshop collage)</span></div>
<br /><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><br /></span></span></div><div><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><a href="http://www.tandfonline.com/doi/citedby/10.1080/01449290500331172" style="color: #6fa8dc; font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; text-decoration-line: none;">A. Light. 2006. Adding method to meaning: A technique for exploring peoples’ experience with digital products. Behaviour and Information Technology 25, 2, 175--187.</a></span></span></div><div><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><br /></span></div><div><span style="font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">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) </span><span style="background-color: white; color: #ffa400; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">外顯化資料收集</span><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> (explicitation data-gathering), (2) </span><span style="background-color: white; color: #ffa400; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">論述分析</span><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> (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"</span><i style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;"><span style="color: red;">意義創造的自身對話性</span>"</i><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">(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)。</span></span></div><div><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><br /></span></span></div><div><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">論述分析 (Discourse Analysis) 的精神與方法</span></span><br /><span style="font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><span style="color: #ffa400;">What is a proper method to interpret Cultural Probes? </span><span style="color: #45818e;">DA? Mixed Methods? (example:</span><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/710" style="color: #45818e;"> </a></span></span><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/710"><span style="background-color: white; color: #111111; font-family: Arial;">Designing to Support Social Connectedness: </span><span style="background-color: white; color: #111111; font-family: Arial; font-style: italic;">The Case of SnowGlobe</span></a>)<br /><br /><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">Notice the use of Language</span></span><br /><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">What are the codes (segments) and variations?</span></span><br /><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">ex. codes:</span><span style="background-color: white; color: #ffa400; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> Object-Practice-Meaning</span><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> Framework (only for example)</span><br /><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> variations: self-presentation - others - emotional degree </span><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">(only for example)</span><br /><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"><br /></span><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">Reference:</span></span><br /><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><br /></span></span>1. <a href="http://interactionpodium.blogspot.com/2014/12/opa.html">http://interactionpodium.blogspot.com/2014/12/opa.html</a><br />2. <a href="https://www.books.com.tw/products/0010723484">https://www.books.com.tw/products/0010723484</a> </div><div>(<span face="Arial, Helvetica, sans-serif" style="background-color: white; color: #333333; font-size: 17.004px;">對話、論述研究法與文件分析,</span><span face="Arial, Helvetica, sans-serif" style="background-color: white; color: #666666; font-size: 13px;">作者: </span><a href="https://search.books.com.tw/search/query/key/Tim+Rapley/adv_author/1/" style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 13px; outline: none; text-decoration-line: none;">Tim Rapley</a><span face="Arial, Helvetica, sans-serif" style="background-color: white; color: #333333; font-size: 17.004px;">)</span></div><div> <a href="http://www.weber.com.tw/document/pdf/SR07-007-01.pdf">http://www.weber.com.tw/document/pdf/SR07-007-01.pdf</a> (<span face="Arial, Helvetica, sans-serif" style="color: #666666;"><span style="background-color: white; font-size: 13px;">第一章:論述研究法)</span></span></div><div><span face="Arial, Helvetica, sans-serif" style="color: #666666;"><span style="background-color: white; font-size: 13px;"><br /></span></span></div><div><span face="Arial, Helvetica, sans-serif" style="color: #666666;"><span style="background-color: white; font-size: 13px;"><br /></span></span></div><div><span face="Arial, Helvetica, sans-serif" style="color: #666666;"><span style="background-color: white; font-size: 13px;"><br /></span></span></div><div><br /></div><div>
Discourse Analysis 練習<br />
<br />
第六章,"關於對話"重點:<br />
1. 將對話內容當作一種<b>社會行動</b>加以理解<br />
2. 梅納德 (Maynard) 觀點-展示順序 (perspective-display sequence)<br />
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<br />
4. 詞彙選擇及分類<br />
5. 結構組織 (言談的序列結構)<br />
6. 對於說話者面向之一的觀察 (安排或引導方向)<br />
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)</div>
梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-21910389014581431862024-02-25T00:45:00.000-08:002024-02-25T00:45:38.301-08:00week 2. cultural probes<br />
<a href="https://interactions.acm.org/archive/view/march-april-2019/probetools">https://interactions.acm.org/archive/view/march-april-2019/probetools</a><br />
<br />
<a href="https://probetools.net/">https://probetools.net/</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="485" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/5Nu3Npowx2cpzj" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="595"> </iframe> <br />
<div style="margin-bottom: 5px;">
<strong> <a href="https://www.slideshare.net/jazzliang/cultural-probes-173262579" target="_blank" title="Cultural probes">Cultural probes</a> </strong> from <strong><a href="https://www.slideshare.net/jazzliang" target="_blank">Rung-Huei Liang</a></strong> </div>
<br /><div>References:<br />Gaver: <a href="http://dl.acm.org/citation.cfm?id=291235">Design: Cultural Probes, 1999</a><br />Wallace: <a href="http://dl.acm.org/citation.cfm?id=2470654.2466473">How Design Probes Work, 2013</a><br /><br />more detail examples in<br /><div><br /><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://probetools.net/">Probe Tools (Task Cam)</a></h1><div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: medium;"><a href="https://dl.acm.org/doi/10.1145/3173574.3173645">TaskCam: Designing and Testing an Open Tool for Cultural Probes Studies</a> (CHI18)</span></h1></div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=2470654.2466473">Making design probes work</a></h1><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=3196810">Designing for an other Home: Expanding and Speculating on Different Forms of Domestic Life</a> (DIS 18) (Diversifying the Domestic: A Design Inquiry into Collective and Mobile Living, DIS19)</h1><div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: medium;"><a href="https://dl.acm.org/doi/10.1145/3064663.3064791">Designing Memory Probes to Inform Dialogue</a> (DIS18)</span></h1><div class="share__block share__inline-links" style="background-color: white; box-sizing: border-box; color: #757575; float: right; font-family: "Merriweather Sans", sans-serif; font-size: 1.1875rem; line-height: 14px; margin: 0px;"><div class="pb-dropzone" data-pb-dropzone="shareBlock" style="box-sizing: border-box;" title="shareBlock"></div><span class="sr-only" style="border: 0px; box-sizing: border-box; clip: rect(0px, 0px, 0px, 0px); height: 1px; overflow: hidden; padding: 0px; position: absolute; white-space: nowrap; width: 1px;">Share on</span><div class="rlist--inline addthis addthis_toolbox addthis_default_style addthis_32x32_style" style="box-sizing: border-box; display: inline-block; list-style: none; margin: 0px; padding: 0px;"><a class="addthis_button_twitter at300b" href="https://dl.acm.org/doi/10.1145/3064663.3064791#" role="link" style="background-color: transparent; box-sizing: border-box; color: #5c5c5c; cursor: pointer; float: left; line-height: initial; margin-bottom: 0px; outline: 0px; padding: 0px 2px; text-decoration-line: none; width: auto;" title="Twitter"><span aria-hidden="true" class="at-icon-wrapper icon-Icon_Twitter" face="icomoon !important" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; cursor: pointer; display: inline-block; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 1; overflow: hidden; speak: none; transition: transform 0.5s ease 0s;"></span></a></div></div></div></div><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><div class="large-text" style="box-sizing: border-box; font-size: 1.3em; font-weight: 400; margin: 0px 0px 5px 2px; padding: 0px;"></div></h1><h1 class="mediumb-text" style="box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=2702466">Evaluation Probes</a></h1><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=1520422">Perspective probe: many parts add up to a whole perspective</a></h1></div><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=2598580">Medium probes: exploring the medium not the message</a></h1><div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/642611.642616">Technology probes: inspiring design for and with families</a></span></h1><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: medium;"><a href="https://dl.acm.org/doi/10.1145/1054972.1055020">Urban probes: encountering our emerging urban atmospheres</a> (CHI05)</span></h1></div></div><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=1520697">See you on the subway: exploring mobile social software</a></h1></div><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=3010948">Vulnerability of displacement: challenges for integrating refugees and asylum seekers in host communities</a></h1></div><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"></h1><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/doi/10.1145/1518701.1518966">Making history: intentional capture of future memories</a></h1><div><br /></div><div><a href="https://muep.mau.se/bitstream/handle/2043/32780/Gregory%20Jackson%20-%20TP1%20Adjustments%20%283%29.pdf?sequence=1&isAllowed=y">Researching sensitive topics: Adjusting cultural probes to research and identify design spaces for sensitive HCI.</a></div></div></div></div><div><br /></div><div>Critical viewpoint:</div><div><a href="https://dl.acm.org/doi/10.1145/1240624.1240789">How HCI Interprets the Probes</a></div><div> <span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px;">Probology: </span></div><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(1) identity probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(2) urban probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(3) domestic probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(4) value probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(5) empathy probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(6) mobile probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(7) digital cultural probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(8) cognitive probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(9) technology probes</span><div><br /></div><div>Questions:</div><div>How do Cultural Probes use <a href="https://www.interaction-design.org/literature/book/the-glossary-of-human-computer-interaction/tangible-interaction">Tangibility and Embodied skills</a> to investigate and interpret the situated contexts?</div><div>How do 6 propositions in Technology as Experience guide the Cultural Probes?</div><div><br /></div><div>Exercise 1: (deadline 3/11)</div><div>1. Choose 1 embodied interaction design case (in CHI, TEI, DIS)</div><div>2. Redesign the possible cultural probes for this case (according to Gaver's original ideas and Embodied skills) </div><div>3. Explain with at least 200 words </div><div><br /></div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-61677887348885124752024-02-17T01:40:00.000-08:002024-02-17T01:40:30.435-08:00week 1. Technology as ExperienceCourse grading:<div><br /></div><div><span face="sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;">1. 200 words report every 1-2 week on assigned paper (40%)</span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span face="sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;">2. 2-3 Sketches (or Medium articles) (20%)</span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span face="sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;">3. 1 Final Conceptual Design Project (40%)</span></div><div><span face="sans-serif" style="color: #222222;"><span style="font-size: 13.2px;"><br /></span></span></div><div><span face="sans-serif" style="color: #222222;"><span style="font-size: 13.2px;">Course Intro</span></span></div><div><span face="sans-serif" style="color: #222222;"><span style="font-size: 13.2px;">Part I. Methods</span></span></div><div><span face="sans-serif" style="color: #222222;"><span style="font-size: 13.2px;">Part II. Phenomenology</span></span></div><div><span face="sans-serif" style="color: #222222;"><span style="font-size: 13.2px;">Part II. Paradigms<br /></span></span>
<br />----------------------------------------------------------------------------------------------------------------------<br /><div><a href="https://dl.acm.org/citation.cfm?id=1015549"><span face=""tahoma" , "arial" , "verdana" , sans-serif" style="background-color: white;">John McCarthy and Peter Wright. 2004. Technology as experience. </span><span face=""tahoma" , "arial" , "verdana" , sans-serif" style="background-color: white; box-sizing: border-box; font-size: 12px;">Interactions</span><span face=""tahoma" , "arial" , "verdana" , sans-serif" style="background-color: white; font-size: 12px;"> 11, 5 (September 2004), 42-43. DOI: https://doi.org/10.1145/1015530.1015549</span></a><br />
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<a href="https://www.amazon.com/Technology-as-Experience-MIT-Press/dp/0262633558/">https://www.amazon.com/Technology-as-Experience-MIT-Press/dp/0262633558/</a><br />
<br />
Featured:<br />
Chapter 1 Living with Technology:<br />
<span style="font-size: large;">The User as a Cog in a Virtual Machine</span> (During the 1970s and the 1980s the dominant approach to understanding relationships between people and technology assumed a single user sitting in front of a computer screen and keyboard performing a fairly well prescribed<br />
task.)<br />
<span style="font-size: large;">The User as a Social Actor</span> (During the late 1980s and the 1990s the opportunistic or contingent aspects of everyday activity became the central focus of challenges to the dominance<br />
of information-processing psychology.)<br />
<span style="font-size: large;">Consumers and the User Experience </span>(The 1990s saw the development of the dotcom companies and a multimillion-dollar games industry; strong penetration of computers into the<br />
home; the confluence of computer and communications technologies; and the beginnings of wireless, mobile, and ubiquitous computing.)<br />
<span style="font-size: large;">Toward a Deeper Understanding of Technology as Experience</span>: 6 propositions<br />
<br />
<h3 class="post-title entry-title" itemprop="name" style="background-color: white; color: #45818e; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 22px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; line-height: normal; margin: 0.75em 0px 0px; position: relative;">
<a href="http://interactionpodium.blogspot.com/2014/11/blog-post.html">從"技術即經驗"談起</a></h3>
<div>
<br /></div>
<div>
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">摘錄此書提出的六大主張如後。</span><br />
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張一:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第一個主張是,為了公平對待技術在我們生活中所造成的種種廣泛的影響,我們應該從親身感受的生命,以及行動與互動的親身感受或情感的品質兩方面,嘗試去詮釋人與技術的關係。</blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i>Our first proposition is that, in order to do justice to the wide range of influences that technology has in our lives, we should try to interpret the relationship between people and technology in terms of the felt life and the felt or emotional quality of action and interaction. (p. 12)</i></blockquote>
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張二:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第二個主張是,互動技術在工作、居家、教育和休閒中的社會實踐描述,並不足以說明經驗描述中的"親身感受的生命"</blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i>Our second proposition is that social-practice accounts of interactive technologies at work, at home, in education, and in leisure understate the felt life in their accounts of experiences. (p. 14)</i></blockquote>
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張三:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第三個主張是,用技術來描述親身感受的經驗,是困難的。</blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i>Our third proposition is that it is difficult to develop an account of felt experience with technology. (p. 15)</i></blockquote>
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張四:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第四個主張是,就經驗而言,經驗的實用主義哲學特別的清晰,它們所包含的行動和意義創造的模式,說明了行動與互動中,某些關於親身感受的生命及情感的、感官的特質。 </blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i>Our fourth proposition is that pragmatist philosophy of experience is particularly clarifying with respect to experience, and that the models of action and meaning making they encompass express something of felt life and the emotional and sensual character of action and interaction. (p. 17)</i></blockquote>
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張五:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第五個主張是,實用主義所重視的情感的、自發的、創意的經驗面向,更強調了<span style="color: #674ea7;"><u>從理解技術的親身生活經驗中所創造的美學</u></span>。 </blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i>Our fifth proposition is that the importance given to the emotional-volitional and creative aspects of experience in pragmatism prioritizes the aesthetic in understanding our lived experience of technology. (p. 18)</i></blockquote>
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張六:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第六個主張也是最後一個主張, 建立實用主義的修訂理論,特別有益於理解技術與設計。<span style="background-color: transparent;"> </span></blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i style="font-size: 19.8px;">Our sixth and final proposition is that the revisionary theorizing of pragmatism is particularly valuable for understanding technology and design. (p. 19) </i></blockquote>
</div>
<div>
Feature Chapter 3 A Pragmatist Approach to Technology as Experience:<br />
<span style="font-size: large;">Background to Pragmatism and Experience</span><br />
<span style="font-size: large;">John Dewey</span>(1859–1952)<br />
Enriching Activity through Aesthetic Experience<br />
Dialogicality<br />
<span style="font-size: large;">Bakhtin</span></div>
<div>
<br /></div>
<div>
Ref:</div>
<div>
<a href="https://www.facebook.com/groups/1585967671631965/">互動設計散步</a></div>
<div>
<br /></div>
