2014年1月7日 星期二
2013年12月25日 星期三
批判互動設計期中書報 / M10110301 / 陳柏英
Dunne A.-Hertzian Tales-Electronic Products, Aesthetic Experience, and Critical Design (2006)(192s)
Slides for Chapter 1:
Download:
Google Drive of AyChen
Slides for Chapter 1:
Download:
Google Drive of AyChen
2013年11月12日 星期二
批判互動設計作業06 / M10110301 / 陳柏英
hw06 / 500-word Essay
【 inTouch 】
The histories of HCI used to thrash out two major intellectual waves. One orients from engineering and human factors and concentrates on optimizing the functionality of a product; the other stems from cognitive science and lays its emphasis on theory and the mental activities of human. However, according to “The Three Paradigms of HCI” written by Steve Harrison in 2007, the third paradigm has come with the tide of fashion. Its specialty in phenomenology has made creators to think about the importance of meaning making which is mutually defining and subjects to various interpretations. Above all, instead of disproving the old two paradigms, the emersion of the third paradigm leads to a brand new choice of viewpoint to design. That is, researchers have an alternative way of viewpoint.
Since each paradigm in HCI is a different metaphor of interaction, we may then analyze products by different paradigms. The following case is a project named inTouch, which aims at conveying something vague but poetic such as human temperature, interactions between people and flow of time.
The purpose of inTouch focuses on perceptual crossing, ambiguity, ludic design and the implicit social meaning. Merlean argues that the whole world is a field for perception, to which we can assign meaning through human consciousness. Therefore, the perceptual crossing happens in inTouch when users see the color changes and know that it represents the contact with others since the color changes from blue to red only when users press the soft material with LED inside and trigger the button; without the touch, the color fades back to blue as time goes by. This enthralling device is mainly composed of Arduino, multi-color LED light, heat conduction material, thermoelectric cooler and the network connect to Internet. With all this stuff, the ludic value may be induced by ambiguous metaphor of interaction, and perceptual crossing also brings out the implicit social meaning.
Hence, researchers may assay products by the three paradigms we mentioned before. Take inTouch as example:
1)
The theme that underlies the first paradigm concentrates on functionality and reduction of error. inTouch, nevertheless, has little practical utility enhancing our daily lives. It only provides quite simple information of whether there is someone beside his inTouch or not. Each section represents a communication link with others.
2)
On the other hand, the second paradigm espouses cognitive science, human interaction and efficiency. We can merely infer that people is capable of knowing whether or not the person who shares his existence through inTouch is still keeping in touch with them.
3)
In contrast, meaning making is of the essence to the third paradigm. What kind of meaning inTouch makes depends on users’ own past experience. In my view, inTouch leaves a message of accompany. People are colonial animals; as a result, whenever and whatever we encounter, we tend to share this message and feeling with others. That is why twitter, facebook, and all kinds of social websites are so popular nowadays. inTouch creates great meaning on this point.
In conclusion, the three paradigms actually co-exist. However, I argue that inTouch is mainly designed to have similar intention as the third paradigm does. This artifact reflects the importance of being with people you care and appropriately display your existence even though you guys are not actually together.
【 inTouch 】
The histories of HCI used to thrash out two major intellectual waves. One orients from engineering and human factors and concentrates on optimizing the functionality of a product; the other stems from cognitive science and lays its emphasis on theory and the mental activities of human. However, according to “The Three Paradigms of HCI” written by Steve Harrison in 2007, the third paradigm has come with the tide of fashion. Its specialty in phenomenology has made creators to think about the importance of meaning making which is mutually defining and subjects to various interpretations. Above all, instead of disproving the old two paradigms, the emersion of the third paradigm leads to a brand new choice of viewpoint to design. That is, researchers have an alternative way of viewpoint.
Since each paradigm in HCI is a different metaphor of interaction, we may then analyze products by different paradigms. The following case is a project named inTouch, which aims at conveying something vague but poetic such as human temperature, interactions between people and flow of time.
