2013年10月31日 星期四

批判互動設計作業03 / M10121023 /崔曉玲

Slow Technology-little printer

In this rapid changing society, sometimes we may lose our mental desire - memory, peace,and dreamland. In recent years, “LOHAS”(Lifestyles Of Health And Sustainability) life have already been the new life style in Taiwan. We want not only healthy body, but also fulfilling mental.

Although it is convenient for us to save our photos on mobile devices(smart phone, iPad and laptop), we still need to preserve our precious or memorial photos by printing out. We could paste these photos on our memos, notebooks and even everywhere in our daily life.

Here, we talk about the “Little Printer”. Little Printer is a new delightful web-connected printer to our life. It can share your details with trusted friends to receive their pictures and messages. We could also edit the forum of the pictures and put on some cute cartoons, and then print on the  strip paper.

By using Little Printer, life can be connected by slow technology and memories. Almost everyone enjoy recalling the memories or happiness by photos. Despite we can storage these photos into our computer hard disk, we still prfer to collect some of them into our album. We can always share with our parents, children and good friends.


Although we are now living in the fast growing society, everything we need very effective. But, in my opinion, slow technology is indispensable for our mental life. We could choose our life with fast or slow technology in different ways. Life with fast technology saving our time; with slow technology living with time.

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.



2013年10月29日 星期二

批判互動設計作業05 / D10010301 / 莊偉銘

The Discourse on Gelatine (Drafted by Chung, Wei-Ming)

Gelatine, an artifact which is designed as a hybrid tool for facilitating shared encounters, provides co-workers with personal profile of other ones in the co-working space. Those profiles, including personal skills, interest, and working location, are randomly printed by a thermal printer for people who use the member card with RFID tag to check-in through actively touching a checkin-point at the entrance or some specific social locations. Besides, Gelatine has four modules to enable users to edit their profiles anytime and plays a social role in collaboration spaces by delivering your personal information to any other ones accidently. 


To evaluate the contribution of this artefact, we follow the research through design (RtD) approach to do research through four lens, including process, invention, relevance, and extensibility, presented by Zimmerman (2007). RtD allows interaction designers to make contributions based on their ability of materialization; furthermore, this approach stresses the artifact as research outcomes to transform the world to a better state. The process of designing Gelatine, including draft of an ambient information system, and use scenario, as described in Bilandzic’s publications are discussed in detail for future study. In addition, it provides significant inventions that provide the HCI community with guidance on how to build embodied media into a hybrid space. First, the design team generated a working prototype that integrated ‘Cozmoslab’s Profile Builder Pro’ to keep track of user’s checkin timeline. The second module is ‘checkin point’ that can identify RFID membership card through a microcontroller with connection capabilities. To aesthetically display the real-time status, the ‘visualisations’ are created in ‘Processing’ for word clouds. The final module is ‘Sparkfun thermal printer’ that fetches the RSS feed and prints out the personal profile of the most recent checkin. Therefore, in terms of the prototype they presented, interaction design researchers will see an example of how to harmoniously integrate technology into our social life. In the designing process, the design team has the sense of relevance about how design inventions enable co-workers to get cooperation opportunity implicitly. Moreover, they formulate extensibility to HCI community through documenting the literature review, interviewing the user and designing the artifact. This design research will be a significant resource for stimulating new embodied interaction in collaborative spaces in the future.



批判設計 作業伍 /M10110302林秉毅

批判設計 作業伍 /M10110302林秉毅
<Process>
Punching the clock in general process
1.      Enter office room
2.      Punch in
3.      Punch out
4.      Leave office room
This process’s purpose determines whether you are on time or not. And count the number of hour you work. Let boss knows if you are punctual or not. But in this project add one item.
5.      Produce a thermosensitive paper which record your short introduce.
Then people can get this paper not just for boss to know you. Make friend or To know someone often through the social network, introduction by himself, taking.
This item reduces uncertainty. Rise the efficiency.
<Invention>
There are sensor, user card, the Thermosensitive printer and user info database. All technique are low and familiar. Thermosensitive paper often applies to cash register and credit card terminal. Photo , ticket and fax also use thermosensitive paper.  This technique’s advantage is quick at print. It just like a note. Record something of price, name and deadline. When you come back home you can base those info to what they buy and spend. Now, change from product info to people’s background. You can pose in your notebook help you know strange colleague.
<Relevance>
When you want to know someone, you must have talk. In this conversation, there is lots of question. For example:
What is your interesting?
What is your favorite?
Where are you coming from?
We use questions to understand strange people. Sometimes we probably ask wrong question. It will make the other one angry, unhappy. We need time to carefully observe the man what you want to know. Then choose the correct question or good subjects of a talk which will come into notice. You may shy or embarrassed. But in this project, people know the other people become straight. We can know each other quickly. If you like each other is decide in the first when you got the paper.
<Extensibility>
People describe themselves by writing. Sometimes is not real. “To Know someone” or “To make friend” like consumption. This project limits people’s style because continually repeat produce. It is a cold interaction like search name on Google.