</div></div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-74512708685891368852022-05-22T02:36:00.001-07:002022-05-22T20:49:07.127-07:00week 15. designerly knowledge & solutionism<p>1. final project discussion</p><p><span style="background-color: white; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px;">2.</span></p><p><span style="background-color: white; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px;">What is design knowledge?</span></p><p><span style="background-color: white; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px;">以設計而言, 我們必須提 Nigel Cross 在 2007 年的 “</span><em style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Designerly Ways of Knowing</em><span style="background-color: white; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px;">" 這本書. 在英文版第 18 頁, 他比較三大學門間的差異:</span></p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">所研究的現象:</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px 0px 0px 30px; vertical-align: baseline;">科學: 自然世界 (the nature world)</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px 0px 0px 30px; vertical-align: baseline;">人文: 人類經驗 (human experience)</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px 0px 0px 30px; vertical-align: baseline;">設計: 人造世界 (artificial world)</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">採用的方法:</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px 0px 0px 30px; vertical-align: baseline;">科學: 控制的實驗, 分類, 分析 (controlled experiment, classification, analysis)</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px 0px 0px 30px; vertical-align: baseline;">人文: 類比, 譬喻, 評估 (analogy, metaphor, evaluation)</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px 0px 0px 30px; vertical-align: baseline;">設計: 建模, 式樣構成, 合成 (modelling, pattern-formation, synthesis)</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">價值:</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px 0px 0px 30px; vertical-align: baseline;">科學: 客觀, 理性, 中立, 真理 (objectivity, rationality, neutrality, truth)</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px 0px 0px 30px; vertical-align: baseline;">人文: 主觀, 想像, 承諾, 正義(subjectivity, imagination, commitment, justice)</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px 0px 0px 30px; vertical-align: baseline;">設計: 實用性, 獨創性,移情, 適當性 (practicality, ingenuity, empathy, appropriateness)</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">綜合 Cross 的研究, 他主張將設計學視為一個學科 (discipline), 而不僅是科學或人文, 1999 年一篇在 Design Issues 上的文章清楚討論了 Design Science, Scientific Design, Science of Design 以及 design as science 的種種不適當性, 並強調設計應該揚棄科學的癟腳的認識論, 自己走出一條路來.</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">另外對於設計是不是等於解決問題, Cross 也有不同的看法, 可以參考他的書.</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">最後我個人對於"設計就是解決問題" 是無法同意的, 我的底限在於 “設計<span style="border: 0px; color: #ff6600; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">可以</span>解決問題", 而且 ”X 可以解決問題" 基本上可以將X 換成 Science, humanities,…, 任何你想得到的名詞.</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">“設計就是解決問題" 基本上將設計視為服務於以下命題的萬能工具組:"我們的生活世界是一個問題重重的<span style="border: 0px; color: #ff6600; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">功能世界</span>“, 這違背我的信仰, 因此, 對我個人無法成立.</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">我相信的是維科 (Vico)所言的, 世界是一個不斷開展的<span style="border: 0px; color: #ff6600; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">奧秘世界</span>, 而其中<span style="border: 0px; color: #ff6600; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">意義</span>永遠處於<span style="border: 0px; color: #ff6600; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">湧現的狀態</span> (emerging).</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">solutionism HCI 參考文獻:</p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">1. <span face=""Merriweather Sans", sans-serif" style="font-size: medium;"><a href="https://dl.acm.org/doi/10.1145/2851581.2892589">The Solution Printer: Magic Realist Design Fiction</a></span></p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">2. <span face=""Merriweather Sans", sans-serif" style="font-size: medium;"><a href="Solutionism, the Game: Design Fictions for Positive Aging">Solutionism, the Game: Design Fictions for Positive Aging</a></span></p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;">3. <span face=""Merriweather Sans", sans-serif" style="font-size: medium;"><a href="https://dl.acm.org/doi/10.1145/2858036.2858482">Anti-Solutionist Strategies: Seriously Silly Design Fiction</a></span></p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></p><p data-adtags-visited="true" style="background-color: white; border: 0px; color: #333333; font-family: Georgia, "Bitstream Charter", serif; font-size: 14px; margin: 0px 0px 1.7em; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;">Final Project: (Deadline 5/30)</span></p><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;">1. select an embodied design artifact</div><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;">2. outline 3 different approaches of 3 paradigms for this artifact</div><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;">3. conduct "micro" research with the above 3 approaches</div><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;">4. Format: ACM Extended Abstract at least 6 pages </div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-59475325337534493772022-05-14T23:40:00.002-07:002022-05-14T23:54:56.204-07:00week 14. framing design in the third paradigm<a href="https://dl.acm.org/doi/10.1145/1518701.1518874"><span style="font-size: large;">Framing Design in the Third Paradigm</span></a><br />
<br />
Salu Ylirisku, Virtu Halttunen, Johanna Nuojua, and Antti Juustila, ACM CHI 2009<br />
<br />
1. p. 1131.<br />
<b><span style="font-size: large;">ABSTRACT:</span></b><br />
<br />
"...the new design paradigm, which considers<br />
designing as <span style="color: orange;">a situated and constructive activity of meaning</span><br />
<span style="color: orange;">making</span> rather than as problem solving."<br />
<br />
<br />
...how design projects proceed from the fuzzy early phases<br />
towards the issues of central relevance to designing.<br />
<br />
<br />
A central concept is framing,...Several aspects of framing<br />
are explicated, exploratory, anticipatory and social framing,<br />
and related <span style="color: orange;">concepts of ‘focusing’, ‘priming’, and</span><br />
‘<span style="color: orange;">grounding</span>’ are explained.<br />
<br />
<span style="font-size: large;"><b>2.</b></span><br />
<span style="font-size: large;"><b>INTRODUCTION</b></span><br />
<br />
<br />
A new paradigm is emerging within HCI. Harrison et al.<br />
[14] identified three waves of paradigms within HCI, the<br />
first being “Human Factors/Engineering”, the second<br />
“Cognitive Revolution”, and<span style="color: orange;"> the third “Situated</span><br />
<span style="color: orange;">Perspectives”</span>.<br />
<br />
<br />
<br />
Innovation projects are those that aim at creating novel<br />
products, systems, or services. The central dilemma in such<br />
projects is the question “<span style="color: orange;">what to build</span>”....While the first two paradigms<br />
focused predominantly on the optimization of the<br />
performance of man-machine systems based on identified<br />
problems, the third paradigm promotes a view towards<span style="color: orange;"> the</span><br />
<span style="color: orange;">situated and emergent properties of interaction</span> [14].<br />
<br />
<br />
Already in the 1970s <span style="color: red;">Rittel and Webber</span> [27] problematized<br />
the idea of the design problem. They contended that design<br />
problems are “<span style="color: orange;">wicked</span>” by nature and that every attempt to<br />
solve a design problem frames the problem anew [27].<br />
<br />
<br />
<br />
Due to the open-endedness and the explorative character of<br />
innovation design, it is possible that <span style="color: orange;">a design problem does</span><br />
<span style="color: orange;">not exist at the outset of a project</span>.<br />
<br />
<br />
Instead of design problems, the third paradigm promotes<br />
<span style="color: orange;">meaning making</span> to the center of focus [14].<br />
<br />
Understanding designing as <span style="color: orange;">a constructive activity of meaning making</span><br />
renders the terminology of problems and solutions <span style="color: orange;">obsolete (過時的)</span>.<br />
<br />
p. 1132<br />
<br />
<br />
The early phases of innovation therefore cannot be<br />
grounded in the idea of <span style="color: orange;">design problems</span> nor tied to the<br />
traditional ideals of <span style="color: orange;">optimization</span>, but new theoretical<br />
understanding of the design process in the third paradigm is<br />
required.<br />
<br />
<br />
<b><span style="font-size: large;">3. SITUATED FRAMING</span></b><br />
<br />
‘framing’...This paper builds on<span style="color: red;"> Schön and Rein</span>’s<br />
[31] use of the term to refer to <span style="color: orange;">a process of perceiving and</span><br />
<span style="color: orange;">making sense of social reality</span>. These authors contend that<br />
there is no way of perceiving and making sense of this<br />
reality except through a frame [31]. <span style="color: red;">Blumer</span> [3] described<br />
the issue within sociology: the “<span style="color: orange;">empirical world </span>necessarily<br />
exists always in the form of human pictures and<br />
conceptions of it.”<br />
<br />
"...Harrison et al. [14], who<br />
acknowledge that the <span style="color: orange;">artifact and its context are mutually</span><br />
<span style="color: orange;">defining</span> within the third paradigm of HCI."<br />
<br />
<br />
People create different framing<br />
depending on their “disciplinary backgrounds,<br />
organizational roles, interests, political and economic<br />
perspectives” [30].<br />
<br />
跨領域 framing 的問題:<br />
Collaborative designing hence features great varieties of structurally interwoven, overlapping and<br />
transitional frames in effect simultaneously.<br />
<br />
Framing 的角色:<br />
<br />
This complexity is perplexing when approached at once.<br />
However, <span style="color: orange;">constructive frame-mediated interpretation</span><br />
provides a path through the complexity. As underlying<br />
“structures of belief, perception, and appreciation” [31]<br />
frames help to narrow down the number of available<br />
features by selecting “for attention a few salient features<br />
and relations from what would otherwise be an<br />
overwhelmingly complex reality.”<br />
<br />
<br />
<br />
<b>The dilemma of relevance</b><br />
<br />
<br />
In this<br />
paper ‘<span style="color: orange;">relevant</span>’ refers simply to an idea that survives until<br />
the end of the process, i.e. is not abandoned.<br />
<br />
<br />
...<span style="color: orange;">improvised acting</span> as described by <span style="color: red;">Keith </span><br />
<span style="color: red;">Johnstone </span>[17]. He illustrates<span style="color: orange;"> improvisation </span>as walking<br />
backwards into the future: The walker may not know what<br />
lies behind (in the direction he is actually heading) but<br />
knows the path from which he came [17].<br />
<br />
<br />
<br />
<span style="color: red;">Schön </span>[30] described the dilemma as the “<span style="color: orange;">paradox </span><br />
<span style="color: orange;">of learning</span>.” He wrote that “a student cannot at first<br />
understand what he needs to learn, can learn it only by<br />
educating himself, and can educate himself only by<br />
beginning to do what he does not yet understand.” [30]<br />
Designers must therefore act upfront, and relevance<br />
becomes apparent afterwards.<br />
<br />
<br />
According to <span style="color: red;">Schön</span> [29] designers <span style="color: orange;">develop framing</span> through<br />
experimentation, or what he calls ‘<span style="color: orange;">design moves</span>’: “what if I<br />
did this?” Schön wrote: “When [design] moves function in<br />
an exploratory way, the designer allows the situation to<br />
‘<span style="color: orange;">talk back</span>’ to him, causing him to see things in a new way.”<br />
<br />
<br />
<br />
TWO CASE STUDIES: Designing ideas for wellbeing at work, Design a town vision<br />
<br />
...<br />
<br />
<br />
<b><span style="font-size: large;">DISCUSSION</span></b><br />
<br />
p. 1137<br />
<br />
<b>Exploratory Framing:</b><br />
<br />
<br />
This <span style="color: orange;">exploratory framing</span> (formed mainly by ICTs and the Situated Make<br />
Tools method) functioned as scaffolding that supported<br />
collaborative experimentation, ideation and exploration<br />
with the materials available in the design situations. <br />
...<br />
<br />
In short,<br />
<span style="color: orange;">exploratory framing</span> functioned as a platform for <span style="color: orange;">divergent </span><br />
<span style="color: orange;">thinking</span>, which was grounded in <span style="color: orange;">empirical reality</span>.<br />
<br />
<br />
<b><br /></b>
<b><br /></b>
<b>Anticipatory Framing:</b><br />
<br />
<br />
The <span style="color: orange;">anticipatory framing</span>, which was grounded in these themes and <span style="color: orange;">primed</span><br />
by the visits to the physical environment helped designers<br />
to focus their effort on the relevant issues.<br />
<br />
<br />
The process with anticipatory framing appeared<br />
very efficient, as the teachers could successfully restructure<br />
the entire urban planning project in a matter of a half-hour<br />
session (Situation 2.4).<br />
<br />
<br />
<br />
<br />
The framing also helped to design the <span style="color: orange;">Persona</span> descriptions, in which the<br />
design of the final concepts was grounded. <br />
<br />
<b>Social Framing:</b><br />
<b><br /></b>
<br />
Social framing thus refers to the conceptual<br />
designing of co-design events for the co-designers.<br />
<br />
<br />
One aspect of social framing is the role assigned to the codesigners. They may be framed as experts, who have the capacity to judge, design, and guide the direction of a project.<br />
<br />
p. 1138<br />
<br />
<b>Focusing </b><br />
<br />
<br />
<span style="color: orange;">Focusing</span> refers to the iterative process of developing a<br />
comprehensive conception of a design object.<br />
...<br />
<br />
When these structures, which<br />
guide perception and appreciation, become available,<br />
designers gain the ability to tell whether something is<br />
relevant or not. This ‘<span style="color: orange;">sense of relevance</span>’ is apparent in how<br />
designers expressed their feelings about the value of the<br />
photographs in the Kuntis case.<br />
<br />
<br />
This ability<br />
is precisely what the evolving frames provide designers<br />
with. At the same time as frames structure <span style="color: orange;">perception</span> and<br />
<span style="color: orange;">sense making</span>, they constitute what <span style="color: red;">Schön and Rein</span> [31]<br />
call the “<span style="color: orange;">normative leap</span>” <u style="background-color: yellow;">from fact to values, from “is” to </u><br />
<span style="background-color: yellow;"><u>“ought.”</u> </span>This leap is fundamental in designing, when<br />
designing is understood in the spirit of the definition by<br />
Simon [32] as <span style="background-color: yellow;">the activity to transform existing situations </span><br />
<span style="background-color: yellow;">into preferred ones</span>.<br />
<br />
The “normative leap” happens once<br />
designers develop the sense of relevance.<br />
<br />
<br />
<br />
(<u>設計中的 normative leap 發生在 the sense of relevance 清楚之後</u>)<br />
<br />
<b>Priming</b><br />
<br />
<br />
The concept of <span style="color: orange;">priming</span> draws attention to the timely<br />
development of framing.<br />
<br />
<br />
<br />
For example, the exploration,<br />
ideation, and evaluation primed the reframing (Situation<br />
2.4) of the whole project in the Kuntis case. Similarly the<br />
whole set of consecutive design events and workshops<br />
primed the conceptual restructuring of the mobile tool<br />
concepts (Situation 1.8) in the Konkari project.<br />
<br />
<br />
Sleeswijk-Visser et al. [33] called ‘<span style="color: orange;">sensitization</span>’ the<br />
<u>increased readiness of the participants to express projectrelevant comments</u> when they spend a period of time with a<br />
sensitization package. Priming sensitizes, and more<br />
precisely, develops initial and vague structures on which<br />
sub-sequent design-cognitions can be grounded.<br />
<br />
<b>Grounding </b><br />
<br />
<br />
Grounding ultimately refers to the connection of designing<br />
to the structures in <span style="color: orange;">empirical reality </span>in which the designs<br />
will eventually be placed. For example, the <span style="color: orange;">Personas</span> in the<br />
Konkari project were grounded in the knowledge about the<br />
workers.<br />
<br />
Priming 與 Grounding 的比較:<br />
<br />
While priming promotes the timely<br />
relation between events, grounding draws attention to the<br />
hierarchical nesting of framing.<br />
<br />
Grounding thus ties closely<br />
to thinking while priming associates more with action.<br />
<br />
<br />
Framing Artifacts (設計過程中, 用來幫助 framing 的人造物)<br />
<br />
<br />
The ideas, forms, artifacts, which are<br />
needed to (re)construct a framing, sustain from one<br />
situation to another. This phenomenon is evident in the<br />
studied projects and is facilitated by <span style="color: orange;">physical artifacts</span>, and<br />
both case studies reveal the role that the material artifacts<br />
played in the reproduction of a certain frame at a later stage.<br />
....<br />
<br />
Artifacts were also utilized to frame memories for the<br />
service of design.<br />
...<br />
<br />
Zimmerman et al. [41] claim “<span style="color: orange;">design artifacts are the </span><br />
<span style="color: orange;">currency of design communication.</span>” <span style="color: orange;">Framing artifacts</span> have<br />
a similar value. Framing artifacts also feature a <span style="color: orange;">mnemonic </span><br />
function in the reconstruction of framing as the above<br />
examples illustrate.<br />
<br />
<br />
<br />
<br />
<br />
<br />梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-36562394982665406352022-05-08T05:30:00.003-07:002022-05-08T19:38:54.414-07:00week 13. threes paradigms of HCI<a href="https://people.cs.vt.edu/~srh/Downloads/TheThreeParadigmsofHCI.pdf"><span style="font-size: large;">The Three Paradigms of HCI</span></a><br />
<br />
1. p. 10<br />
<br />
Paradigms compared:<br />
<br />
<span style="color: orange;">Metaphor of interaction:</span><br />
<br />
<ul>
<li>P1: Interaction as man-machine coupling</li>
<li>P2: Interaction as information communication</li>
<li>P3: Interaction as<span style="color: red;"> phenomenologically situated</span></li>
</ul>
<br />
<span style="color: orange;">Central goal for interaction:</span><br />
<ul>