The purpose of inTouch focuses on perceptual crossing, ambiguity, ludic design and the implicit social meaning. Merlean argues that the whole world is a field for perception, to which we can assign meaning through human consciousness. Therefore, the perceptual crossing happens in inTouch when users see the color changes and know that it represents the contact with others since the color changes from blue to red only when users press the soft material with LED inside and trigger the button; without the touch, the color fades back to blue as time goes by. This enthralling device is mainly composed of Arduino, multi-color LED light, heat conduction material, thermoelectric cooler and the network connect to Internet. With all this stuff, the ludic value may be induced by ambiguous metaphor of interaction, and perceptual crossing also brings out the implicit social meaning.
Hence, researchers may assay products by the three paradigms we mentioned before. Take inTouch as example:
1)
The theme that underlies the first paradigm concentrates on functionality and reduction of error. inTouch, nevertheless, has little practical utility enhancing our daily lives. It only provides quite simple information of whether there is someone beside his inTouch or not. Each section represents a communication link with others.
2)
On the other hand, the second paradigm espouses cognitive science, human interaction and efficiency. We can merely infer that people is capable of knowing whether or not the person who shares his existence through inTouch is still keeping in touch with them.
3)
In contrast, meaning making is of the essence to the third paradigm. What kind of meaning inTouch makes depends on users’ own past experience. In my view, inTouch leaves a message of accompany. People are colonial animals; as a result, whenever and whatever we encounter, we tend to share this message and feeling with others. That is why twitter, facebook, and all kinds of social websites are so popular nowadays. inTouch creates great meaning on this point.
In conclusion, the three paradigms actually co-exist. However, I argue that inTouch is mainly designed to have similar intention as the third paradigm does. This artifact reflects the importance of being with people you care and appropriately display your existence even though you guys are not actually together.
2013年10月30日 星期三
批判互動設計作業05 / M10110301 / 陳柏英
hw05 / 400-word Essay
【 Gelatine – Designing for Digital Encounters in Coworking Spaces 】
Nowadays, people tend to bury themselves in work every day without noticing what others do. However, coworking spaces seek for means to assist peer collaboration. It is rather unfortunate to lose the chances to cross-pollination of skills and creativity due to the unawareness of and uninspired by others’ field.
The idea behind ‘Gelatine’ was to create a system that facilitates coworkers to share each other’s information such as skills, interests and needs of currently present coworkers by displaying on a public screen when they check-in at a workspace. Once the personal information is created on an online/mobile website, people are capable of using their RFID membership card to swipe at one of the ‘check-points’ at the entrance or other sub location.
For the purpose above, Gelatine is designed in digital devices and composed of 4 modules:
1) User Profile Website / Database / Backend
Based on Ruby on Rails, which is an open-source web framework, the website and backend system enable users to create, edit and maintain their user account and profile information.
2) Checkin Points
Checkin Point comprises an RFID reader and a microcontroller, which reads the user’s card and uploads a check-in timestamp to database.
3) Public Screen Application / Visualisation
Adopting the WordCram open-source solution for word clouds, the public screen application visualizes the shared information of users in aesthetically pleasing way.
4) Thermal Printer
Sparkfun thermal printer “listens” to the Gelatine RSS which supports PubSubHubbub (a pubsub protocol for any web accessible resources). The RSS feed contains recent checkins and provides a thermal printer with a sophisticated solution connecting to network.
Nevertheless, we may inquiry into Gelatine according to the 4 criteria of “Research Through Design as a Method for Interaction Design Research in HCI”.
As for process, Gelatine well combines digital devices and social learning in a rather simple way, and produces various unexpected effects upon users.
Furthermore, in terms of invention, the advancement in technology does result in a significant influence on Gelatine since it utilizes numerous state of the art techniques.
When talking about relevance, however, Gelatine did not mention much about the performance increase and the detail on current situation and the preferred state.
Last but not least, Gelatine potentiates interaction between unfamiliar coworkers, and makes invisible social aspects of a coworking space visible.
In conclusion, Gelatine truly broadens our horizon of how to enhance coworking efficiency with Human Computer Interaction. It aims at tracking others’ footprint, making closer relationship between unfamiliar people, and, most importantly, accelerating the co-working process.
【 Gelatine – Designing for Digital Encounters in Coworking Spaces 】
Nowadays, people tend to bury themselves in work every day without noticing what others do. However, coworking spaces seek for means to assist peer collaboration. It is rather unfortunate to lose the chances to cross-pollination of skills and creativity due to the unawareness of and uninspired by others’ field.
