2022年3月27日 星期日

week 7. Form and Material

 I. Annotated portfolios Practice

2 students in a group

annotate a "common" artifact in advance

each member selects another new artifact and annotate it

together, make annotation of a group of artifacts

sketch new ideas according to the annotated portfolios 

II. 

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

 (revisit Expression of Doorbell design)
"function being what things do as we use them"
"interaction referring to what we do when we use a thing"
" interaction design form as the way in which the thing or system we design we design relates function and interaction to each other."
"interaction design expression as that which displays interaction"

interaction design variables:

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

Timing – Relating function and interaction in use clearly has a temporal dimension; how is what I do to be related with what X does in time? 
Spacing – Function and interaction in use clearly have a spatial dimension linked to what X does in space.
Connectivity – Relating function and interaction in use is a matter of connecting; how does X relate what I do to with what X does?
Methodology – Relating function and interaction in use is a matter method. How do I relate what I do with what X does?

Take the automatic door as an example


Questions: How to use these notions in annotated portfolios?

Material & Interaction:

Interaction Design as a Bricolage Practice


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

EX 3:

  Propose your own guidelines or strategies for annotated portfolios

Deadline: 4/11, 2022

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2022年3月20日 星期日

week 6. Verplank's framework & movement based IXD

(I) students present annotated portfolios

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

Open hci2011 (see p.18-29)
1. How is "Design Basics" taught in design school?
Examples
Examples
Examples
設計是什麼
2. What is the basics of "Tangible Interaction Design" as a design discipline?
Interaction Design Process by Bill Verplank
What are the significant contrasts for Tangible Interaction?
What principles are applicable? For example, synectics triggers, (synnectics examples), basic systems in nature.

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

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

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

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

如何用 expression 開展設計


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

6. Form
Tangible Interaction=Form+Computing

7. Movement and Form

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

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


 Form-giving
 Meaning-making
 Movement-centered
 Bodily Rich Interaction

     reference:

Tangible products: redressing the balance between appearance and action



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



 Movement


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


Practice :
 Reframe your annotated portfolios with Verplank's framework


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2022年3月13日 星期日

week 5. annotated portfolios & strong concepts

 1. situated visualization: data collection examples demo

                                         Mutual Discourse Analysis Interview

2. Annotated Portfolios: hands-on practice:

    (1) Photostroller

    (2) Prayer Companion

    (3) Drift Table

    (4) Plane Tracker

    (5) Local Barometer

Reference slides

(Energy Babble)

Questions: 

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

3. Annotated Portfolios





References:
Robots examples: 
Eliciting New Perspectives in RtD Studies through Annotated Portfolios: A Case Study of Robotic Artefacts
Strategies and examples: 

Strategies for Annotating Portfolios: Mapping Designs for New Domains


EX2: annotated portfolios (deadline 3/21)
1. choose a set of artifacts
2. make annotated portfolios for (1) each of them (2) the group
3. present next week


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2022年3月6日 星期日

week 4. situated visualization

situated visualization
1. with sketch:
 

Sketching and Ideation Activities for Situated Visualization Design


2. with photos 


3. with (mock-up) prototype



In speculative design, maybe with props (道具)



Case study:
IoT speculation with "app LOGO" attached on home appliance (situated methods)
v.s.

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

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

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

Reference:

1. http://interactionpodium.blogspot.com/2014/12/opa.html
2.  https://www.books.com.tw/products/0010723484 
(對話、論述研究法與文件分析，作者： Tim Rapley)




Discourse Analysis 練習

第六章，"關於對話"重點:
1. 將對話內容當作一種社會行動加以理解
2. 梅納德 (Maynard) 觀點-展示順序 (perspective-display sequence)
3. 注重談話旨在表現的行動，以及被選來表現該行動的工具
4. 詞彙選擇及分類
5. 結構組織 (言談的序列結構)
6. 對於說話者面向之一的觀察 (安排或引導方向)
7.由社會體制觀察拒絕與異議 (偏好，接受則明快，拒絕則遲疑)
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2022年2月20日 星期日

week 2. cultural probes


https://interactions.acm.org/archive/view/march-april-2019/probetools

https://probetools.net/



References:
Gaver: Design: Cultural Probes, 1999
Wallace: How Design Probes Work, 2013

more detail examples in

Probe Tools (Task Cam)