2013年10月28日 星期一

week 8. the three paradigms of HCI


The Three Paradigms of HCI
1. 1st paradigm: engineering/human factors
2. 2nd paradigm: cognitive science
3. 3rd paradigm: phenomenological matrix:
       "...addressing issues that are bad fits to prior paradigms, ranging from embodiment to situated meaning to values and social issues."

"These include participatory
design, value-sensitive design, user experience
design, ethnomethodology, embodied interaction, interaction
analysis, and critical design." (p. 2)

"a third (“3rd”) paradigm, which treats interaction not as a
form of information processing but as a form of meaning
making in which the artifact and its context at all
levels are mutually defining and subject to multiple interpretations." (p. 2)

強行將舊的 paradigm 套用到 HCI 的後果:
 "when force-fitting new insights to old paradigms
CHI fails to capitalize on the full value of these approaches." (p. 3)

 沒有清楚的認識論, 會限制 HCI 的發展:
"(3) the lack of clarity about the
epistemological distinctions between paradigms is a
limiting factor in the development of the field,..." (p. 3)

Thomas Kuhn's theory of the structure of scientific revolutions:
"A paradigm shift, then, is accompanied by a shift
in the examples which are considered to be central to
the field." (p. 3)

"In particular, Agre argues, following a long line of research
in scientific metaphor, that technical fields tend
to be structured around particular metaphors which
suggest the questions that are interesting to ask and
methods for arriving at answers to them. So, for example,
the metaphor underlying cognitive science –
that human minds are like information processors –
suggests questions it could be interesting to ask - how
humans process their input, how they represent information
internally, how they access memory, etc. - and
also suggests methods for finding answers to those
questions, for example that we can effectively model
human mental activity using computational code and
validate these models by comparing computational and
human input and output."  (p. 4)

"Following Agre, we argue that central to each paradigm
in HCI is a different metaphor of interaction. Each such
metaphor introduces ‘centers’ and ‘margins’ that drive
choices about what methods are appropriate for studying
and designing interaction and for how knowledge
claims about interaction can be validated." (p. 4)

為何 usability study 對 non-task-oriented interaction 無效?
"A fourth set of issues arises out of the domain of nontask-
oriented computing. These approaches tend to
be bad fits to the 1st and 2nd paradigms, whose methods
tend to require problems to be formalized and expressed
in terms of tasks, goals and efficiency - precisely
what non-task-oriented approaches are intended
to question. It is difficult, for example, to apply usability
studies to ambient interfaces, since standard
evaluation techniques are ‘task-focused’ in the sense of
asking users to pay attention to and evaluate the interface,
precisely what the system is devised to avoid." (p. 4)

Embodiment 在三種 paradigms 的角色:
1. In human factors, attention is paid to such factors as the fit of a mouse to the human hand or the amenability of particular font sizes to be easily read.
2. Cognitively based work in HCI has laid out physical constraints that usefully inform interface
design such as the speed at which humans are able to react in various situations.
3. Embodiment in the 3rd paradigm is based on a different, central stance drawing on phenomenology: that the way in which we come to understand the world, ourselves, and interaction derives crucially from our location in a physical and social world as embodied actors.

"A focus on embodied interaction
moves from the 2nd paradigm idea that thinking is
cognitive, abstract, and information-based to one
where thinking is also achieved through doing things in
the world, for example expression through gestures,
learning through manipulation, or thinking through
building prototypes." (p. 7)

3rd paradigm 的 中心是 現象學觀點, 而非物理的體現性:
"Despite the centrality of embodied interaction to the 3rd
paradigm, it would be a mistake to take physical embodiment
– i.e. having a body - as its central, defining
characteristic. Rather, what is central is a phenomenological
viewpoint, in which all action, interaction, and

knowledge is seen as embodied in situated human actors.
This position leads to a number of intellectual
commitments that contrast with those taken by the first
two paradigms."  (p. 7)

意義在三種 paradigms 中的角色:
"meaning, ignoring it unless it causes a problem, while
the 2nd interprets meaning in terms of information
flows. The 3rd paradigm, in contrast, sees meaning and
meaning construction as a central focus. It adopts the
stance that meaning is constructed on the fly, often
collaboratively, by people in specific contexts and
situations, and therefore that interaction itself is an
essential element in meaning construction."