The idea behind ‘Gelatine’ was to create a system that facilitates coworkers to share each other’s information such as skills, interests and needs of currently present coworkers by displaying on a public screen when they check-in at a workspace. Once the personal information is created on an online/mobile website, people are capable of using their RFID membership card to swipe at one of the ‘check-points’ at the entrance or other sub location.
For the purpose above, Gelatine is designed in digital devices and composed of 4 modules:
1) User Profile Website / Database / Backend
Based on Ruby on Rails, which is an open-source web framework, the website and backend system enable users to create, edit and maintain their user account and profile information.
2) Checkin Points
Checkin Point comprises an RFID reader and a microcontroller, which reads the user’s card and uploads a check-in timestamp to database.
3) Public Screen Application / Visualisation
Adopting the WordCram open-source solution for word clouds, the public screen application visualizes the shared information of users in aesthetically pleasing way.
4) Thermal Printer
Sparkfun thermal printer “listens” to the Gelatine RSS which supports PubSubHubbub (a pubsub protocol for any web accessible resources). The RSS feed contains recent checkins and provides a thermal printer with a sophisticated solution connecting to network.
Nevertheless, we may inquiry into Gelatine according to the 4 criteria of “Research Through Design as a Method for Interaction Design Research in HCI”.
As for process, Gelatine well combines digital devices and social learning in a rather simple way, and produces various unexpected effects upon users.
Furthermore, in terms of invention, the advancement in technology does result in a significant influence on Gelatine since it utilizes numerous state of the art techniques.
When talking about relevance, however, Gelatine did not mention much about the performance increase and the detail on current situation and the preferred state.
Last but not least, Gelatine potentiates interaction between unfamiliar coworkers, and makes invisible social aspects of a coworking space visible.
In conclusion, Gelatine truly broadens our horizon of how to enhance coworking efficiency with Human Computer Interaction. It aims at tracking others’ footprint, making closer relationship between unfamiliar people, and, most importantly, accelerating the co-working process.
2013年10月22日 星期二
批判互動設計作業04 / M10110301 / 陳柏英 / M10110302 / 林秉毅
Critical
Design
Weekly
Homework 4
M10110301
陳柏英
M10110302
林秉毅
批判式對話 / Twins
林秉毅：
人的動作(POSE)代表不同的意義而這產品似乎想要產生物的動作，在人的動作裡面可以區分幾種，其中一種就是去完成某件事情，譬如說:撿起地上某個物件，比較是功能性/目的性，另一種則是傳達心裡的想法，像是揮手就代表"再見"，這是一種肢體語言，而這件產品似乎就是希望透過這樣的動作與使用者來進行一個對話，因為以功能性來說這顯得不是那麼的自然，舉例來講你不會為了撿一個一個東西，先在地上翻滾一圈，然後撿起來，在雙手張開比個勝利的姿勢，這樣就變成是在做一個表演(Expresssion)，撿起來大概2秒就可以完成的事情，按鈕開關不是很方便，聲控利用拍手又更有效率，若以這種功能想法這產品，實在很不堪，回到撿東西這話題上，當你做完這個翻滾，此時旁邊有觀眾，他會開始思考說我該怎麼撿才酷炫，所以說?我覺得這就是正解，也是這東西想表演給你看的事情，"我該怎麼擺?側著?橫著?如何去旋轉?"，這是一個複雜形式會令人想要探究把玩一番
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陳柏英：