Making design probes work

Designing for an other Home: Expanding and Speculating on Different Forms of Domestic Life (DIS 18) (Diversifying the Domestic: A Design Inquiry into Collective and Mobile Living, DIS19)


Critical viewpoint:
 Probology: 
(1) identity probes
(2) urban probes
(3) domestic probes
(4) value probes
(5) empathy probes
(6) mobile probes
(7) digital cultural probes
(8) cognitive probes
(9) technology probes

Questions:
How do Cultural Probes use Tangibility and Embodied skills to investigate and interpret the situated contexts?
How do 6 propositions in Technology as Experience guide the Cultural Probes?

Exercise 1: (deadline 3/7)
1. Choose 1 embodied interaction design case (in CHI, TEI, DIS)
2. Redesign the possible cultural probes for this case (according to Gaver's original ideas and Embodied skills) 
3. Explain with at least 200 words  

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2022年2月13日 星期日

week 1. Technology as Experience

Course grading:

1. 200 words report every 1-2 week on assigned paper (40%)
2. 2-3 Sketches (or Medium articles) (20%)
3. 1 Final Conceptual Design Project  (40%)

Course Intro
Part I. Methods
Part II. Phenomenology
Part II. Paradigms
----------------------------------------------------------------------------------------------------------------------
John McCarthy and Peter Wright. 2004. Technology as experience. Interactions 11, 5 (September 2004), 42-43. DOI: https://doi.org/10.1145/1015530.1015549
https://www.amazon.com/Technology-as-Experience-MIT-Press/dp/0262633558/

Featured:
Chapter 1 Living with Technology:
The User as a Cog in a Virtual Machine (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
task.)
The User as a Social Actor (During the late 1980s and the 1990s the opportunistic or contingent aspects of everyday activity became the central focus of challenges to the dominance
of information-processing psychology.)
Consumers and the User Experience (The 1990s saw the development of the dotcom companies and a multimillion-dollar games industry; strong penetration of computers into the
home; the confluence of computer and communications technologies; and the beginnings of wireless, mobile, and ubiquitous computing.)
Toward a Deeper Understanding of Technology as Experience: 6 propositions

從"技術即經驗"談起


摘錄此書提出的六大主張如後。

主張一:
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。
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)

主張二:
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"
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)

主張三:
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。
Our third proposition is that it is difficult to develop an account of felt experience with technology. (p. 15)

主張四:
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。 
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)

主張五:
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，更強調了從理解技術的親身生活經驗中所創造的美學。 
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)
主張六:
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。 
Our sixth and final proposition is that the revisionary theorizing of pragmatism is particularly valuable for understanding technology and design. (p. 19) 
Feature Chapter 3 A Pragmatist Approach to Technology as Experience:
Background to Pragmatism and Experience
John Dewey(1859–1952)
Enriching Activity through Aesthetic Experience
Dialogicality
Bakhtin

Ref:

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2019年12月3日 星期二

week 13. Intermediate-level knowledge

1. p. 741
2. introducing "Intermediate-level Knowledge" by Lowgren
1. Jonas Löwgren. 2013. Annotated portfolios and other forms of intermediate-level knowledge.interactions 20, 1 (January 2013), 30-34.

2. Kristina Höök and Jonas Löwgren. 2012. Strong concepts: Intermediate-level knowledge in interaction design research. ACM Trans. Comput.-Hum. Interact. 19, 3, Article 23 (October 2012), 18 pages.

(pp. 23:11- 23:13)
4 constructs:
1. contextual grounding
2. horizontal grounding
3. vertical grounding
4. reflection, articulation, and abstraction

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