2013年12月3日 星期二

week 13. discursive design

 Depth of Field: Discursive Design Research through Film by Timo Arnall et al. 2010

Discursive Design book project

p.100
1. We have engaged in a reflective design research process that uses graphical, audiovisual, and time-based media as a tool, a material and a communicative artefact that enables us to approach complex, obscure and often invisible emerging technologies.

2.

We conclude by elaborating on discursive design approaches to research that use film as a reflective and communicative medium that allows for design research to operate within a social and cultural frame. 

3. As an interdisciplinary field, drawing upon many domains such as Human Computer Interaction (HCI), product and graphic design, informatics, art, engineering and critical practice, it has grown the potential to situate itself in a critical position between emerging technologies and culture.

4. In this article we discuss our design research activities that use film as a material for exploring, conceptualising and communicating with emerging technology. ... The central research question we address is how does audiovisual media enable new kinds of practice-based design research with emerging technology?

5. The article develops two main aspects: film as a material in communicating and con- ceptualising new technology and the role of film as a tool in the design research process.
... (1) First, we investigate the bound- aries between the field of design research and the critical conceptualisation of technology.
   (2) Secondly, in our design practice we use film to probe the depth and materiality of emerging and often invisible technologies.
  (3) Third, depth of field is one of the cinematic qualities of film that is used here to both communicate about technology, and to help understand the role of audio-visual mediation in the design and development of technological products.


6. By using film, we imply a mode of production and display that involves cinematic qualities such as genre, narrative and cinematography, not simply video as a tool for documentation or analysis, but film as a purposeful, constructed, designed and directed experience.

p. 101

7. They are embedded in the article where they form topics and construct a path through the research as is argued for example in the field of visual rhetoric and through the genre of the visual essay or ‘pictorial texts’ (e.g. Mitchell, 1994).


p. 102


8. there is a need to understand the critical processes of translation between emerging technology and the popular cultural imagination.

9.The commercial film for the Polaroid SX-70 camera, directed by Charles and Ray Eames in 1972 (Eames Office, 2000), is a fine example from design practice of new technology explained to the masses through a product commercial, conveying technology and experience combined into one form.

p. 103
10. Kirby demonstrates how film establishes achievability of scientific and technical discourses, and ‘cinematic depictions of future technologies demonstrate to large public audiences a technology’s need, viability and benevolence’ (Kirby, 2010: 41).

11.  
 Important here for design research that involves digital materials, processes and communication is the concept of mediation (Vygotsky, 1978).

12. 
 Wartofsky sorts artefacts at three levels: primary artefacts are tools used directly in human activities (Wartofsky, 1979). Secondary artefacts are ‘symbolic externalizations’ or ‘objectifications’ of primary artefacts. Tertiary artefacts are abstracted from the function of secondary artefacts. At this third level, mediating artefacts are abstract and conceptual: they are no longer concerned with plain representationality but move into the realm of imagination. Here artefacts become powerful forces for transformation, embodying vision and potential. In the context of our research, we can discuss our design practices and research perspectives through artefacts like prototypes and products, and through representational artefacts like films that are both able to articulate concepts, potentials and visions for emerging technologies.

13. These filmic artefacts are conceptualised and communicated at the level of artefact as tool and sign, but they are also artefacts of mediation.
 

 

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