針對「人藉由動作達到目的或傳達心理的想法」來說，個人表示同意。但若要說這項產品只是像一個表演，而非「有實質上的功能意義或效率」來說，就不太苟同。此產品之所以取名為「Twins」，主要目的在於：讓人類體會到物件和物件之間的連結，藏有人和人之間互動的訊息。人藉由轉動去改變產品的運作模式，一方面得以直接觸摸到材質本身，一方面延長操作時間，其帶來的感受程度遠大於簡單卻冷冰冰的按鈕，或是便捷卻無法和產品產生關聯性的聲控方式。
也許，從產品的形式（Form）設計方面來說，被翻轉時的四種外觀形象若能對應到function modes（Silent,
Reading, Ambient和Bedside），產生合理的印象連結，就會比較完整。
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林秉毅：
針對他每個形象不太鮮明，甚至很容易忘記哪個模式是哪一種擺法，對比平常使用的室內燈，利用開關每次重新啟動就切換一個模式，最亮>中等亮>小夜燈，他有一個邏輯性也就是大中小，長期使用下會十分直覺，比較惱人的地方就是剛啟動時，是哪個模式就不得而知，以及切換太快切錯就必須重新再轉變一次，相對來說Twins可以直接立即地轉到我現在要的模式，說形狀、擺放的切換，其實按鈕也是有做到的 “ /// "這樣是未開啟 "\\\"這樣是開啟，有些還會發光像我家的是亮的時候是沒開，他考量的是還沒開燈時怕你找不到開關同時告訴你還沒開，其實也是一種對話"物對人"的，但是一般燈他除了開跟關這地方有差異，模式的切換上的狀態差異就沒有很大，頂多就是燈的亮度上有所改變，若我們今天拿一個碼表來比賽哪個比較慢，這真的是難分難解，他慢但不是流程上的慢，我覺得它具有象徵性，就像地球經歷很多時代，恐龍、羅馬、埃及...你可以找到恐龍化石、恐龍大便、石油、金字塔、豪華澡堂...總之有個脈絡可循，你可以從這些脈絡遺跡找出時間的變動，一般來說消費性的燈具這種脈絡並不明顯
若我今天假想我就是一個短時間的時代演進，我睡覺、讀書、休息、吃飯....每到一個新的狀態我就會切換一個狀態，就像把金字塔鏟掉，蓋一座希臘神廟，於是時代感就這樣產稱啦!!!短時間也能感受到時間巨輪的轉動，就是這樣
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陳柏英：
上述所說的「短時間時代演進」，其實就是一種譬喻。
模式的關聯性對使用上來說相當重要。如何讓使用者容易聯想與記憶？產品影片中四種樣貌
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都沒有明瞭交代造型意義。
相較之下，另外有一個善用「譬喻」去對應情景的例子是台灣和碩(PEGA)設計的TechTap： |
TechTap雖然沒有點出多個不同的動作對應到怎麼樣的模式，卻成功運用生動且適切的譬喻去營造「時間如流」（「流逝」如同生活中液體的蒸發現象），讓使用者易於聯想與體會。
而另一方面，影片中出現的產品slogan提出感性話語「Just
feel like being with you」，點出社群功能帶來的情感體驗，讓陪伴可以有一個較為隱晦卻默默感受的方式，是一個頗為動人的設計點。
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林秉毅：
Twins的譬喻比較不是那麼直白，透過旋轉產品本身來切換他的狀態，Twins樣子就像時鐘的時針與分針，但是是一個透過使用者的手來去撥弄，這種感覺有點去偽造自己想要的時間，刻意去把時間調快或者調慢
可以由silent>reading>ambient>beside
或者逆時針的轉，beside>ambient>reading>silent
也可以隨機的去選擇，也可以挑選特定幾個MODE而不選擇全部使用
EX:silent>reading 或是 reading>silent
人在每個時間都會有一個狀態，可以說是一種模式MODE，由人自己去分配，而這種沒有特別限定的使用順序，可以讓使用者來自己產生對他們有意義的安排，每個時間或活動可以有一個形狀或者擺放方式，並且它象徵的意義，此產品的解碼度不高，或許在當下很難讓人了解他到底要做什麼，甚至不知道它的意義，他是一個複雜形式，而它的意義就像海德格所說的不存在，要去使用才能找出來，同樣的過程對於每個人都會有不同的結果
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陳柏英：
嗯嗯同意！！更精確點就是：使用者在使用產品的同時也在切換自己的生活模式。
所以如果能夠將適切的意象加入產品方式中便可增強使用印象與感受。
其實Twins已經展現出新穎的使用模式，除了顛覆切換方式之外，也增加了一個以前甚難想像過的可能性：利用燈具去陪伴另一個人。知道那個人在做什麼，也讓他知道自己在做什麼。
而在Twins這樣的產品問世之後，其實我們可以額外去擴展去想像，像是：
●
外觀造型的個人化？（像市面上五花八門iphone的殼？）
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燈光效果的自組可能？（客製化）
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可以傳遞一行字的簡短訊息給另一個人
當作ambient message？
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更多人一起？
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跟樂器的結合？
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能夠攜帶出門？方便去咖啡廳使用或更酷炫一點能夠裝置在腳踏車上當車燈？XD
必須接連不斷的去對話去想像，去擴展一個既有產品的可能性，才有機會增添這個世界的趣味，讓冷冰冰科技也能促進人與人之間的互動，畢竟生活中點點滴滴都可能觸發心有靈犀的美好。:)
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2013年10月15日 星期二
批判互動設計作業03 / M10110301 / 陳柏英
hw03 / 250~300-word Critique
【PhotoBox vs. Little Printer】
People have been living in a world seeking for speed and efficiency after Industrial Revolution bursted out on 18th century. The development of technology, however, also makes people lose the opportunities to think about some important things in life. Slow Technology, aimed at reflection and presence of time for mental rest rather than functionality, comes with the tide. Take “PhotoBox” as an example.