<li>P1: Optimizing <span style="color: red;">fit between man and machine</span></li>
<li>P2: Optimizing <span style="color: red;">accuracy and efficiency</span> of information transfer</li>
<li>P3: Support for <span style="color: red;">situated action</span> in the world</li>
</ul>
<br />
<span style="color: orange;">Typical questions of interest:</span><br />
<br />
<ul>
<li>P1: How can we <span style="color: red;">fix specific problems</span> that arise in interaction?</li>
<li>P2: (1) What mismatches come up in communication between computers and people? (2) How can we <span style="color: red;">accurately model</span> what people do? (3) How can we improve the <span style="color: red;">efficiency</span> of computer use?</li>
<li>P3: (1) What existing <span style="color: red;">situated activities</span> in the world should we support? (2) How do users appropriate technologies, and how can we support those appropriations? (3) How can we support interaction without constraining it too strongly by what a computer can do or understand? (4) What are the politics and values at the site of interaction, and how can we support those in design?<br /> </li>
</ul>
2. p. 11<br />
<br />
<br />
"The primary challenge, however for the 3rd paradigm to<br />
fully bloom is to <span style="color: orange;">break out of the standards</span> which have<br />
been set up by incompatible paradigms."<br />
<br />
人誌學法還是被<span style="color: orange;">誤解為"抽取使用者需求" 的方法</span>, 而非分析整個 HCI 基地的學門.<br />
Dourish, for example, argues that 20 years after the<br />
introduction of <span style="color: orange;">ethnography</span> into the HCI canon it is still<br />
systematically <span style="color: orange;">misunderstood</span> as<span style="color: orange;"> a method for extracting</span><br />
<span style="color: orange;">user requirements</span> rather than a discipline that<br />
<span style="color: orange;">analyzes the entire site of human-computer interaction</span>.<br />
<br />
<br />
Thus, an ethnography, by itself, does not constitute<br />
a legitimate CHI publication without an additional<br />
instrumental component such as <span style="color: orange;">user requirements</span> or<br />
an e<span style="color: orange;">valuation of the interface using information processing</span><br />
<span style="color: orange;">criteria</span>. (還是回到 2nd Paradigm 的標準)<br />
<br />
3. p. 13<br />
<span style="color: blue;"><br /></span>
<span style="color: blue; font-size: large;">Objective vs. Subjective Knowledge</span><br />
<br />
The 1st and 2nd paradigms emphasize the importance of <span style="color: orange;">objective knowledge</span>. The 3rd paradigm, in contrast, sees knowledge as <span style="color: orange;">arising from situated viewpoints in the world</span> and often sees the dominant focus on objective knowledge as suspect in riding roughshod (<span style="background-color: white; font-family: verdana, MingLiU, PMingLiU; font-size: 15px; line-height: 19.5px;">馬蹄鐵上裝有防滑釘的)</span> over the complexities of multiple perspectives at the scene of action.<br />
...<br />
<br />
A number of HCI researchers have taken it a step further, recognizing the<span style="color: orange;"> subjectivity</span> of the researcher and the relationship between the researcher and the researched; where issues of <span style="color: orange;">intersubjectivity (互為主體性)</span> are common in anthropology, they are remote and difficult to address in the 2nd paradigm.<br />
<br />
<span style="color: blue; font-size: large;">Generalized vs. Situated Knowledge</span><br />
<br />
<br />
The 2nd paradigm values <span style="color: orange;">generalized</span> models such as<br />
<span style="color: orange;">GOMS</span>. But because the 3rd paradigm sees knowledge<br />
as <span style="color: orange;">arising and becoming meaningful in specific situations</span>,<br />
it has a greater appreciation for detailed, <span style="color: red;">rich</span><br />
<span style="color: red;">descriptions</span> of specific situations.<br />
<br />
....we all now recognize that “<span style="color: orange;">externalities</span>” are often central<br />
figures in the understanding of interaction.<br />
<br />
<span style="color: blue; font-size: large;">Information vs. Interpretation</span><br />
<br />
The<span style="color: orange;"> 2nd paradigm</span> arises out of a combination of computer<br />
science and <span style="color: orange;">laboratory behavioral sciences </span>that<br />
emphasize analytic means such as <span style="color: orange;">statistical analysis</span>,<br />
<span style="color: orange;">classification</span> and <span style="color: orange;">corroboration (<span style="background-color: #fbfbfb; font-family: verdana, MingLiU, PMingLiU; font-size: 16px; font-weight: bold; line-height: 19px;">確證)</span></span> in making sense of what<br />
is going on at the site of interaction, often under <span style="color: orange;">controlled</span><br />
<span style="color: orange;">conditions</span>.<br />
...<br />
<br />
The <span style="color: orange;">epistemological stance</span><br />
brought to this site is generally <span style="color: orange;">hermeneutic</span>, not analytic,<br />
and focuses on developing <span style="color: orange;">wholistic, reflective</span><br />
<span style="color: orange;">understanding</span> while staying open to the possibility of<br />
simultaneous, <span style="color: orange;">conflicting interpretation</span>.<br />
<br />
<span style="color: blue; font-size: large;">“Clean” vs. “Messy” Formalisms</span><br />
<br />
The 2nd paradigm, reacting to the a-theoretical orientation<br />
of the 1st paradigm, values clean, principled, well-defined<br />
forms of knowledge.<br />
<br />
<br />
The difference between<br />
these ways of thinking is rooted in whether researchers<br />
place the <span style="color: orange;">cleanliness</span> and <span style="color: orange;">certitude (確實)</span> of formal<br />
models at the center of their thinking or whether they<br />
instead place an <span style="color: orange;">appreciation for the complexity of real-world</span>,<br />
messy behavior and activity at the center.<br />
<br />
<br />
4. p. 16<br />
<br />
<br />
We are not arguing that the 3rd paradigm is right, while<br />
the 1st and 2nd paradigms are wrong. Rather, we argue<br />
that<span style="color: orange;"> paradigms highlight different kinds of questions</span><br />
<span style="color: orange;">that are interesting and methods for answering them</span>.<br />
<br />
<br />
...<br />
(<span style="color: orange;">不同的 knowledge 就用不同的 paradigm</span>)<br />
<br />
it would probably be unwise to attempt to uncover the<br />
<span style="color: orange;">rich appropriations of a situated technology </span>with an<br />
objective laboratory test.<br />
<br />
<br />
5. p. 14<br />
<span style="font-size: large;">Epistemological distinctions between the paradigms</span><br />
<br />
<br />
<span style="color: orange; font-size: large;">Appropriate disciplines for interaction </span><br />
<br />
<ul>
<li>P1: Engineering, programming, ergonomics</li>
<li>P2: Laboratory and theoretical behavioral science</li>
<li>P3: Ethnography, action research, practicebased research, interaction analysis</li>
</ul>
<br />
<span style="color: orange; font-size: large;">Kind of methods strived for</span><br />
<br />
<br />
<ul>
<li>P1: Cool hacks</li>
<li>P2: Verified design and evaluation methods that can be applied<span style="color: orange;"> regardless of context</span></li>
<li>P3: A<span style="color: orange;"> palette</span> of situated design and evaluation strategies</li>
</ul>
<br />
<span style="color: orange; font-size: large;">Legitimate kinds of knowledge</span><br />
<br />
<ul>
<li>P1: Pragmatic, objective details</li>
<li>P2: <span style="color: orange;">Objective</span> statements with <span style="color: orange;">general applicability</span></li>
<li>P3: <span style="color: red;">Thick description</span>, stakeholder “careabouts”</li>
</ul>
<br />
<span style="color: orange; font-size: large;">How you know something is true</span><br />
<br />
<ul>
<li>P1: You tried it out and it worked.</li>
<li>P2: You refute the idea that the difference between experimental conditions is due to chance</li>
<li>P3: You <span style="color: orange;">argue </span>about the relationship between your data(s) and what you seek to understand.</li>
</ul>
<br />
<span style="color: orange; font-size: large;">Values</span><br />
<br />
<ul>
<li>P1: (1) reduce errors (2) ad hoc is OK (3) cool hacks desired</li>
<li>P2: (1) optimization (2) <span style="color: orange;">generalizability </span>wherever possible (3) principled evaluation is a priori better than ad hoc, since design can be <span style="color: orange;">structured</span> to reflect paradigm (4) <span style="color: orange;">structured design</span> better than unstructured (5) reduction of ambiguity (6) <span style="color: orange;">top-down</span> view of knowledge</li>
<li>P3: (1) <span style="color: orange;">Construction of meaning</span> is intrinsic to interaction activity (2) what goes on around systems is more interesting than what’s happening at the interface (3) “<span style="color: orange;">zensign</span>” – what you don’t build is as important as what you do build (4) goal is to <span style="color: orange;">grapple with (</span><span style="background-color: white; color: #505050; font-family: verdana, MingLiU, PMingLiU; font-size: 13px; font-weight: bold; line-height: 19.5px;">搏鬥)</span> the full complexity around the system</li>
</ul>
<br />
<br />
<br />Final Project: (Deadline 5/30)<div>1. select an embodied design artifact</div><div>2. outline 3 different approaches of 3 paradigms for this artifact</div><div>3. conduct "micro" research with the above 3 approaches<br />
<br />
<br />
<br />
<br />
<br /></div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-8972621613436276532022-05-01T03:32:00.004-07:002022-05-01T22:32:19.119-07:00week 12. temporal form<p> 1. </p><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: small; font-weight: normal;"><a href="https://dl.acm.org/doi/10.1007/s00779-013-0685-8">Giving form to computational things</a> (</span><span style="font-size: small; font-weight: normal;"><li class="loa__item" style="box-sizing: border-box; color: #757575; display: inline-block; line-height: 2rem; position: relative;"><span class="loa__author-info" style="box-sizing: border-box; color: #595959;">Vallgårda</span><div aria-labelledby="arnd_48747820868895004_Ctrl" class="author-info" id="arnd_48747820868895004" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-radius: 4px; border: 1px solid rgb(217, 217, 217); box-shadow: rgba(0, 0, 0, 0.12) 0px 0px 4px; box-sizing: border-box; left: 0px; max-width: 316px; opacity: 0; padding: 0px; position: absolute; top: 8px; transition: all 0.3s ease 0s; visibility: hidden; width: 316px; z-index: 7;"><div class="author-info__header" data-pill="d3652418e23" style="background: rgb(240, 240, 240); border-bottom: 1px solid rgb(217, 217, 217); box-sizing: border-box; padding: 10px;"></div><div class="author-info__body" style="box-sizing: border-box; padding: 12px 16px 23px;"><p data-doi="10.1145/contrib-81385600598" data-pill-inst="d3652418e23" style="box-sizing: border-box; line-height: 19px; margin-top: 0px;"></p><a class="btn blue stretched" href="https://dl.acm.org/profile/81385600598" style="background-color: #0077c2; border-radius: 2px; border: none; box-sizing: border-box; clear: both; color: white; cursor: pointer; display: inline-block; line-height: 19px; margin: 0px 3px; padding: 8px 30px; text-decoration-line: none;"></a></div></div></li><span style="color: #757575;"> </span>, 2014)</span></h1><div><span style="font-size: small; font-weight: normal;"> interaction design = physical form + temporal form + interaction gestalt</span></div><div><span style="font-size: small; font-weight: normal;"><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/2212/710">Temporal Form in Interaction Design</a> (</span><li class="loa__item" style="background-color: white; box-sizing: border-box; color: #757575; display: inline-block; font-family: "Merriweather Sans", sans-serif; line-height: 2rem; position: relative;"><span class="loa__author-info" style="box-sizing: border-box; color: #595959;">Vallgårda</span><div aria-labelledby="arnd_48747820868895004_Ctrl" class="author-info" id="arnd_48747820868895004" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-radius: 4px; border: 1px solid rgb(217, 217, 217); box-shadow: rgba(0, 0, 0, 0.12) 0px 0px 4px; box-sizing: border-box; left: 0px; max-width: 316px; opacity: 0; padding: 0px; position: absolute; top: 8px; transition: all 0.3s ease 0s; visibility: hidden; width: 316px; z-index: 7;"><div class="author-info__header" data-pill="d3652418e23" style="background: rgb(240, 240, 240); border-bottom: 1px solid rgb(217, 217, 217); box-sizing: border-box; padding: 10px;"></div><div class="author-info__body" style="box-sizing: border-box; padding: 12px 16px 23px;"><p data-doi="10.1145/contrib-81385600598" data-pill-inst="d3652418e23" style="box-sizing: border-box; line-height: 19px; margin-top: 0px;"></p><a class="btn blue stretched" href="https://dl.acm.org/profile/81385600598" style="background-color: #0077c2; border-radius: 2px; border: none; box-sizing: border-box; clear: both; color: white; cursor: pointer; display: inline-block; line-height: 19px; margin: 0px 3px; padding: 8px 30px; text-decoration-line: none;"></a></div></div></li><span style="background-color: white; color: #757575; font-family: "Merriweather Sans", sans-serif;"> </span><span style="background-color: white; color: #333333; font-family: "Merriweather Sans", sans-serif;">, 2015)</span></div><div><span style="font-size: small; font-weight: normal;"><br /></span></div><div><span style="font-size: small; font-weight: normal;">2. <a href="https://dl.acm.org/doi/10.1007/PL00000019">slow technology</a> (2001)</span></div><div><span style="font-size: small; font-weight: normal;"><br /></span></div><div><span style="font-size: small; font-weight: normal;"> </span><span style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;">(1) Reflective technology</span></div><div style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;"> (2) Time technology</div><div style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;"> (3) Amplified environments</div><div><span style="font-size: small; font-weight: normal;"><br /></span></div><div><span style="font-size: small; font-weight: normal;">3. </span></div><div><span style="font-size: small; font-weight: normal;"> slow interaction examples:</span></div><div><span style="font-size: small; font-weight: normal;"><br /></span></div><div><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><a href="http://entretags.de/long-living-chair/" style="background-color: #fff9ee; color: #993300; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-decoration-line: none;">http://entretags.de/long-living-chair/</a><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/qW2QUeQbF_4" style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" width="480"></iframe><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><br /></div><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/109974160" style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" width="640"></iframe><span style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;"></span><p style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;"><a href="https://vimeo.com/109974160" style="color: #993300; text-decoration-line: none;">Slow Games</a> from <a href="https://vimeo.com/ishacbertran" style="color: #993300; text-decoration-line: none;">Ishac Bertran</a> on <a href="https://vimeo.com/" style="color: #993300; text-decoration-line: none;">Vimeo</a>.</p><p style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;"><br /></p><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><a href="http://www.cmu.edu/news/stories/archives/2014/april/images/photoboxphotos_400x286.jpg" style="color: #ff1900; margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhB_lMach_K2AjgDFenrwMQMSGEWfxCve1alLR1_liRFtt3y2h4qbECNbzPfZNWP_3Bvl_tT6YOf48Emf8ruoX9gpxfjuAsnmxYLkzNDFFvDF7qkvUI6H22qenyxc1s7kqnq4E0RiquEkz2sntjQqSA9pb46cov7WQuMfXfL9sqIcqOzvmuoFLgiwrhdkRUjfrUNkbtZw=s0-d" style="background: rgb(255, 255, 255); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 5px; position: relative;" width="320" /></a></div><h1 class="mediumb-text" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; position: relative; text-align: center;"><strong><a href="http://dl.acm.org/citation.cfm?id=2317956.2318055" style="color: #993300; text-decoration-line: none;">Photobox: on the design of a slow technology</a></strong></h1></div><div style="text-align: center;">similar: Olly Radio</div><div><br /></div><div><span style="font-size: small; font-weight: normal;"><br /></span></div><div><span style="font-size: small; font-weight: normal;"><br /></span></div><div><span style="font-size: small; font-weight: normal;"><br /></span></div><div><br /></div>
<iframe allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/307806967?h=dd91f13511" title="vimeo-player" width="640"></iframe><div><br /></div><div><a href="https://dashmarshall.com/strategy/vsmp/">Very Slow Movie Player by Dash Marshall</a></div><div><br /></div><div>4. messages as examples of slow technology</div><div><br /></div><div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><a href="https://itunes.apple.com/us/app/slow-message/id495249023?mt=8" style="color: #993300; text-decoration-line: none;">slow message</a>: randomly 1-7 days later</div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><a href="https://slowly.app/en/" style="color: #993300; text-decoration-line: none;">SLOWLY app</a></div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><br /></div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><a href="https://www.futureme.org/" style="color: #993300; text-decoration-line: none;">https://www.futureme.org/</a></div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><br /></div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><a href="http://tw.cyberlink.com/stat/product/CyberLink_app/U/enu/U.jsp" style="color: #993300; text-decoration-line: none;">Cyberlink U Messenger app</a></div></div><div><h1 class="mediumb-text" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; position: relative; text-align: center;"><strong><a href="http://dl.acm.org/citation.cfm?id=1979742.1979622" style="color: #993300; text-decoration-line: none;">GoSlow: designing for slowness, reflection and solitude</a></strong></h1><div style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;"><h1 class="mediumb-text" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; position: relative; text-align: center;"><strong><a href="http://dl.acm.org/citation.cfm?id=1753326.1753635" style="color: #993300; text-decoration-line: none;">Pensieve: supporting everyday reminiscence</a></strong></h1><div><br /></div></div></div><div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;">From 紙飛機 app to mettle</div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><a href="http://link.springer.com/chapter/10.1007%2F978-3-319-21383-5_14" style="color: #993300; text-decoration-line: none;">Mettle in HCII 2015</a></div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><a href="https://jazzliang.files.wordpress.com/2008/01/crescendomessage_iasdr2015.pdf" style="color: #993300; text-decoration-line: none;">CrescendoMessage 2015</a></div></div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><br /></div><div class="separator" style="background-color: #fff9ee; clear: both; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><br /></div><div><br /></div><div><br /></div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-29181923714981312922022-04-24T01:01:00.011-07:002022-05-01T03:59:48.888-07:00week 11. post phenomenology<p>2009</p><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/1520340.1520683">Material awareness: promoting reflection on everyday materiality</a></span></div><p><span> </span><span> p. 4461 Technological Presence (技術"現身")</span><br /></p><p><span><span> </span><span> </span><span> </span></span>Heidegger's phenomenological: readiness-tohand and presence-at-hand</p><p><span> </span><span> </span><span> </span>Ihde 3 human-technology relations: hermeneutic relations, and alterity relations </p><p> <span> </span><span> p. 4463 </span>Amplifying the Agency of Things</p><p><br /></p><p>2011</p><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/1978942.1979293">A phenomenology of human-electricity relations</a></span></div><p><span> </span><span> p. 2406</span> embodiment relation : a relation "through" a technology</p><p><span> </span><span> h</span>ermeneutic relations : “semi-opaque”, one "with" or "towards" a technology</p><p><span> </span><span> a</span>lterity relations : a relation "to" a
