2017年12月12日 星期二

week 14. student presentation & Humanistic HCI

Humanistic HCI in ACM Interaction

1. HCI reaches out.
"Key examples include the rise of aesthetics as an approach to user experience design [2]; the introduction of “reflective HCI” [3] to reposition the field with a more self-critical stance; as well as the use of feminist [4], queer [5], and postcolonial [6] approaches to emancipatory computing."

2. The humanities reach in.
" As alternatives, Winograd and Flores introduced Heideggerian phenomenology, biological accounts of cognition and language, and speech act theory to HCI. Offering an epistemological critique of the field as a whole and introducing an alternative epistemological stance are philosophical activities. It is easy to see that Winograd and Flores’s seminal work was in fact humanistic HCI, even if no one at that time was using the term."

3. What is Humanistic HCI?
". It is not the same as digital humanities, which is humanistic research supported by digital technologies, and which is by and large practiced by humanistic scholars (see, e.g., [9])."

"Humanistic HCI operates in the opposite direction: It is HCI research and practice that is supported by humanistic practices, theories, and methods."

4. History and tradition
"Many HCI systems are presented with little to no reference to their own historical genealogies, and the field itself has no significant histories beyond a generally shared sense that HCI has had three paradigms or waves [13,14]."

" Our expectation is that interaction design and/or HCI (whatever their relation is or will become, exactly) will develop much more of a historical sensibility in the coming decade."

5. Conceptual analysis
" During its rise in the 19th century, science began to displace philosophy as the knowledge discipline best able to account for the world. What was philosophy’s role in a scientific era? One answer was that philosophy ceased to provide doctrines and instead became an activity directed at the clarification of thoughts. As the early Ludwig Wittgenstein wrote, “The object of philosophy is the logical clarification of thoughts. Philosophy is not a theory but an activity. A philosophical work consists essentially of elucidations” [15]. Philosophy was thus moving away from producing original systems and toward the disciplined analysis of the concepts we think with."

" overall humanistic dispositions: the attempt to take on a situation or work that is in some sense confusing; to do so holistically (rather than analyzed and operationalized into well-defined parts); to bring clarity to it; and to do so in a way that orients itself toward emancipatory change (diversely defined)."

Humanistic HCI  Practices and Methods
1. Excursus: The expert subject.
2. Interaction criticism.
3. Critical discourse analysis.
   " HCI examples of such critiques include studies of cultural probes [25], affective computing [26], and sustainable making [27]."
4. Critical social science
5. Design futuring.
 "These strategies are commonly deployed in speculative design, critical design, design fictions, and science and utopian fiction"
6. Emancipatory HCI.


2017年10月10日 星期二

week 5. difficult forms


What are the possible 'critical forms' of the product you select?
Create your own form experiments.
deadline Oct 25, 2017 
extended to Nov. 1st, 2017

2017年9月25日 星期一

week 3. the object as discourse II

1. students present participatory research plan.
2. discussion on "the object as discourse"
3. introducing "Hertzian Tales"


EX1 (critical review)
1. 至少 500 字 (中文)
2. 請以不同顏色或字型,區分描述性文字(descriptive writing) 和 批判性文字(critical writing)
3. 請大致上提供 evidence, evaluation, analysis, conclusion.
參考:  http://www.eapfoundation.com/writing/critical/

Deadline: 2017/Oct 11

2017年9月18日 星期一

week 2. the object as discourse

discussing participatory paradigm (week 1.)
action research vs. co-operative inquiry

The object as discourse 


1. In short, as a result of what might be termed 'methodological intimidation' (方法論上的恐嚇), research work carried out in colleges of art and design stands a very real risk of losing those qualities of originality, iconoclasm (破除偶像), energy, style and wit which have characterised the best of art school culture since the 1950s.

p. 3

2. Rejecting the electronic product designer's traditional role as semiotician, he attempts to map a new conceptual territory on which to explore the electronic as 'post-optimal object', turning his attention away the familiar attempt to achieve 'optimum performance levels' and towards more fundamental philosophical issues.

3...., Dunne's research focuses on the relationship between electronic objects and the realms of poetry and aesthetics.

4. Design is seen as a form of socio-aesthetic research towards the integration of aesthetic experience and everyday life through the development of conceptual products rather than working prototypes of models which attempt to simulate a final product designed for mass production.

5. As a PhD by project, Dunne's work uses research through the design process to explore the development of an approach that allows the development of critical responses and a sceptical sensibility towards the ideological nature of design with the purpose of stimulating original aesthetic possibilities for new kinds of electronic object.

7. The ultimate aim of the research project is the development of electronic products which by'making strange' (陌異化) or 'poeticising the distance' (詩意化距離) between ourselves and our artefactual environment, facilitate sociological awareness, reflective and critical involvement with the electronic object rather than its passive consumption and unthinking acceptance.

8. Rather than aiming for transparency, as would a conventional applied researcher/product designer, his (Dunne's) attempt to enhance the critical distance between the electronic object and the human subject through the introduction of 'poetic' techniques of aesthetic 'estrangement' is reminiscent of the writing of Frankfurt School theorists such as Walter Benjamin or the methods of avant-garde theorist/performers such as John Cage,...

p. 4

9.... his idea of using the process of invention as a mode of discourse (以發明過程為論述)a poetic invention (詩意的發明) that, by stretching established conventions, whether physical, social or political, rather than simply affirming them, takes on a radical critical function, a material critical theory of what Dunne terms a 'parafunctionality.'

10. To this extent Dunne's work offers a positive and radical model of the action researcher in design as a critical interpreter of design processes and their relationship to culture and society rather than a skilled applied technician preoccupied by the minutiae (細節) of industrial production or a slick butintellectually shallow semiotician.

11. In Dunne's case the electronic object produced as the studio section of the doctorate is still 'design' but in the sense of a 'material thesis(實體論文) in which the object itself becomes aphysical critique (實體批判).

1. 規劃台灣老產品(超過三十年以上,現在還在架上)的研究。
2. 先到賣場拍攝老產品,注意其周圍脈絡還有其他哪些產品。(Fieldwork, 簡單照片分享)
3. 如果用實證、後實證等派典,研究有甚麼樣的可能性? 設計符合 participatory paradigm 精神的研究探索。(present next week)
4. Create Critical views of this product.
John Cage's 4'33"

2017年9月12日 星期二

week 1. introduction to paradigms

1. 社會科學的理路。(圖 1-1 主要典範基本信念)


2. Guba, E.G., & Lincoln, Y.S., Competing Paradigms in Qualitative Research

3. Heron, J., & Reason, P. (1997). A Participatory Inquiry Paradigm. Qualitative Inquiry, 3(3), 274-294

1. What is "Participatory Design" in your impression?
2. What is Participatory Paradigm? (reading and discuss next week)
3. Participatory 派典與其他派典最大的不同為何?
4. What is Critical Design?

Dunne & Raby
Michael Stallings make it critical card deck

1. 規劃台灣老產品(超過三十年以上,現在還在架上)的研究。
2. 先到賣場拍攝老產品,注意其周圍脈絡還有其他哪些產品。(Fieldwork, present next week)
3. 如果用實證、後實證等派典,研究有甚麼樣的可能性? 設計符合 participatory paradigm 精神的研究探索。
4. Create Critical views of this product.

60 % Projects and reports
40 % homework presentation and discussions

2016年6月12日 星期日

week 17. final week

student presentation (Hertzian Tales) III

final report:
1000 字心得。
Deadline: June 22, 2016.