Connecting to owner’s flickr account, PhotoBox prints out small images randomly fetched from online albums roughly every month. With the unexpected recreation, people are capable to reminisce those valuable moments, which might incautiously fade away from mind. PhotoBox, therefore, is more like an ambient soulmate rather than a gossip girl always chirping around you.
In contrast, “Little Printer” plays a role in publishing news. After people set up the subscription of news, friends’ blogs or something they care about, the Little Printer gathers messages through Internet. As long as user presses the button on their smartphone, this adorable anchor reports by printing out timely, beautiful miniature newspaper.
To compare the two examples above, they have similar paper output form but different mechanisms of reflecting. The primary difference lies in the expression. To name a few, in material, one is wood and the other is plastic; in content, one is image and the other is context; in color, one is vivid and the other is greyscale.
Nevertheless, ‘Slowness’ is the key factor arousing the presence of time for mental rest. Little Printer offers a handy and pleasant way for people to absorb information, but the instant reaction does not make room for reflection, which is the most vital in Slow Technology.
【PhotoBox vs. Little Printer】
People have been living in a world seeking for speed and efficiency after Industrial Revolution bursted out on 18th century. The development of technology, however, also makes people lose the opportunities to think about some important things in life. Slow Technology, aimed at reflection and presence of time for mental rest rather than functionality, comes with the tide. Take “PhotoBox” as an example.
Connecting to owner’s flickr account, PhotoBox prints out small images randomly fetched from online albums roughly every month. With the unexpected recreation, people are capable to reminisce those valuable moments, which might incautiously fade away from mind. PhotoBox, therefore, is more like an ambient soulmate rather than a gossip girl always chirping around you.
In contrast, “Little Printer” plays a role in publishing news. After people set up the subscription of news, friends’ blogs or something they care about, the Little Printer gathers messages through Internet. As long as user presses the button on their smartphone, this adorable anchor reports by printing out timely, beautiful miniature newspaper.
To compare the two examples above, they have similar paper output form but different mechanisms of reflecting. The primary difference lies in the expression. To name a few, in material, one is wood and the other is plastic; in content, one is image and the other is context; in color, one is vivid and the other is greyscale.
Nevertheless, ‘Slowness’ is the key factor arousing the presence of time for mental rest. Little Printer offers a handy and pleasant way for people to absorb information, but the instant reaction does not make room for reflection, which is the most vital in Slow Technology.
2013年10月8日 星期二
批判互動設計作業02 / M10110301 / 陳柏英
hw02 / 200-word Essay
【Appearing-Pattern Wallpaper】
Generally speaking, forms of home electricity or appliances are designed to give instant feedback or have obvious interaction with users.
However, sunlight, which usually has a significant but slow change in behavior of time, is chosen to be the key factor to this project. The project tends to embody sunlight in something easily seen from our surrounding—for instance, wallpaper.
Using the UV-sensitive ink, ‘Appearing-Pattern Wallpaper’ not only performs an undertone of magic but also amplifies the slow behavior of sunlight.
It is initially plain with fixed color when purchased, but the pattern emerges over time when sunlight exposes textures printed with UV-sensitive ink.