technology</p><p><span> </span><span> </span>HUMAN-ELECTRICITY RELATIONS (how electricity technology presents itself)</p><p> </p><p>2013 (phenomenological methods for electricity)</p><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/2470654.2470672">Electric materialities and interactive technology</a></span></div><p><span> </span><span> p. 120 </span>Approaching electric technology phenomenologically</p><p><span> </span><span> </span>A fundamental aspect of this approach is to “attend to the
phenomena of experience as they appear”</p><p><span> </span><span> T</span>o <span style="color: #ffa400;">describe</span> rather than <span style="color: #ffa400;">explain</span> the phenomena </p><p><span> </span><span> </span><span style="color: red;">bracket</span></p><p><span style="color: red;"><span> </span><span> </span></span>Husserl: variational method
for investigating phenomena </p><p><span> </span><span> </span>Husserl: <span style="color: #ffa400;">imaginative variations</span>; Ihde: <span style="color: #ffa400;">perceptual variations</span></p><p><br /></p><p>2016</p><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; font-size: 1.75rem; line-height: 35px; margin: 0px;"><a href="https://dl.acm.org/doi/10.1145/2800835.2800965">Beyond a utility view of personal informatics: a postphenomenological framework</a></h1><p>2017</p><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/3025453.3025748">Videos of Things: Speculating on, Anticipating and Synthesizing Technological Mediations</a></span></div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><span> </span><span> p. 4489 </span><span style="background-color: transparent;">postphenomenology: things and us are
interdependent in that they mutually shape each other</span></div><div style="background-color: white; box-sizing: border-box; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><span style="background-color: transparent; color: #333333;"><span> </span><span> </span></span><span style="background-color: transparent;"><span style="color: #333333;">technology or designed things </span><span style="color: #ffa400;">mediate</span><span style="color: #333333;"> the
relations between our world and us</span></span></div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><span style="background-color: transparent;"><br /></span></div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/3064663.3064734">Morse Things: A Design Inquiry into the Gap Between Things and Us</a></span></div><p>2018</p><div style="background-color: white; box-sizing: border-box; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><span style="color: #ffa400; font-size: large;"><a href="https://dl.acm.org/doi/10.1145/3196709.3196745">An Annotated Portfolio on Doing Postphenomenology Through Research Products</a></span></div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><div style="box-sizing: border-box; line-height: 35px; margin: 0px; text-align: left;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/3173574.3173668">Philosophers Living with the Tilting Bowl</a></span></div><div style="box-sizing: border-box; line-height: 35px; margin: 0px; text-align: left;"><div style="box-sizing: border-box; line-height: 35px; margin: 0px; text-align: left;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/3173574.3173775">Deployments of the table-non-table: A Reflection on the Relation Between Theory and Things in the Practice of Design Research</a></span></div></div></div><p>2020 <span face=""Merriweather Sans", sans-serif" style="background-color: white; color: #333333;"><a href="https://dl.acm.org/doi/10.1145/3364998">Entanglement HCI The Next Wave?</a></span></p><p><br /></p><p>2021 </p><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/3411764.3445481">Machine Learning Uncertainty as a Design Material: A Post-Phenomenological Inquiry</a></span></div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><br /></div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;">Questions:</div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;">1. What is post-phenomenology? what difference with phenomenology?</div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;">2. How to adopt post-phenomenology as a research method? How to conduct such research?</div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;">3. How annotated portfolios interplay with post-phenomenology?</div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;">4. How do you frame a research project with post-phenomenology? </div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><br /></div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;">References:</div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;">Robert Rosenberger and Peter-Paul Verbeek. 2015. A
Field Guide to Postphenomenology.</div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><br /></div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;">Exercise 4: (Deadline 5/9)</div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;">Doing Postphenemomenology through your own annotated portfolios</div><div style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px; text-align: left;"><br /></div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-56551306396549970612022-04-17T01:51:00.003-07:002022-04-17T01:51:48.370-07:00week 10. perceptual crossing<br />
<br />
Perceptual crossing:<br />
1. <strong style="font-family: Arial, Helvetica, sans-serif; font-size: 1em;"><a href="http://dl.acm.org/citation.cfm?id=1978942.1979222">Designing for perceptual crossing to improve user involvement</a></strong><br />
<br />
2.<a href="http://www.ijdesign.org/index.php/IJDesign/article/view/1062/537"> <span style="background-color: white; color: #111111; font-family: "arial"; font-weight: bold; line-height: 40px;">Designing for Perceptual Crossing:</span><span style="background-color: white; color: #111111; font-family: "arial"; font-weight: bold; line-height: 40px;"> </span><span style="background-color: white; color: #111111; font-family: "arial"; font-style: italic; font-weight: bold; line-height: 40px;">Applying and Evaluating Design Notions</span></a><br />
3. <strong style="font-family: Arial, Helvetica, sans-serif; font-size: 1em;"><a href="http://dl.acm.org/citation.cfm?id=2470654.2466251">Designing for perceptual crossing: designing and comparing three behaviors</a></strong><br />
<br />
Extra experiment:<br />
<a href="http://www.ijdesign.org/index.php/IJDesign/article/view/694/298"><span style="background-color: white; color: #111111; font-family: "arial";">“It's So Touching”: </span><span class="italic" style="background-color: white; color: #111111; font-family: "arial"; font-style: italic;">Emotional Value in Distal Contact</span></a><br />
<br />
知覺現象學 reference:<br />
<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/citation.cfm?id=2442114">Interaction design for and with <i style="box-sizing: border-box;">the lived body</i>: Some implications of merleau-ponty's phenomenology</a></h1>
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Exercise:<br />
define 16 patterns of perceptual crossing between human and object<br />
(how about extending time into past-present-future?)梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-24051246341451881732022-04-09T21:15:00.005-07:002022-04-09T23:06:09.810-07:00week 9. embodiment<p>Part I. Students present Annotated Portfolios principles</p><p>Part II. Intro. to Embodiment & Interaction</p><p><br /></p><p> Inquiry into Embodied Interaction Design</p><br />1. What is "embodied interaction"<br /><br /> A terms from Paul Dourish<br /><br /> http://en.wikipedia.org/wiki/Paul_Dourish<br /><br /> <span face="sans-serif" style="background-color: white; line-height: 19.2px;">Where the Action Is: The Foundations of Embodied Interaction"</span><span face="sans-serif" style="background-color: white; line-height: 19.2px;"> highlighting:</span><br /><span face="sans-serif" style="background-color: white; line-height: 19.2px;"> Tangible Computing & Social Computing</span><br /><span face="sans-serif" style="background-color: white; line-height: 19.2px;"><br /></span><span face="sans-serif" style="background-color: white; line-height: 19.2px;"> </span><span face="sans-serif"><span style="line-height: 19.2px;"><a href="http://www.interaction-design.org/encyclopedia/tangible_interaction.html">Tangible Interaction v.s HCI</a></span></span><br /><span face="sans-serif" style="background-color: white; line-height: 19.2px;"><br /></span><span face="sans-serif" style="background-color: white; line-height: 19.2px;">2. examples:</span><br /><span face="sans-serif" style="background-color: white; line-height: 19.2px;"> </span><br /><span style="background-color: white; line-height: 19.2px;"><span face="sans-serif"> http://www.youtube.com/watch?v=VvE0_zba5h4</span></span><br /><div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://2.gvt0.com/vi/VvE0_zba5h4/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/VvE0_zba5h4&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed allowfullscreen="true" height="266" src="http://www.youtube.com/v/VvE0_zba5h4&fs=1&source=uds" type="application/x-shockwave-flash" width="320"></embed></object></div><span style="background-color: white; line-height: 19.2px;"><span face="sans-serif"><br /></span></span><span style="background-color: white; line-height: 19.2px;"><span face="sans-serif"> </span></span><span face="sans-serif"><span style="line-height: 19.2px;"><a href="http://vimeo.com/19930744">http://vimeo.com/19930744</a> (marble answer machine)</span></span><br /><span face="sans-serif"><br /></span><span face="sans-serif"><br /></span><span face="sans-serif"> <a href="http://www.reactable.com/">http://www.reactable.com/ </a></span><br /><span face="sans-serif"><br /></span><span face="sans-serif"><br /></span><span face="sans-serif"><br /></span><span face="sans-serif"><br /></span><span face="sans-serif"> LABs & Web Resources:</span><br /><span face="sans-serif">1. <a href="http://tangible.media.mit.edu/projects/">MIT Tangible Media group</a></span><br />2.<a href="http://ciid.dk/education/portfolio/"> Copenhagen Institute of Interaction Design (CIID)</a><br />3.<span face="sans-serif"><span style="line-height: 19.2px;"> <a href="http://www.creativeapplications.net/">Creative Applications</a></span></span><br /><span face="sans-serif">4. <a href="http://postscapes.com/">Postscapes</a></span><br />5. <a href="http://www.interaction-design.org/">Interaction Design org</a> (on <a href="https://www.interaction-design.org/literature/book/the-encyclopedia-of-human-computer-interaction-2nd-ed/phenomenology">Phenomenology</a>)<br /><span face="sans-serif">6. TEI Conference</span><br /><span face="sans-serif"><span style="line-height: 19.2px;"><br /></span></span><span face="sans-serif"><span style="line-height: 19.2px;"><br /></span></span><span face="sans-serif"><span style="line-height: 19.2px;"><br /></span></span><span face="sans-serif"><span style="line-height: 19.2px;">Reference Slides:</span></span><br /><span face="sans-serif"><span style="line-height: 19.2px;">1. http://www.slideshare.net/mprove/rse11-tanja-doering</span></span><br /><span face="sans-serif"><span style="line-height: 19.2px;">2. http://www.slideshare.net/chienta/embodied-interaction-1453200</span></span><br /><span face="sans-serif"><span style="line-height: 19.2px;"><br /></span></span><span face="sans-serif"><span style="line-height: 19.2px;"><br /></span></span><span face="sans-serif"><span style="line-height: 19.2px;">3. How to research "embodied interaction"?</span></span><div><span face="sans-serif"><span style="line-height: 19.2px;"><br /></span></span></div><div><span face="sans-serif"><span style="line-height: 19.2px;"><br /></span></span></div><div><span face="sans-serif"><span style="line-height: 19.2px;">-------------------------------------------------------------------------</span></span></div><div><span face="sans-serif"><span style="line-height: 19.2px;"><a href="http://www.google.com.tw/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&ved=0CDkQFjAC&url=http%3A%2F%2Fwww.dourish.com%2Fembodied%2Fembodied99.pdf&ei=fJ5zUO3qFememQWfm4GwBg&usg=AFQjCNENXK-cW1_TguVzOtdwhUj4uNGTVw">Paul Dourish, Embodied Interaction: Exploring the foundations of a new approach to HCI</a><br /><br /><span style="font-size: x-large;">Embodiement</span><br /><br /><br />1. Embodiment is the property of being manifest in and of the everyday world. Embodiment constitutes the transition from the realm of ideas to the realm of everyday<br />experience. (p. 8)<br /><br />2. Embodiment, then, denotes not physical reality but participative status. When I talk of “embodied interaction”, I mean that interaction is an<span style="color: orange;"> embodied phenomenon.</span> It happens in the world, and that world (a physical world and a social world) lends form, substance and meaning to the interaction. (p. 8)<br /><br />3. It (tangible computing) also tries to make computation manifest to us in the world in the same way as we encounter other phenomena, both as a way of making computation fit more naturally with the <span style="color: orange;">everyday world </span>and as a way of <span style="color: orange;">enriching our experiences with the physical</span>. (p. 8)<br /><br /><span style="font-size: large;">5.1 The Phenomenological Backdrop</span><br /><br />1.<span style="color: red;"> Husserl </span>argued that <span style="color: orange;">everyday experience</span> is of concrete phenomena, and it is from such experience and phenomena that our conception of number and of mathematics exists. <span style="color: orange;">Phenomenology</span>, then, was based in the <span style="color: orange;">phenomena of human experience</span>, in contrast to the abstract entities at the heart of scientific and mathematical<br />practice. (p. 9)<br /><br />2. For<span style="color: red;"> Heidegger</span>, everyday experience happened not in the head, but out in the world.<br />Heidegger’s “hermeneutic phenomenology” rejected the detached, mentalistic intentionality of Husserl’s “transcendental” form. (p. 9)<br /><br />3. Where Husserl had conceived of a progression from perception to<br />meaning to action, Heidegger stressed how we ordinarily act in a world that is already organised in terms of meaning and purpose. Heidegger took “shoot first, ask questions later” not as an imperative, but as a description of our mode of being. (p. 10)<br /><br />4. Heidegger’s distinction between “ready-to-hand” and “present-at-hand.”<br />Heidegger argued that<span style="color: orange;"> the ontological structure</span> of the world is not a given, but arises through interaction....The critical thing to observe here is that this can happen only through involved, embodied action. Winograd and Flores use this to illustrate<br />that <span style="color: orange;">activity is constitutive of ontology</span>, not independent of it. (p. 10)<br /><br />5. ...the concept of “embodiment” features perhaps most strongly in the phenomenology of perception developed by Maurice Merleau-Ponty (1962). Merleau-Ponty saw <span style="color: orange;">perception as an active process</span>, and one <span style="color: orange;">carried out by an embodied subject</span>. The embodied nature of action (and actors) was central to Merleau-Ponty’s philosophy. (p. 10)<br /><br /><br /><br /><br /><span style="font-size: x-large;">6. Foundations</span><br /><br />1. What does phenomenology have to tell us about interaction? For the purposes at hand, I take three main points from this work: that <span style="color: orange;">interaction is physically and socially embodied</span>; that <span style="color: orange;">ontology arises out of activity</span>; and that <span style="color: orange;">meaning subsists in embodied action.</span> (p. 12)<br /><br />2. The relationship between action and meaning is, in many ways, the crucial one here...., the two pillars supporting a foundational model of interaction are <span style="color: orange;">intentionality</span> and <span style="color: orange;">coupling</span>. (p. 12)<br /><br />3. <span style="color: orange;">Intentionality</span>, loosely, is “about-ness.” It describes a referential relationship between two entities. Words, images and ideas are intentional phenomena; they are about things, in a way in which rocks, carpets and trees are not.<i> <span style="color: orange;">Intentionality is the essence of how entities bear meaning.</span></i> <span style="color: orange;">Coupling</span> refers to the degree of coordination of two elements, and to how that coordination is maintained. (p. 12)<br /><br />4. ...the meanings assigned to the objects in the interface depend on the coupling<br />of actions. Coupling and intentionality are directly related. By implication, then, <i><span style="color: orange;">in order to manage meaning, we must be able to manage coupling</span></i>.(p. 12)<br /><br />5. <span style="color: orange;">Coupling</span>, then, is at the heart of our ability to work with artifacts and control them. <span style="color: orange;">Intentionality</span> is an <span style="color: orange;">everyday phenomenon</span>; arguably, it is the phenomenon of <span style="color: orange;">human experience,</span> which works its way out in the interactions in which we engage with the world and with each other. It is rooted in our socialisation and our lives as social animals in a web of social and cultural relations which give <span style="color: orange;">meaning to everyday action</span>. <span style="color: orange;">Fluid coupling</span> provides us with the means to negotiate this web.<br />Embodiment lies in the relationship between the two. (p. 12)<br /><br />6. What <span style="color: orange;">tangible computing</span> does, by moving computation out into the world, is to open up new ways for us to be coupled to the <span style="color: orange;">intentional phenomena</span> of computation.<br /><br />In particular, it provides new ways for us to explore them. What turns out to be important about tangible computing, then, is not the physical nature of the objects through which we interact, but with what they represent and how we use them.<br /><br />At the same time, <span style="color: orange;">social computing </span>emphasises how context lends <span style="color: orange;">meaning</span>, and places a primary emphasis on <span style="color: orange;">action</span> rather than abstract representation.<br /><br />Embodied interaction provides us with a perspective on computational representation that takes <span style="color: orange;">action</span> as a primary constituent.<br /><br /><span style="font-size: x-large;">7. Conclusions</span><br /><br /><br /><br /><span style="color: orange;">Embodied interaction</span>, then, suggests that the future of interaction lies not in the interface “disappearing”, but rather in the interface becoming even more visible, or rather, available for a wider range of engagements and interactions. The question is, what form will that heightened visibility take? (p. 14)<br /><br /><br />Short report (within 300 words):<br /><br /><div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://2.gvt0.com/vi/VvE0_zba5h4/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/VvE0_zba5h4&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed allowfullscreen="true" height="266" src="http://www.youtube.com/v/VvE0_zba5h4&fs=1&source=uds" type="application/x-shockwave-flash" width="320"></embed></object></div><br /><br />Describe the above embodied interaction with a phenomenological approach.<br /><br />(note: you might identify possible terms first, for example, intention, coupling, meaning, everyday experience, human experience, social computing, embodied action, everyday world, phenomena, felt experience, encountering, rich experience, embodied perception...)<br /><br /></span></span></div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-42791377911341018052022-03-27T05:31:00.007-07:002022-03-27T22:26:12.232-07:00week 7. Form and Material<p> I. Annotated portfolios Practice</p><p>2 students in a group</p><p>annotate a "common" artifact in advance</p><p>each member selects another new artifact and annotate it</p><p>together, make annotation of a group of artifacts</p><p>sketch new ideas according to the annotated portfolios </p><p>II. </p><h1 class="mediumb-text" style="background-color: white; font-family: Arial, Helvetica, sans-serif; margin-bottom: 0px; margin-top: 0px;"><span style="font-size: small;"><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/689/330"><span style="color: #111111; font-family: Arial; font-weight: 400;">On the Foundations of Interaction Design Aesthetics: </span><span class="italic" style="color: #111111; font-family: Arial; font-style: italic; font-weight: 400;">Revisiting the Notions of Form and Expression</span></a> </span></h1><div><span style="font-size: small;"> (revisit Expression of Doorbell design)</span></div><div><span style="font-size: small;"><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;">"function</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> being what things do as we use them"</span></span></div><div><span style="font-size: small;"><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;">"</span></span><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;">interaction</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> referring to what we do when we use a thing"</span></div><div><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;">"</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> </span><span class="italic" style="background-color: white; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><span style="color: #ffa400;">interaction design form</span></span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> as </span><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;">the way in which the thing or system we design we design relates </span><span class="italic" style="background-color: white; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><span style="color: #ffa400;">function</span></span><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"> and </span><span class="italic" style="background-color: white; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><span style="color: #ffa400;">interaction </span></span><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;">to each other</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;">."</span></div><div><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;">"</span><span class="italic" style="background-color: white; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><span style="color: #ffa400;">interaction design expression</span></span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> as </span><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;">that which displays interaction"</span></div><div><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><br /></span></div><div><span class="italic" style="background-color: white; color: #111111; font-size: 16px; font-style: italic; text-align: justify; text-indent: 32px;"><p class="paragraph" style="font-size: 12pt; font-style: normal; line-height: 16pt; text-indent: 24pt;">interaction design variables:</p><ul style="font-family: Arial, Helvetica, sans-serif; font-size: 14px; font-style: normal; margin: 0.25em 0px 0.75em; padding: 0px 0px 0px 2.5em; text-align: left; text-indent: 0px;"><li class="bullet" style="font-family: "Times New Roman"; font-size: 12pt; line-height: 16pt; margin-left: -5pt; text-align: justify; text-indent: 0pt;"><span class="italic" style="font-style: italic;">Timing</span> – the rhythm and meter of use we introduce.</li><li class="bullet" style="font-family: "Times New Roman"; font-size: 12pt; line-height: 16pt; margin-left: -5pt; text-align: justify; text-indent: 0pt;"><span class="italic" style="font-style: italic;">Spacing</span> – the space of use we introduce.</li><li class="bullet" style="font-family: "Times New Roman"; font-size: 12pt; line-height: 16pt; margin-left: -5pt; text-align: justify; text-indent: 0pt;"><span class="italic" style="font-style: italic;">Connectivity</span> – the connections of use we introduce.</li><li class="bullet" style="font-family: "Times New Roman"; font-size: 12pt; line-height: 16pt; margin-left: -5pt; text-align: justify; text-indent: 0pt;"><span class="italic" style="font-style: italic;">Methodology</span> – the ways of use we introduce.</li></ul></span></div><div><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"><br /></span></div><div><span class="bold" style="background-color: white; color: #111111; font-size: 16px; font-weight: bold; text-align: justify; text-indent: 32px;">Timing</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> – 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? </span></div><div><span class="bold" style="background-color: white; color: #111111; font-size: 16px; font-weight: bold; text-align: justify; text-indent: 32px;">Spacing</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> – Function and interaction in use clearly have a spatial dimension linked to what X does in space.</span></div><div><span class="bold" style="background-color: white; color: #111111; font-size: 16px; font-weight: bold; text-align: justify; text-indent: 32px;">Connectivity</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> – Relating function and interaction in use is a matter of connecting; how does X relate what I do to with what X does?</span></div><div><span class="bold" style="background-color: white; color: #111111; font-size: 16px; font-weight: bold; text-align: justify; text-indent: 32px;">Methodology</span><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"> – Relating function and interaction in use is a matter method. How do I relate what I do with what X does?</span></div><div><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;"><br /></span></div><div><span style="background-color: white; color: #111111; font-size: 16px; text-align: justify; text-indent: 32px;">Take the automatic door as an example</span></div><h1 class="mediumb-text" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin-bottom: 0px; margin-top: 0px;"><br /></h1><div><span style="color: red;">Questions: How to use these notions in annotated portfolios?</span></div><div><br /></div><div>Material & Interaction:</div><h1 class="mediumb-text" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin-bottom: 0px; margin-top: 0px;"><strong><a href="http://dl.acm.org/citation.cfm?id=2677199.2680594">Interaction Design as a Bricolage Practice</a></strong></h1><div><h1 class="mediumb-text" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin-bottom: 0px; margin-top: 0px;"><strong><a href="http://dl.acm.org/citation.cfm?id=2584567.2584588&">Giving form to computational things: developing a practice of interaction design</a></strong></h1></div><div><span style="background-color: white; color: #111111; font-family: Arial;"><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/2212/710">Temporal Form in Interaction Design</a></span></div><div><span face="Arial, Helvetica, sans-serif" style="background-color: white; color: #111111; font-size: 16px; font-weight: bold; line-height: 18px;"><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/628/309">A Material Strategy: Exploring Material Properties of Computers</a></span></div><div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1007/s00779-013-0686-7">Methodology for materiality: interaction design research through a material lens</a></span></h1></div><div><br /></div><div><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/3957/923"><span style="background-color: white; color: #111111; font-family: Arial;">Living Artefacts: </span><span class="Italic" style="background-color: white; color: #111111; font-family: Arial; font-style: italic;">Conceptualizing Livingness as a Material Quality in Everyday Artefacts</span></a> (a set of selected artifacts framed with livingness, centered at the discussion of phenomenon)</div><div><br /></div><p>EX 3:</p><p> Propose your own guidelines or strategies for annotated portfolios</p><p>Deadline: 4/11, 2022</p>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-9459301404142060492022-03-20T02:34:00.003-07:002022-03-20T02:48:49.837-07:00week 6. Verplank's framework & movement based IXD<div>(I) students present annotated portfolios</div><div><br /></div>(II) Interaction Design vocabularies based on Verplank's framework<br />
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<strong style="display: block; margin: 12px 0px 4px;"><a href="http://www.slideshare.net/jazzliang/open-hci2011-8513437" target="_blank" title="Open hci2011">Open hci2011</a> (see p.18-29)</strong> <iframe frameborder="0" height="355" marginheight="0" marginwidth="0" scrolling="no" src="https://www.slideshare.net/slideshow/embed_code/8513437" width="425"></iframe> <br />
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View more <a href="http://www.slideshare.net/" target="_blank">presentations</a> from <a href="http://www.slideshare.net/jazzliang" target="_blank">Rung-Huei Liang</a> </div>
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<div><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">1. How is "Design Basics" taught in design school?</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://basicdesign2010.blogspot.com/search/label/Ex2" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">Examples</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://basicdesign2010.blogspot.com/search/label/EX3" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">Examples</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://basicdesign2010.blogspot.com/search/label/EX6" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">Examples</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://jazzliang.wordpress.com/2010/10/07/%E8%A8%AD%E8%A8%88%E6%98%AF%E4%BB%80%E9%BA%BC/" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">設計是什麼</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">2. What is the basics of "Tangible Interaction Design" as a design discipline?</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://www.billverplank.com/IxDSketchBook.pdf" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">Interaction Design Process by Bill Verplank</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">What are the significant contrasts for Tangible Interaction?</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">What principles are applicable? For example, </span><a href="http://members.optusnet.com.au/charles57/Creative/Techniques/syn_quest.htm" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">synectics triggers</a><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">, (</span><a href="http://www.google.com.tw/url?sa=t&source=web&cd=3&ved=0CCsQFjAC&url=http%3A%2F%2Fwww.wcboe.k12.md.us%2Fcustom_pages%2Finst_technology%2Fmain%2Fhs%2Fart%2Fdesign%2520synectics%2FDesSynec.doc&ei=3FxiTcvLIIOyvgOY8pjKAg&usg=AFQjCNFSSEgmOmaxgH5pSsfjtYw4l9piAQ" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">synnectics examples</a><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">), </span><a href="http://home.oise.utoronto.ca/~arted/shape%20ideas.htm" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">basic systems in nature</a><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">.</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">3. Material</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"></blockquote><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">"Materials touch directly on three major topics:<br />1. A designer may be motivated and stimulated directly by a particular material.<br />2. Materials are expressive, verying from fragile and refined to earthy and coarse.<br />3.Certain materials are chosen for their inherent physical properties that relate directly to the function of the finished work."</blockquote><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">4. Expression</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">"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.</blockquote><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><div style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"><blockquote>"Three phases are involved in the design process, and each contributes to individual expressiveness:<br />1. Recognizing and delimiting the visual problems to be solved, and deciding what sort of action is needed.<br />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.<br />3. Finally the design is translated, built, printed, constructed, woven, fabricated by the designer or under the designer's supervision." Stoops & Samuelson.<br /><br />"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.<br /></blockquote><br /><h1 class="entry-title" style="font-weight: normal; margin: 0px; position: relative;"><span style="font-size: 25.245px;"><a href="http://jazzliang.wordpress.com/2010/02/26/%E5%A6%82%E4%BD%95%E7%94%A8-expression-%E9%96%8B%E5%B1%95%E8%A8%AD%E8%A8%88/" style="color: #336699; text-decoration-line: none;"><blockquote>如何用 expression 開展設計</blockquote></a></span></h1></div><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">5. Function</span><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"></blockquote><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">"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."</blockquote><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">6. Form</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://interactions.acm.org/content/?p=1317" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;">Tangible Interaction=Form+Computing</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><span style="background-color: white; color: #333333; font-size: 14.85px;"><br /></span></div><div><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;">7. Movement and Form</span></div><div><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;"> "</span><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; widows: 3;">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).</span><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; widows: 3;"> "</span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; widows: 3;"><br /></span><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;"></span><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; widows: 3;"> "</span><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;">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)."</span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span style="background-color: white; color: #222222; font-family: georgia, "times new roman", times, serif; font-size: 15px; line-height: 22px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;"><br /></span><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;"></span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;"><span style="font-family: georgia, "times new roman", times, serif;"><span style="font-size: 15px; line-height: 22px;"> Form-giving</span></span></div><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;"><span style="font-family: georgia, "times new roman", times, serif;"><span style="font-size: 15px; line-height: 22px;"> Meaning-making</span></span></div><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;"><span style="font-family: georgia, "times new roman", times, serif;"><span style="font-size: 15px; line-height: 22px;"> Movement-centered</span></span></div><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; orphans: 3; text-align: justify; text-indent: 40px; widows: 3;"><span style="font-family: georgia, "times new roman", times, serif;"><span style="font-size: 15px; line-height: 22px;"> Bodily Rich Interaction</span></span></div><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><div class="separator" style="background-color: white; clear: both; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; text-align: center;"><iframe allowfullscreen="allowfullscreen" frameborder="0" height="266" mozallowfullscreen="mozallowfullscreen" src="https://www.youtube.com/embed/hfHsPb8Nl2Q?feature=player_embedded" webkitallowfullscreen="webkitallowfullscreen" width="320"></iframe></div><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222; font-size: 13.2px;"> reference:</span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><h1 class="mediumb-text" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; position: relative;"><strong><a href="http://dl.acm.org/citation.cfm?id=1023815" style="color: #cc6611; text-decoration-line: none;">Tangible products: redressing the balance between appearance and action</a></strong></h1><div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;"><strong><br /></strong></div><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><h1 class="mediumb-text" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; position: relative;"><strong><a href="http://dl.acm.org/citation.cfm?id=1297126.1297131&coll=DL&dl=ACM&CFID=167167304&CFTOKEN=11587792" style="color: #cc6611; text-decoration-line: none;">Move to get moved: a search for methods, tools and knowledge to design for expressive and rich movement-based interaction</a></strong></h1></div><div><br /></div><div><span style="background-color: white; color: #333333; font-size: 14.85px;"><br /></span></div><div><span style="background-color: white; color: #333333; font-size: 14.85px;"> Movement</span></div><div><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"></blockquote><blockquote style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"></blockquote><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">Laban Movement Analysis</span><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /><a href="http://www.ijdesign.org/ojs/index.php/IJDesign/article/view/765/294" style="background-color: white; color: #336699; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-decoration-line: none;"><blockquote></blockquote><blockquote></blockquote>Designing Behavior in Interaction: Using Aesthetic Experience as a Mechanism for Design</a><br style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;" /></div><br />