“Conceptual design draws on art to orient a subversion of design norms. With respect to conceptual art, focus is shifted from the producer and the thing to the concept, and making as setting up such a concept through material objects, scripted or improvised interventions, installations or other means.”(Ramia Maze and Johan Redstrom, 2009)
Therefore, the project creates a metaphor of the ever-changing concept in life. Wallpaper, which comes to people’s sight every day, is no longer ordinary. In contrast, it has meaning from within the beautiful and poetic sunlight.
Reference:
STATIC!
【Appearing-Pattern Wallpaper】
Generally speaking, forms of home electricity or appliances are designed to give instant feedback or have obvious interaction with users.
However, sunlight, which usually has a significant but slow change in behavior of time, is chosen to be the key factor to this project. The project tends to embody sunlight in something easily seen from our surrounding—for instance, wallpaper.
Using the UV-sensitive ink, ‘Appearing-Pattern Wallpaper’ not only performs an undertone of magic but also amplifies the slow behavior of sunlight.
It is initially plain with fixed color when purchased, but the pattern emerges over time when sunlight exposes textures printed with UV-sensitive ink.
“Conceptual design draws on art to orient a subversion of design norms. With respect to conceptual art, focus is shifted from the producer and the thing to the concept, and making as setting up such a concept through material objects, scripted or improvised interventions, installations or other means.”(Ramia Maze and Johan Redstrom, 2009)
Therefore, the project creates a metaphor of the ever-changing concept in life. Wallpaper, which comes to people’s sight every day, is no longer ordinary. In contrast, it has meaning from within the beautiful and poetic sunlight.
Reference:
STATIC!
2013年10月1日 星期二
批判互動設計作業01 / M10110301 / 陳柏英
hw01 / 200-word Essay
【Spymaker】
Based the commission on the success of Dunne and Raby’s exhibit for the Energy Gallery which used a critical design approach, the project was commissioned to design a speculative product for Spymaker exhibition in February 2007.
The ultimate aim of utilizing a critical design approach, which was considered to be a valuable method, focused on provoking children to wonder how technology influenced society, culture and politics in everyday life.
Although exploring the balance between fact and fiction and how to suspend disbelief accounts for a great part of the project, Dunne and Raby proceeded from exploring social trends, scientific research, forms and materials, attempting to re-map sensory input to different parts of the brain, such as seeing via hearing.
The outcome comprises two primary parts. One was the connection between the em-muzzle and the highly sensitive part of a dog's brain concerned with processing smell to an antenna for sensing electromagnetic fields; the other was the mask which disables the visual and hearing of the dog as to guiding its handler to an electronically unmonitored zone.
Despite the fact that modern technology cannot fulfill all dreams, the combination of critical design and the concept of provoking children to think had become a fascinating work. In modeling, since dogs do not usually wear a mask like that, Dunne and Raby had also successfully carried out 'making strange' or 'poeticizing the distance' between ourselves and the avant-garde dog.
References:
Spymaker 2006/07 in Projects of Dunne and Raby
【Spymaker】
Based the commission on the success of Dunne and Raby’s exhibit for the Energy Gallery which used a critical design approach, the project was commissioned to design a speculative product for Spymaker exhibition in February 2007.
The ultimate aim of utilizing a critical design approach, which was considered to be a valuable method, focused on provoking children to wonder how technology influenced society, culture and politics in everyday life.
Although exploring the balance between fact and fiction and how to suspend disbelief accounts for a great part of the project, Dunne and Raby proceeded from exploring social trends, scientific research, forms and materials, attempting to re-map sensory input to different parts of the brain, such as seeing via hearing.
The outcome comprises two primary parts. One was the connection between the em-muzzle and the highly sensitive part of a dog's brain concerned with processing smell to an antenna for sensing electromagnetic fields; the other was the mask which disables the visual and hearing of the dog as to guiding its handler to an electronically unmonitored zone.
Despite the fact that modern technology cannot fulfill all dreams, the combination of critical design and the concept of provoking children to think had become a fascinating work. In modeling, since dogs do not usually wear a mask like that, Dunne and Raby had also successfully carried out 'making strange' or 'poeticizing the distance' between ourselves and the avant-garde dog.
References:
Spymaker 2006/07 in Projects of Dunne and Raby
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