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參考文獻:<br />
1.<a href="http://dl.acm.org/citation.cfm?id=1297126.1297131&coll=DL&dl=ACM&CFID=712909157&CFTOKEN=92042823"><span face=""verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white; font-size: 16px;">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.</span><em style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 16px;">Personal Ubiquitous Comput.</em><span face=""verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white; font-size: 16px;"> 11, 8 (December 2007), 677-690.</span></a><br />
2. <a href="http://dl.acm.org/citation.cfm?id=1649475.1649477&coll=DL&dl=ACM&CFID=66359646&CFTOKEN=36546203">Baskinger & Gross, "Tangible = Form + Computing", Interactions, 2010.</a><br />
3.<a href="http://dl.acm.org/citation.cfm?id=1935701.1935731"> <span face=""verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white; font-size: 16px;">Heekyoung Jung and Erik Stolterman. 2010. Material probe: exploring materiality of digital artifacts. In </span><em style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 16px;">Proceedings of the fifth international conference on Tangible, embedded, and embodied interaction</em></a><span face=""verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white; font-size: 16px;"><a href="http://dl.acm.org/citation.cfm?id=1935701.1935731"> (TEI '11). ACM, New York, NY, USA, 153-156.</a> </span><br />
<br /><br />Practice :<div> Reframe your annotated portfolios with Verplank's framework</div><div>
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<br /></div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-44018777239264901662022-03-13T03:07:00.007-07:002024-03-10T00:12:43.035-08:00week 5. annotated portfolios & strong concepts<p> 1. situated visualization: data collection examples demo</p><p> Mutual Discourse Analysis Interview</p><p>2. Annotated Portfolios: hands-on practice:</p><p> (1) Photostroller</p><p> (2) Prayer Companion</p><p> (3) Drift Table</p><p> (4) Plane Tracker</p><p> (5) Local Barometer</p><p><a href="https://slideplayer.com/slide/3934804/?fbclid=IwAR0eEY39G2MrJTOz0CCoi39e4y5qvWWsv375duJt74VUNNEDs6MlfXiZ86g">Reference slides</a></p><p>(<a href="https://research.northumbria.ac.uk/irs/energy-babble/">Energy Babble</a>)</p><p>Questions: </p><p> How to annotate? what level of descriptions (knowledge)? What are important for AP?</p><p>3. Annotated Portfolios</p><p><br /></p>
<iframe allowfullscreen="" frameborder="0" height="485" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/aNvdWpwC1tLhti" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="595"> </iframe> <br />
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<strong> <a href="https://www.slideshare.net/jazzliang/annotated-portfolios-94100134" target="_blank" title="Annotated portfolios">Annotated portfolios</a> </strong> from <strong><a href="https://www.slideshare.net/jazzliang" target="_blank">Rung-Huei Liang</a></strong> </div><div style="margin-bottom: 5px;"><br /></div><div style="margin-bottom: 5px;"><br /></div><div style="margin-bottom: 5px;">References:</div><div style="margin-bottom: 5px;"><a href="http://dl.acm.org/citation.cfm?id=2212877.2212889" style="background-color: white; color: #cc6611; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; text-decoration-line: none;">annotated portfolios</a><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><a href="http://dl.acm.org/citation.cfm?id=2405716.2405725" style="background-color: white; color: #cc6611; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; text-decoration-line: none;">Intermediate-level knowledge</a><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><a href="http://dl.acm.org/citation.cfm?id=2317968" style="background-color: white; color: #cc6611; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px; text-decoration-line: none;">The logic of annotated portfolios</a></div><div style="margin-bottom: 5px;">Robots examples: </div><h5 class="issue-item__title" style="background-color: white; box-sizing: border-box; color: #0077c2; font-family: Merriweather, serif; font-size: 16px; font-weight: 500; margin-bottom: 10px; margin-top: 0px;"><span class="hlFld-Title" style="box-sizing: border-box;"><a href="https://dl.acm.org/doi/10.1145/3461778.3462134" style="background-color: transparent; box-sizing: border-box; cursor: pointer; outline: 0px; text-decoration-line: none;">Eliciting New Perspectives in RtD Studies through <span class="single_highlight_class" style="background: rgb(255, 253, 189); box-sizing: border-box;">Annotated</span> <span class="single_highlight_class" style="background: rgb(255, 253, 189); box-sizing: border-box;">Portfolios</span>: A Case Study of Robotic Artefacts</a></span></h5><div>Strategies and examples: </div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/3357236.3395490">Strategies for Annotating Portfolios: Mapping Designs for New Domains</a></span></h1><div><br /></div><div>EX2: annotated portfolios (deadline 3/21)</div><div>1. choose a set of artifacts</div><div>2. make annotated portfolios for (1) each of them (2) the group</div><div>3. present next week</div><div><br /></div><div><br /></div>
梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-68610131621791676182022-03-06T03:44:00.007-08:002022-03-06T04:20:36.090-08:00week 4. situated visualizationsituated visualization<br />
1. with sketch:<br />
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<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/doi/10.1145/3322276.3322326">Sketching and Ideation Activities for Situated Visualization Design</a></h1>
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2. with photos </div>
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<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/citation.cfm?id=3196809">Botanical Printer: An Exploration on Interaction Design with Plantness</a></h1>
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3. with (mock-up) prototype</div>
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<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/citation.cfm?id=3079122">Time-Turner: Data Engagement Through Everyday Objects in the Home</a></h1>
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In speculative design, maybe with props (道具)<br />
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<div>4. with booklet:<br />
<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/citation.cfm?id=3322311">Bespoke Booklets: A Method for Situated Co-Speculation</a></h1><div><br /></div><div>5. with stickers</div><div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/abs/10.1145/3313831.3376560">Exploring The Future of Data-Driven Product Design</a></span></h1></div><div><br /></div>
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Case study:</div>
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IoT speculation with "app LOGO" attached on home appliance <span style="color: #ffa400;">(situated methods)</span></div><div>v.s.</div><div><div style="background-color: #fcfcfc; box-sizing: border-box; font-family: Georgia, serif; font-weight: 400; letter-spacing: 0.008em; line-height: 1.3; margin: 0px 0px 8px; text-align: left;"><span style="color: #333333;"><a href="https://link.springer.com/chapter/10.1007/978-3-030-78221-4_5">Newspapers Do Work: Quick and Effective Entanglement Material for Speculation</a> </span><span style="color: #ffa400;">(workshop collage)</span></div>
<br /><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><br /></span></span></div><div><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><a href="http://www.tandfonline.com/doi/citedby/10.1080/01449290500331172" style="color: #6fa8dc; font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; text-decoration-line: none;">A. Light. 2006. Adding method to meaning: A technique for exploring peoples’ experience with digital products. Behaviour and Information Technology 25, 2, 175--187.</a></span></span></div><div><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><br /></span></div><div><span style="font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">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) </span><span style="background-color: white; color: #ffa400; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">外顯化資料收集</span><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> (explicitation data-gathering), (2) </span><span style="background-color: white; color: #ffa400; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">論述分析</span><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> (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"</span><i style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;"><span style="color: red;">意義創造的自身對話性</span>"</i><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">(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)。</span></span></div><div><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><br /></span></span></div><div><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">論述分析 (Discourse Analysis) 的精神與方法</span></span><br /><span style="font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><span style="color: #ffa400;">What is a proper method to interpret Cultural Probes? </span><span style="color: #45818e;">DA? Mixed Methods? (example:</span><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/710" style="color: #45818e;"> </a></span></span><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/710"><span style="background-color: white; color: #111111; font-family: Arial;">Designing to Support Social Connectedness: </span><span style="background-color: white; color: #111111; font-family: Arial; font-style: italic;">The Case of SnowGlobe</span></a>)<br /><br /><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">Notice the use of Language</span></span><br /><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">What are the codes (segments) and variations?</span></span><br /><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">ex. codes:</span><span style="background-color: white; color: #ffa400; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> Object-Practice-Meaning</span><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> Framework (only for example)</span><br /><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> variations: self-presentation - others - emotional degree </span><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">(only for example)</span><br /><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"><br /></span><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">Reference:</span></span><br /><span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><br /></span></span>1. <a href="http://interactionpodium.blogspot.com/2014/12/opa.html">http://interactionpodium.blogspot.com/2014/12/opa.html</a><br />2. <a href="https://www.books.com.tw/products/0010723484">https://www.books.com.tw/products/0010723484</a> </div><div>(<span face="Arial, Helvetica, sans-serif" style="background-color: white; color: #333333; font-size: 17.004px;">對話、論述研究法與文件分析,</span><span face="Arial, Helvetica, sans-serif" style="background-color: white; color: #666666; font-size: 13px;">作者: </span><a href="https://search.books.com.tw/search/query/key/Tim+Rapley/adv_author/1/" style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 13px; outline: none; text-decoration-line: none;">Tim Rapley</a><span face="Arial, Helvetica, sans-serif" style="background-color: white; color: #333333; font-size: 17.004px;">)</span></div><div> <a href="http://www.weber.com.tw/document/pdf/SR07-007-01.pdf">http://www.weber.com.tw/document/pdf/SR07-007-01.pdf</a> (<span face="Arial, Helvetica, sans-serif" style="color: #666666;"><span style="background-color: white; font-size: 13px;">第一章:論述研究法)</span></span></div><div><span face="Arial, Helvetica, sans-serif" style="color: #666666;"><span style="background-color: white; font-size: 13px;"><br /></span></span></div><div><span face="Arial, Helvetica, sans-serif" style="color: #666666;"><span style="background-color: white; font-size: 13px;"><br /></span></span></div><div><span face="Arial, Helvetica, sans-serif" style="color: #666666;"><span style="background-color: white; font-size: 13px;"><br /></span></span></div><div><br /></div><div>
Discourse Analysis 練習<br />
<br />
第六章,"關於對話"重點:<br />
1. 將對話內容當作一種<b>社會行動</b>加以理解<br />
2. 梅納德 (Maynard) 觀點-展示順序 (perspective-display sequence)<br />
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<br />
4. 詞彙選擇及分類<br />
5. 結構組織 (言談的序列結構)<br />
6. 對於說話者面向之一的觀察 (安排或引導方向)<br />
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)</div>
梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-76690663396587536872022-02-20T00:11:00.004-08:002022-02-20T01:01:04.347-08:00week 2. cultural probes<br />
<a href="https://interactions.acm.org/archive/view/march-april-2019/probetools">https://interactions.acm.org/archive/view/march-april-2019/probetools</a><br />
<br />
<a href="https://probetools.net/">https://probetools.net/</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="485" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/5Nu3Npowx2cpzj" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="595"> </iframe> <br />
<div style="margin-bottom: 5px;">
<strong> <a href="https://www.slideshare.net/jazzliang/cultural-probes-173262579" target="_blank" title="Cultural probes">Cultural probes</a> </strong> from <strong><a href="https://www.slideshare.net/jazzliang" target="_blank">Rung-Huei Liang</a></strong> </div>
<br /><div>References:<br />Gaver: <a href="http://dl.acm.org/citation.cfm?id=291235">Design: Cultural Probes, 1999</a><br />Wallace: <a href="http://dl.acm.org/citation.cfm?id=2470654.2466473">How Design Probes Work, 2013</a><br /><br />more detail examples in<br /><div><br /><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://probetools.net/">Probe Tools (Task Cam)</a></h1><div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: medium;"><a href="https://dl.acm.org/doi/10.1145/3173574.3173645">TaskCam: Designing and Testing an Open Tool for Cultural Probes Studies</a> (CHI18)</span></h1></div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=2470654.2466473">Making design probes work</a></h1><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=3196810">Designing for an other Home: Expanding and Speculating on Different Forms of Domestic Life</a> (DIS 18) (Diversifying the Domestic: A Design Inquiry into Collective and Mobile Living, DIS19)</h1><div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: medium;"><a href="https://dl.acm.org/doi/10.1145/3064663.3064791">Designing Memory Probes to Inform Dialogue</a> (DIS18)</span></h1><div class="share__block share__inline-links" style="background-color: white; box-sizing: border-box; color: #757575; float: right; font-family: "Merriweather Sans", sans-serif; font-size: 1.1875rem; line-height: 14px; margin: 0px;"><div class="pb-dropzone" data-pb-dropzone="shareBlock" style="box-sizing: border-box;" title="shareBlock"></div><span class="sr-only" style="border: 0px; box-sizing: border-box; clip: rect(0px, 0px, 0px, 0px); height: 1px; overflow: hidden; padding: 0px; position: absolute; white-space: nowrap; width: 1px;">Share on</span><div class="rlist--inline addthis addthis_toolbox addthis_default_style addthis_32x32_style" style="box-sizing: border-box; display: inline-block; list-style: none; margin: 0px; padding: 0px;"><a class="addthis_button_twitter at300b" href="https://dl.acm.org/doi/10.1145/3064663.3064791#" role="link" style="background-color: transparent; box-sizing: border-box; color: #5c5c5c; cursor: pointer; float: left; line-height: initial; margin-bottom: 0px; outline: 0px; padding: 0px 2px; text-decoration-line: none; width: auto;" title="Twitter"><span aria-hidden="true" class="at-icon-wrapper icon-Icon_Twitter" face="icomoon !important" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; cursor: pointer; display: inline-block; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 1; overflow: hidden; speak: none; transition: transform 0.5s ease 0s;"></span></a></div></div></div></div><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><div class="large-text" style="box-sizing: border-box; font-size: 1.3em; font-weight: 400; margin: 0px 0px 5px 2px; padding: 0px;"></div></h1><h1 class="mediumb-text" style="box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=2702466">Evaluation Probes</a></h1><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=1520422">Perspective probe: many parts add up to a whole perspective</a></h1></div><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=2598580">Medium probes: exploring the medium not the message</a></h1><div><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: small;"><a href="https://dl.acm.org/doi/10.1145/642611.642616">Technology probes: inspiring design for and with families</a></span></h1><h1 class="citation__title" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Merriweather Sans", sans-serif; line-height: 35px; margin: 0px;"><span style="font-size: medium;"><a href="https://dl.acm.org/doi/10.1145/1054972.1055020">Urban probes: encountering our emerging urban atmospheres</a> (CHI05)</span></h1></div></div><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=1520697">See you on the subway: exploring mobile social software</a></h1></div><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/citation.cfm?id=3010948">Vulnerability of displacement: challenges for integrating refugees and asylum seekers in host communities</a></h1></div><div><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"></h1><h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;"><a href="https://dl.acm.org/doi/10.1145/1518701.1518966">Making history: intentional capture of future memories</a></h1><div><br /></div><div><a href="https://muep.mau.se/bitstream/handle/2043/32780/Gregory%20Jackson%20-%20TP1%20Adjustments%20%283%29.pdf?sequence=1&isAllowed=y">Researching sensitive topics: Adjusting cultural probes to research and identify design spaces for sensitive HCI.</a></div></div></div></div><div><br /></div><div>Critical viewpoint:</div><div><a href="https://dl.acm.org/doi/10.1145/1240624.1240789">How HCI Interprets the Probes</a></div><div> <span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px;">Probology: </span></div><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(1) identity probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(2) urban probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(3) domestic probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(4) value probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(5) empathy probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(6) mobile probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(7) digital cultural probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(8) cognitive probes</span><br style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;" /><span style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; line-height: 21.56px;">(9) technology probes</span><div><br /></div><div>Questions:</div><div>How do Cultural Probes use <a href="https://www.interaction-design.org/literature/book/the-glossary-of-human-computer-interaction/tangible-interaction">Tangibility and Embodied skills</a> to investigate and interpret the situated contexts?</div><div>How do 6 propositions in Technology as Experience guide the Cultural Probes?</div><div><br /></div><div>Exercise 1: (deadline 3/7)</div><div>1. Choose 1 embodied interaction design case (in CHI, TEI, DIS)</div><div>2. Redesign the possible cultural probes for this case (according to Gaver's original ideas and Embodied skills) </div><div>3. Explain with at least 200 words </div><div><br /></div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-62372741088825472932022-02-13T01:39:00.003-08:002022-02-13T01:45:30.127-08:00week 1. Technology as ExperienceCourse grading:<div><br /></div><div><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 13.2px;">1. 200 words report every 1-2 week on assigned paper (40%)</span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 13.2px;">2. 2-3 Sketches (or Medium articles) (20%)</span><br style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 13.2px;">3. 1 Final Conceptual Design Project (40%)</span></div><div><span style="color: #222222; font-family: sans-serif;"><span style="font-size: 13.2px;"><br /></span></span></div><div><span style="color: #222222; font-family: sans-serif;"><span style="font-size: 13.2px;">Course Intro</span></span></div><div><span style="color: #222222; font-family: sans-serif;"><span style="font-size: 13.2px;">Part I. Methods</span></span></div><div><span style="color: #222222; font-family: sans-serif;"><span style="font-size: 13.2px;">Part II. Phenomenology</span></span></div><div><span style="color: #222222; font-family: sans-serif;"><span style="font-size: 13.2px;">Part II. Paradigms<br /></span></span>
<br />----------------------------------------------------------------------------------------------------------------------<br /><div><a href="https://dl.acm.org/citation.cfm?id=1015549"><span face=""tahoma" , "arial" , "verdana" , sans-serif" style="background-color: white;">John McCarthy and Peter Wright. 2004. Technology as experience. </span><span face=""tahoma" , "arial" , "verdana" , sans-serif" style="background-color: white; box-sizing: border-box; font-size: 12px;">Interactions</span><span face=""tahoma" , "arial" , "verdana" , sans-serif" style="background-color: white; font-size: 12px;"> 11, 5 (September 2004), 42-43. DOI: https://doi.org/10.1145/1015530.1015549</span></a><br />
<span face=""tahoma" , "arial" , "verdana" , sans-serif" style="background-color: white; font-size: 12px;"><br /></span>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://images-na.ssl-images-amazon.com/images/I/51P8OjQKZQL._SX339_BO1,204,203,200_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="341" height="320" src="https://images-na.ssl-images-amazon.com/images/I/51P8OjQKZQL._SX339_BO1,204,203,200_.jpg" width="218" /></a></div>
<a href="https://www.amazon.com/Technology-as-Experience-MIT-Press/dp/0262633558/">https://www.amazon.com/Technology-as-Experience-MIT-Press/dp/0262633558/</a><br />
<br />
Featured:<br />
Chapter 1 Living with Technology:<br />
<span style="font-size: large;">The User as a Cog in a Virtual Machine</span> (During the 1970s and the 1980s the dominant approach to understanding relationships between people and technology assumed a single user sitting in front of a computer screen and keyboard performing a fairly well prescribed<br />
task.)<br />
<span style="font-size: large;">The User as a Social Actor</span> (During the late 1980s and the 1990s the opportunistic or contingent aspects of everyday activity became the central focus of challenges to the dominance<br />
of information-processing psychology.)<br />
<span style="font-size: large;">Consumers and the User Experience </span>(The 1990s saw the development of the dotcom companies and a multimillion-dollar games industry; strong penetration of computers into the<br />
home; the confluence of computer and communications technologies; and the beginnings of wireless, mobile, and ubiquitous computing.)<br />
<span style="font-size: large;">Toward a Deeper Understanding of Technology as Experience</span>: 6 propositions<br />
<br />
<h3 class="post-title entry-title" itemprop="name" style="background-color: white; color: #45818e; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 22px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; line-height: normal; margin: 0.75em 0px 0px; position: relative;">
<a href="http://interactionpodium.blogspot.com/2014/11/blog-post.html">從"技術即經驗"談起</a></h3>
<div>
<br /></div>
<div>
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">摘錄此書提出的六大主張如後。</span><br />
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張一:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第一個主張是,為了公平對待技術在我們生活中所造成的種種廣泛的影響,我們應該從親身感受的生命,以及行動與互動的親身感受或情感的品質兩方面,嘗試去詮釋人與技術的關係。</blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i>Our first proposition is that, in order to do justice to the wide range of influences that technology has in our lives, we should try to interpret the relationship between people and technology in terms of the felt life and the felt or emotional quality of action and interaction. (p. 12)</i></blockquote>
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張二:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第二個主張是,互動技術在工作、居家、教育和休閒中的社會實踐描述,並不足以說明經驗描述中的"親身感受的生命"</blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i>Our second proposition is that social-practice accounts of interactive technologies at work, at home, in education, and in leisure understate the felt life in their accounts of experiences. (p. 14)</i></blockquote>
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張三:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第三個主張是,用技術來描述親身感受的經驗,是困難的。</blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i>Our third proposition is that it is difficult to develop an account of felt experience with technology. (p. 15)</i></blockquote>
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張四:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第四個主張是,就經驗而言,經驗的實用主義哲學特別的清晰,它們所包含的行動和意義創造的模式,說明了行動與互動中,某些關於親身感受的生命及情感的、感官的特質。 </blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i>Our fourth proposition is that pragmatist philosophy of experience is particularly clarifying with respect to experience, and that the models of action and meaning making they encompass express something of felt life and the emotional and sensual character of action and interaction. (p. 17)</i></blockquote>
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張五:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第五個主張是,實用主義所重視的情感的、自發的、創意的經驗面向,更強調了<span style="color: #674ea7;"><u>從理解技術的親身生活經驗中所創造的美學</u></span>。 </blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i>Our fifth proposition is that the importance given to the emotional-volitional and creative aspects of experience in pragmatism prioritizes the aesthetic in understanding our lived experience of technology. (p. 18)</i></blockquote>
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張六:</span><br />
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
我們的第六個主張也是最後一個主張, 建立實用主義的修訂理論,特別有益於理解技術與設計。<span style="background-color: transparent;"> </span></blockquote>
<blockquote class="tr_bq" style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">
<i style="font-size: 19.8px;">Our sixth and final proposition is that the revisionary theorizing of pragmatism is particularly valuable for understanding technology and design. (p. 19) </i></blockquote>
</div>
<div>
Feature Chapter 3 A Pragmatist Approach to Technology as Experience:<br />
<span style="font-size: large;">Background to Pragmatism and Experience</span><br />
<span style="font-size: large;">John Dewey</span>(1859–1952)<br />
Enriching Activity through Aesthetic Experience<br />
Dialogicality<br />
<span style="font-size: large;">Bakhtin</span></div>
<div>
<br /></div>
<div>
Ref:</div>
<div>
<a href="https://www.facebook.com/groups/1585967671631965/">互動設計散步</a></div>
<div>
<br /></div>
</div></div>梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-91903051959010173902019-12-03T09:21:00.000-08:002019-12-03T09:21:00.881-08:00week 13. Intermediate-level knowledge1. p. 741<br />
2. <span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px;">introducing "Intermediate-level Knowledge" by Lowgren</span><br />
<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px;"><br /></span>
<br />
<span style="background-color: #fff9ee; color: #222222; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 15px; line-height: 21.5599994659424px;">1. </span><a href="http://dl.acm.org/citation.cfm?id=2405716.2405725" style="background-color: #fff9ee; color: #888888; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21.5599994659424px; text-decoration: none;"><span style="background-color: white; font-family: "verdana" , "arial" , "helvetica" , sans-serif; font-size: 16px;">Jonas Löwgren. 2013. Annotated portfolios and other forms of intermediate-level knowledge.</span><em style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 16px;">interactions</em><span style="background-color: white; font-family: "verdana" , "arial" , "helvetica" , sans-serif; font-size: 16px;"> 20, 1 (January 2013), 30-34.</span></a><br />
<span style="background-color: white; color: #222222; font-family: "verdana" , "arial" , "helvetica" , sans-serif; font-size: 16px;"><br /></span><span style="background-color: #fff9ee; color: #222222; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 15px; line-height: 21.5599994659424px;"></span><span style="background-color: white; color: #222222; font-family: "verdana" , "arial" , "helvetica" , sans-serif; font-size: 16px;">2. </span><a href="http://dl.acm.org/citation.cfm?id=2362364.2362371" style="background-color: #fff9ee; color: #888888; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21.5599994659424px; text-decoration: none;"><span style="background-color: white; color: #888888; font-family: "verdana" , "arial" , "helvetica" , sans-serif; font-size: 16px; line-height: 21.5599994659424px; text-decoration: none;">Kristina Höök and Jonas Löwgren. 2012. Strong concepts: Intermediate-level knowledge in interaction design research. </span><em style="background-color: white; color: #888888; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 16px; line-height: 21.5599994659424px; text-decoration: none;">ACM Trans. Comput.-Hum. Interact.</em><span style="background-color: white; color: #888888; font-family: "verdana" , "arial" , "helvetica" , sans-serif; font-size: 16px; line-height: 21.5599994659424px; text-decoration: none;"> 19, 3, Article 23 (October 2012), 18 pages.</span></a><br />
<br />
(pp. 23:11- 23:13)<br />
4 constructs:<br />
1. contextual grounding<br />
2. horizontal grounding<br />
3. vertical grounding<br />
4. reflection, articulation, and abstraction<br />
<br />梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-68987645182444131462019-11-11T00:29:00.001-08:002019-11-12T21:33:22.961-08:00week 10. revisiting 3 paradigms in HCI<a href="http://www.viktoria.se/altchi/submissions/submission_steveharrison_0.pdf"><span style="font-size: large;">The Three Paradigms of HCI</span></a><br />
<br />
1. p. 10<br />
<br />
Paradigms compared:<br />
<br />
<span style="color: orange;">Metaphor of interaction:</span><br />
<br />
<ul>
<li>P1: Interaction as man-machine coupling</li>
<li>P2: Interaction as information communication</li>
<li>P3: Interaction as<span style="color: red;"> phenomenologically situated</span></li>
</ul>
<br />
<span style="color: orange;">Central goal for interaction:</span><br />
<ul>
<li>P1: Optimizing <span style="color: red;">fit between man and machine</span></li>
<li>P2: Optimizing <span style="color: red;">accuracy and efficiency</span> of information transfer</li>
<li>P3: Support for <span style="color: red;">situated action</span> in the world</li>
</ul>
<br />
<span style="color: orange;">Typical questions of interest:</span><br />
<br />
<ul>
<li>P1: How can we <span style="color: red;">fix specific problems</span> that arise in interaction?</li>
<li>P2: (1) What mismatches come up in communication between computers and people? (2) How can we <span style="color: red;">accurately model</span> what people do? (3) How can we improve the <span style="color: red;">efficiency</span> of computer use?</li>
<li>P3: (1) What existing <span style="color: red;">situated activities</span> in the world should we support? (2) How do users appropriate technologies, and how can we support those appropriations? (3) How can we support interaction without constraining it too strongly by what a computer can do or understand? (4) What are the politics and values at the site of interaction, and how can we support those in design?<br /> </li>
</ul>
2. p. 11<br />
<br />
<br />
"The primary challenge, however for the 3rd paradigm to<br />
fully bloom is to <span style="color: orange;">break out of the standards</span> which have<br />
been set up by incompatible paradigms."<br />
<br />
人誌學法還是被<span style="color: orange;">誤解為"抽取使用者需求" 的方法</span>, 而非分析整個 HCI 基地的學門.<br />
Dourish, for example, argues that 20 years after the<br />
introduction of <span style="color: orange;">ethnography</span> into the HCI canon it is still<br />
systematically <span style="color: orange;">misunderstood</span> as<span style="color: orange;"> a method for extracting</span><br />
<span style="color: orange;">user requirements</span> rather than a discipline that<br />
<span style="color: orange;">analyzes the entire site of human-computer interaction</span>.<br />
<br />
<br />
Thus, an ethnography, by itself, does not constitute<br />
a legitimate CHI publication without an additional<br />
instrumental component such as <span style="color: orange;">user requirements</span> or<br />
an e<span style="color: orange;">valuation of the interface using information processing</span><br />
<span style="color: orange;">criteria</span>. (還是回到 2nd Paradigm 的標準)<br />
<br />
3. p. 13<br />
<span style="color: blue;"><br /></span>
<span style="color: blue; font-size: large;">Objective vs. Subjective Knowledge</span><br />
<br />
The 1st and 2nd paradigms emphasize the importance of <span style="color: orange;">objective knowledge</span>. The 3rd paradigm, in contrast, sees knowledge as <span style="color: orange;">arising from situated viewpoints in the world</span> and often sees the dominant focus on objective knowledge as suspect in riding roughshod (<span style="background-color: white; font-family: "verdana" , "mingliu" , "pmingliu"; font-size: 15px; line-height: 19.5px;">馬蹄鐵上裝有防滑釘的)</span> over the complexities of multiple perspectives at the scene of action.<br />
...<br />
<br />
A number of HCI researchers have taken it a step further, recognizing the<span style="color: orange;"> subjectivity</span> of the researcher and the relationship between the researcher and the researched; where issues of <span style="color: orange;">intersubjectivity (互為主體性)</span> are common in anthropology, they are remote and difficult to address in the 2nd paradigm.<br />
<br />
<span style="color: blue; font-size: large;">Generalized vs. Situated Knowledge</span><br />
<br />
<br />
The 2nd paradigm values <span style="color: orange;">generalized</span> models such as<br />
<span style="color: orange;">GOMS</span>. But because the 3rd paradigm sees knowledge<br />
as <span style="color: orange;">arising and becoming meaningful in specific situations</span>,<br />
it has a greater appreciation for detailed, <span style="color: red;">rich</span><br />
<span style="color: red;">descriptions</span> of specific situations.<br />
<br />
....we all now recognize that “<span style="color: orange;">externalities</span>” are often central<br />
figures in the understanding of interaction.<br />
<br />
<span style="color: blue; font-size: large;">Information vs. Interpretation</span><br />
<br />
The<span style="color: orange;"> 2nd paradigm</span> arises out of a combination of computer<br />
science and <span style="color: orange;">laboratory behavioral sciences </span>that<br />
emphasize analytic means such as <span style="color: orange;">statistical analysis</span>,<br />
<span style="color: orange;">classification</span> and <span style="color: orange;">corroboration (<span style="background-color: #fbfbfb; font-family: "verdana" , "mingliu" , "pmingliu"; font-size: 16px; font-weight: bold; line-height: 19px;">確證)</span></span> in making sense of what<br />
is going on at the site of interaction, often under <span style="color: orange;">controlled</span><br />
<span style="color: orange;">conditions</span>.<br />
...<br />
<br />
The <span style="color: orange;">epistemological stance</span><br />
brought to this site is generally <span style="color: orange;">hermeneutic</span>, not analytic,<br />
and focuses on developing <span style="color: orange;">wholistic, reflective</span><br />
<span style="color: orange;">understanding</span> while staying open to the possibility of<br />
simultaneous, <span style="color: orange;">conflicting interpretation</span>.<br />
<br />
<span style="color: blue; font-size: large;">“Clean” vs. “Messy” Formalisms</span><br />
<br />
The 2nd paradigm, reacting to the a-theoretical orientation<br />
of the 1st paradigm, values clean, principled, well-defined<br />
forms of knowledge.<br />
<br />
<br />
The difference between<br />
these ways of thinking is rooted in whether researchers<br />
place the <span style="color: orange;">cleanliness</span> and <span style="color: orange;">certitude (確實)</span> of formal<br />
models at the center of their thinking or whether they<br />
instead place an <span style="color: orange;">appreciation for the complexity of real-world</span>,<br />
messy behavior and activity at the center.<br />
<br />
<br />
4. p. 16<br />
<br />
<br />
We are not arguing that the 3rd paradigm is right, while<br />
the 1st and 2nd paradigms are wrong. Rather, we argue<br />
that<span style="color: orange;"> paradigms highlight different kinds of questions</span><br />
<span style="color: orange;">that are interesting and methods for answering them</span>.<br />
<br />
<br />
...<br />
(<span style="color: orange;">不同的 knowledge 就用不同的 paradigm</span>)<br />
<br />
it would probably be unwise to attempt to uncover the<br />
<span style="color: orange;">rich appropriations of a situated technology </span>with an<br />
objective laboratory test.<br />
<br />
<br />
5. p. 14<br />
<span style="font-size: large;">Epistemological distinctions between the paradigms</span><br />
<br />
<br />
<span style="color: orange; font-size: large;">Appropriate disciplines for interaction </span><br />
<br />
<ul>
<li>P1: Engineering, programming, ergonomics</li>
<li>P2: Laboratory and theoretical behavioral science</li>
<li>P3: Ethnography, action research, practicebased research, interaction analysis</li>
</ul>
<br />
<span style="color: orange; font-size: large;">Kind of methods strived for</span><br />
<br />
<br />
<ul>
<li>P1: Cool hacks</li>
<li>P2: Verified design and evaluation methods that can be applied<span style="color: orange;"> regardless of context</span></li>
<li>P3: A<span style="color: orange;"> palette</span> of situated design and evaluation strategies</li>
</ul>
<br />
<span style="color: orange; font-size: large;">Legitimate kinds of knowledge</span><br />
<br />
<ul>
<li>P1: Pragmatic, objective details</li>
<li>P2: <span style="color: orange;">Objective</span> statements with <span style="color: orange;">general applicability</span></li>
<li>P3: <span style="color: red;">Thick description</span>, stakeholder “careabouts”</li>
</ul>
<br />
<span style="color: orange; font-size: large;">How you know something is true</span><br />
<br />
<ul>
<li>P1: You tried it out and it worked.</li>
<li>P2: You refute the idea that the difference between experimental conditions is due to chance</li>
<li>P3: You <span style="color: orange;">argue </span>about the relationship between your data(s) and what you seek to understand.</li>
</ul>
<br />
<span style="color: orange; font-size: large;">Values</span><br />
<br />
<ul>
<li>P1: (1) reduce errors (2) ad hoc is OK (3) cool hacks desired</li>
<li>P2: (1) optimization (2) <span style="color: orange;">generalizability </span>wherever possible (3) principled evaluation is a priori better than ad hoc, since design can be <span style="color: orange;">structured</span> to reflect paradigm (4) <span style="color: orange;">structured design</span> better than unstructured (5) reduction of ambiguity (6) <span style="color: orange;">top-down</span> view of knowledge</li>
<li>P3: (1) <span style="color: orange;">Construction of meaning</span> is intrinsic to interaction activity (2) what goes on around systems is more interesting than what’s happening at the interface (3) “<span style="color: orange;">zensign</span>” – what you don’t build is as important as what you do build (4) goal is to <span style="color: orange;">grapple with (</span><span style="background-color: white; color: #505050; font-family: "verdana" , "mingliu" , "pmingliu"; font-size: 13px; font-weight: bold; line-height: 19.5px;">搏鬥)</span> the full complexity around the system</li>
</ul>
<br />
<br />
<br />
Questions:<br />
How about new paradigms beyond 3 paradigms? (for example, speculative turn)<br />
<br />
reference:<br />
<a href="https://drive.google.com/open?id=1Hq-Yeuk-35AvWO7ts9d0BdjQlqjNklXI">https://drive.google.com/open?id=1Hq-Yeuk-35AvWO7ts9d0BdjQlqjNklXI</a><br />
<br />
NTU companion :<br />
<a href="https://www.facebook.com/download/776236692828893/Remembering%20the%20past%20to%20imagine%20the%20future-%20the%20prospective%20brain.pdf?av=522911801&eav=AfZqWMKhRZx2sQyas3El_tL2M6OWxuQSZd7roGSIQAp8paKg88bwjnBf_ByAwPos8RY&hash=AcrSCmfiqETcTSf_">https://www.facebook.com/download/776236692828893/Remembering%20the%20past%20to%20imagine%20the%20future-%20the%20prospective%20brain.pdf?av=522911801&eav=AfZqWMKhRZx2sQyas3El_tL2M6OWxuQSZd7roGSIQAp8paKg88bwjnBf_ByAwPos8RY&hash=AcrSCmfiqETcTSf_</a><br />
<br />
<br />
<br />
<br />
<br />梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-8145293495873320862019-11-04T19:38:00.001-08:002019-11-04T19:46:11.025-08:00week 9. perceptual crossingstudent presentation<br />
<br />
Perceptual crossing:<br />
1. <strong style="font-family: Arial, Helvetica, sans-serif; font-size: 1em;"><a href="http://dl.acm.org/citation.cfm?id=1978942.1979222">Designing for perceptual crossing to improve user involvement</a></strong><br />
<br />
2.<a href="http://www.ijdesign.org/index.php/IJDesign/article/view/1062/537"> <span style="background-color: white; color: #111111; font-family: "arial"; font-weight: bold; line-height: 40px;">Designing for Perceptual Crossing:</span><span style="background-color: white; color: #111111; font-family: "arial"; font-weight: bold; line-height: 40px;"> </span><span style="background-color: white; color: #111111; font-family: "arial"; font-style: italic; font-weight: bold; line-height: 40px;">Applying and Evaluating Design Notions</span></a><br />
3. <strong style="font-family: Arial, Helvetica, sans-serif; font-size: 1em;"><a href="http://dl.acm.org/citation.cfm?id=2470654.2466251">Designing for perceptual crossing: designing and comparing three behaviors</a></strong><br />
<br />
Extra experiment:<br />
<a href="http://www.ijdesign.org/index.php/IJDesign/article/view/694/298"><span style="background-color: white; color: #111111; font-family: "arial";">“It's So Touching”: </span><span class="italic" style="background-color: white; color: #111111; font-family: "arial"; font-style: italic;">Emotional Value in Distal Contact</span></a><br />
<br />
知覺現象學 reference:<br />
<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/citation.cfm?id=2442114">Interaction design for and with <i style="box-sizing: border-box;">the lived body</i>: Some implications of merleau-ponty's phenomenology</a></h1>
<br />
<br />
<br />
<br />
<br />
Exercise:<br />
define 16 patterns of perceptual crossing between human and object<br />
(how about extending time into past-present-future?)梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-83834721690539853262019-10-21T05:15:00.001-07:002019-10-22T20:55:36.775-07:00week 7. situated visualizationsituated visualization<br />
1. with sketch:<br />
<br />
<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="http://sketching%20and%20ideation%20activities%20for%20situated%20visualization%20design/">Sketching and Ideation Activities for Situated Visualization Design</a></h1>
<div>
<br /></div>
<div>
2. with photo </div>
<div>
<br /></div>
<div>
<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/citation.cfm?id=3196809">Botanical Printer: An Exploration on Interaction Design with Plantness</a></h1>
</div>
<div>
<br /></div>
<div>
3. with (mock-up) prototype</div>
<div>
<br /></div>
<div>
<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/citation.cfm?id=3079122">Time-Turner: Data Engagement Through Everyday Objects in the Home</a></h1>
</div>
<div>
<br />
<br />
In speculative design, maybe with props (道具)<br />
<br /></div>
<div>
with booklet:<br />
<h1 class="mediumb-text" style="background-color: white; box-sizing: border-box; font-family: Arial, Helvetica, sans-serif; font-size: 1em; margin: 0px; padding: 0px;">
<a href="https://dl.acm.org/citation.cfm?id=3322311">Bespoke Booklets: A Method for Situated Co-Speculation</a></h1>
</div>
<div>
<br /></div>
<div>
<br /></div>
<div>
Case study:</div>
<div>
IoT speculation with "app LOGO" attached on home appliance<br />
<br />
Discourse Analysis 練習<br />
<br />
第六章,"關於對話"重點:<br />
1. 將對話內容當作一種<b>社會行動</b>加以理解<br />
2. 梅納德 (Maynard) 觀點-展示順序 (perspective-display sequence)<br />
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<br />
4. 詞彙選擇及分類<br />
5. 結構組織 (言談的序列結構)<br />
6. 對於說話者面向之一的觀察 (安排或引導方向)<br />
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)</div>
梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-67235580607016847262019-10-14T04:10:00.000-07:002019-10-15T21:16:21.378-07:00week 6. adding method to meaning<a href="http://www.tandfonline.com/doi/citedby/10.1080/01449290500331172" style="color: #6fa8dc; font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: 19.8px; text-decoration-line: none;">A. Light. 2006. Adding method to meaning: A technique for exploring peoples’ experience with digital products. Behaviour and Information Technology 25, 2, 175--187.</a><br />
<br />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">既然麥卡錫和萊特對經驗的觀點傾向於一種</span><i style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;"><span style="color: red;">對話式的意義創造過程</span></i><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">,這類的研究必然要扣緊這個概念來研究"</span><i style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;">經驗</i><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">"自身,根據書中所提的六個主張,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"</span><i style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;"><span style="color: red;">意義創造的自身對話性</span>"</i><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">(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)。</span><br />
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">Ann Light 提出的這套方法,雖然不是唯一並且完美的,但是,她示範了這類親身經驗 (felt experience)研究的一個可行的途徑。參與者並不是實驗室中的受測者 (subject),研究者也不是身穿白色實驗袍的客觀他者,而更重要的是,設計研究者在實踐當中,不斷地朝向對話性(dialogicality),引發意義創造 (meaning making),研究的旨趣從客觀事實轉向 "理解" (understanding),視域延伸 (horizontal fusion),研究的過程也揭示了意義創造的過程。</span><br />
<br style="background-color: white; color: #45818e; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 19.8px;" />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">雖然第二派典在認知心理學上研究了許多的 "經驗",但是,人類還有許許多多的經驗是第二派典完全使不上力的,這類親身經驗不能用第二派典研究,並不表示這些經驗不重要,相反的,這些經驗往往更重要,更浩瀚: 不期而遇 (serendipity)、期待感 (anticipation)、 詩意 (poetic experience)、瀕死經驗(Near-Death Experience, NDE)、侘寂 (wabi-sabi)、預感能力 (pre-cognition),禪定(Zen mediation)。新實證主義則大膽的假設的這些經驗發生時,人類的大腦必定發生相對應的改變,因此,費盡一切心思去測量腦波的改變,反射區的放電情況,然而,最終,親身經驗 (felt experience) 還是無法透過儀器來探知,同理,腦的訊號一樣時,也不保證能夠感受到相同的親身經驗。</span><br />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"><br /></span>
<span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><br /></span></span><br />
<span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">論述分析 (Discourse Analysis) 的精神與方法</span></span><br />
<span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">What is a proper method to interpret Cultural Probes? DA? Mixed Methods? (example:<a href="http://www.ijdesign.org/index.php/IJDesign/article/view/710"> </a></span></span><a href="http://www.ijdesign.org/index.php/IJDesign/article/view/710"><span style="background-color: white; color: #111111; font-family: Arial;">Designing to Support Social Connectedness: </span><span style="background-color: white; color: #111111; font-family: Arial; font-style: italic;">The Case of SnowGlobe</span></a>)<br />
<br />
<span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">Notice the use of Language</span></span><br />
<span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">What are the codes (segments) and variations?</span></span><br />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">ex. codes: Object-Practice-Meaning Framework (only for example)</span><br />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"> variations: self-presentation - others - emotional degree </span><span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">(only for example)</span><br />
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;"><br /></span>
<span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;">Reference:</span></span><br />
<span style="color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="background-color: white; font-size: 19.8px;"><br /></span></span>1. <a href="http://interactionpodium.blogspot.com/2014/12/opa.html">http://interactionpodium.blogspot.com/2014/12/opa.html</a><br />
2. <a href="https://www.books.com.tw/products/0010723484">https://www.books.com.tw/products/0010723484</a><br />
<a href="http://www.weber.com.tw/document/pdf/SR07-007-01.pdf">http://www.weber.com.tw/document/pdf/SR07-007-01.pdf</a><br />
<br />
<br />梁容輝http://www.blogger.com/profile/05925956207572275133noreply@blogger.com0tag:blogger.com,1999:blog-6060274226406243200.post-91768636580223141202019-09-30T20:57:00.005-07:002019-10-01T22:31:58.413-07:00week 4. Technology as Experience<br />
<a href="https://dl.acm.org/citation.cfm?id=1015549"><span style="background-color: white; font-family: "tahoma" , "arial" , "verdana" , sans-serif; font-size: 12px;">John McCarthy and Peter Wright. 2004. Technology as experience. </span><span style="background-color: white; box-sizing: border-box; font-family: "tahoma" , "arial" , "verdana" , sans-serif; font-size: 12px;">Interactions</span><span style="background-color: white; font-family: "tahoma" , "arial" , "verdana" , sans-serif; font-size: 12px;"> 11, 5 (September 2004), 42-43. DOI: https://doi.org/10.1145/1015530.1015549</span></a><br />
<span style="background-color: white; font-family: "tahoma" , "arial" , "verdana" , sans-serif; font-size: 12px;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://images-na.ssl-images-amazon.com/images/I/51P8OjQKZQL._SX339_BO1,204,203,200_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="341" height="320" src="https://images-na.ssl-images-amazon.com/images/I/51P8OjQKZQL._SX339_BO1,204,203,200_.jpg" width="218" /></a></div>
<a href="https://www.amazon.com/Technology-as-Experience-MIT-Press/dp/0262633558/">https://www.amazon.com/Technology-as-Experience-MIT-Press/dp/0262633558/</a><br />
<br />
Featured:<br />
Chapter 1 Living with Technology:<br />
<span style="font-size: large;">The User as a Cog in a Virtual Machine</span> (During the 1970s and the 1980s the dominant approach to understanding relationships between people and technology assumed a single user sitting in front of a computer screen and keyboard performing a fairly well prescribed<br />
task.)<br />
<span style="font-size: large;">The User as a Social Actor</span> (During the late 1980s and the 1990s the opportunistic or contingent aspects of everyday activity became the central focus of challenges to the dominance<br />
of information-processing psychology.)<br />
<span style="font-size: large;">Consumers and the User Experience </span>(The 1990s saw the development of the dotcom companies and a multimillion-dollar games industry; strong penetration of computers into the<br />
home; the confluence of computer and communications technologies; and the beginnings of wireless, mobile, and ubiquitous computing.)<br />
<span style="font-size: large;">Toward a Deeper Understanding of Technology as Experience</span>: 6 propositions<br />
<br />
<h3 class="post-title entry-title" itemprop="name" style="background-color: white; color: #45818e; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 22px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; line-height: normal; margin: 0.75em 0px 0px; position: relative;">
<a href="http://interactionpodium.blogspot.com/2014/11/blog-post.html">從"技術即經驗"談起</a></h3>
<div>
<br /></div>
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<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">摘錄此書提出的六大主張如後。</span><br />
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<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張一:</span><br />
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我們的第一個主張是,為了公平對待技術在我們生活中所造成的種種廣泛的影響,我們應該從親身感受的生命,以及行動與互動的親身感受或情感的品質兩方面,嘗試去詮釋人與技術的關係。</blockquote>
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<i>Our first proposition is that, in order to do justice to the wide range of influences that technology has in our lives, we should try to interpret the relationship between people and technology in terms of the felt life and the felt or emotional quality of action and interaction. (p. 12)</i></blockquote>
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<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張二:</span><br />
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我們的第二個主張是,互動技術在工作、居家、教育和休閒中的社會實踐描述,並不足以說明經驗描述中的"親身感受的生命"</blockquote>
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<i>Our second proposition is that social-practice accounts of interactive technologies at work, at home, in education, and in leisure understate the felt life in their accounts of experiences. (p. 14)</i></blockquote>
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<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張三:</span><br />
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我們的第三個主張是,用技術來描述親身感受的經驗,是困難的。</blockquote>
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<i>Our third proposition is that it is difficult to develop an account of felt experience with technology. (p. 15)</i></blockquote>
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<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張四:</span><br />
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我們的第四個主張是,就經驗而言,經驗的實用主義哲學特別的清晰,它們所包含的行動和意義創造的模式,說明了行動與互動中,某些關於親身感受的生命及情感的、感官的特質。 </blockquote>
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<i>Our fourth proposition is that pragmatist philosophy of experience is particularly clarifying with respect to experience, and that the models of action and meaning making they encompass express something of felt life and the emotional and sensual character of action and interaction. (p. 17)</i></blockquote>
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<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張五:</span><br />
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我們的第五個主張是,實用主義所重視的情感的、自發的、創意的經驗面向,更強調了<span style="color: #674ea7;"><u>從理解技術的親身生活經驗中所創造的美學</u></span>。 </blockquote>
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<i>Our fifth proposition is that the importance given to the emotional-volitional and creative aspects of experience in pragmatism prioritizes the aesthetic in understanding our lived experience of technology. (p. 18)</i></blockquote>
<span style="background-color: white; color: #45818e; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 19.8px;">主張六:</span><br />
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我們的第六個主張也是最後一個主張, 建立實用主義的修訂理論,特別有益於理解技術與設計。<span style="background-color: transparent;"> </span></blockquote>
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<i style="font-size: 19.8px;">Our sixth and final proposition is that the revisionary theorizing of pragmatism is particularly valuable for understanding technology and design. (p. 19) </i></blockquote>
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Feature Chapter 3 A Pragmatist Approach to Technology as Experience:<br />
<span style="font-size: large;">Background to Pragmatism and Experience</span><br />
<span style="font-size: large;">John Dewey</span>(1859–1952)<br />
Enriching Activity through Aesthetic Experience<br />
Dialogicality<br />
<span style="font-size: large;">Bakhtin</span></div>
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Ref:</div>
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<a href="https://www.facebook.com/groups/1585967671631965/">互動設計散步</a></div>
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