3rd paradigm 的 central metaphor:
" ...whose central metaphor is interaction
as phenomenologically situated." (p. 9)

1st paradigm: reduce error
2nd paradigm: more efficiently
3rd paradigm: situated meaning-making


Different Ways of Knowing


"The three issues described previously – limited and inappropriate measures of success, acceptable methods,
and recognition of innovation – can be traced to a lack of awareness of the epistemological distinctions between the paradigms,..."

see Table 2: Epistemological distinctions between the paradigms

Objective vs. Subjective Knowledge
Generalized vs. Situated Knowledge
Information vs. Interpretation
“Clean” vs. “Messy” Formalisms


所有的 paper 都應該交代 underlying paradigms:
"We would expect that calling out the underlying paradigm
will become a standard part of every publication
in our field." (p. 17)


參考:
互動設計派典浪潮
互動設計第三派典的角色與必要性

EX 6. short essay
Critically introduce "InTouch" project with three paradigms respectively. (including 1st, 2nd, 3rd paradigms, at least 500 words in total)

Reference:


Deadline 2013/11/13



2013年10月23日 星期三

批判互動設計作業03 / E10210005 / 胡菁菁

As many kinds of technology are increasingly woven into the fabric of our life, we become more and more busy because of the conveniences and efficiency that technology brings to us. And it leads a problem that we have no time to make deep contemplation and reflection about ourselves. Concerning this situation, Hallnäs and Redström raised slow technology aimed at reflection and moments of mental rest rather than efficiency in performance. The photobox is a good example of slow technology.

Photobox is to use simplicity in material in combination with complexity of form. It tries to provoke people to re-think about some memories in the past by a simply way, printing randomly selected photos from user’s Flickr. Because of uncertainty in time and photo, this slowness of appearance can give people a short break to think about the things that they left behind or bring them some special feeling. It amplifies the presence of old memories. We can find that Photobox doesn’t focus on more efficient system of science and technology, but on having emotional resonance through simply material.

Different from photobox, Little Printer (by Burgcloud) uses an opposite form from photobox, quick and efficiency. It prints information that you want immediately by connecting the Internet. Little Printer represents a form of design that focus on conveniences and efficiency.


I think we couldn’t say what kind of design philosophy is better exactly, because they aim at different purpose. Both of them give us a direction for reflection of further design, and lead us to consider about different kinds of design forms and design philosophy.

2013年10月22日 星期二

批判互動設計作業03 / M10210118 / 王柏皓

As the growing technology wove into the fabric of everyday life, efficiency has become a great concern that current technology are seeking for. With such fast technologies, people are left with no time to experience the beautiful world and not able to reflect on important living experiences.

Rather than reinforcing on creating fast and efficient tools, Hallnäs and Redström presented Slow Technology in 2001 which aimed at reflection and moments of mental rest.

Memories emerge when we look at pictures. For the improving technologies, people tend to store photos in computer hard drives, on personal cloud accounts, but seldom have chances to review them. Photobox, on the contrary, recreates those “small but valuable” moments by printing out photos from owner’s Flickr account randomly and occasionally, leading people to review and reflect on the precious moment.

Little printer(by burgcloud) addresses another direction of giving form to digital informations. After subscribing from a wild range of “publications”, news headlines, to-do lists, puzzles, pictures, and even messages from your friends, Little printer will then gather them together to create a timely, beautiful miniature newspaper for you. 


Compare to the photos from Photobox that can be regarded as a collection of owner’s memory, Little printer provides informations for people’s daily consumption, where the material used in both products also representing the difference of these two designs.

批判互動設計作業04 D10010202 李婉貞/D10110103 陳俊中

Twins 批判對話

Twins 像手語,一種造型上的隱喻,對應創造亮光的模式。
不同空間下,不經意地連結人與人,
衍生具暗示性的對話,曖昧的、神秘的、欲言又止,
製造一種語言遊戲。
物件必須透過“用”才產生其意義與美感,
而此作品藉由同時使用兩物件,則產生更多趣味性。
因使用的人不同,產生不同可能性。
像是協奏曲,一種對句、一種回聲,或共鳴,
從日常作息的生活節奏中尋找合拍,
或偶然地巧遇,進而共創心靈的風景。
藉由燈的中介,遠距傳遞,感受存在與陪伴的溫暖。
此燈具設計形成一種雙生般的心有靈犀,
從暗示的微光,創造共同的經驗,
猶如仰望同一星空下的月亮一般,
創造機遇的故事,產生一種日常遐想或回憶。(婉貞)


互動有趣在於必需透過實際使用才發生的ㄧ種不確定性,你無法完全預期人們如何與
物品發生關係,說明書通常是在發生災難之後才有作用,最好的方法是透過設計來建
立物品本身強壯的溝通基礎。twins 讓光源與形式產生連結,人與光的互動透過物品
不同擺置形式變化,產生有意義的連結。
包含0階段的平置關閉模式、1階段高置最大照度閱讀模式、2階段低置低照度環繞
光模式、3階段向下置床邊模式,都與生活中對光源的使用習慣相符。不同於ㄧ般多
功能燈具,人與光的互動在於開關鍵的切換,對於0、1、2、3段的切換光源照明
對人的生活之間並沒有意義上的連結,人必需透過試誤try and error 或強迫記憶來發
生互動。(俊中)

或許不是必須透過試誤,而是容許試誤,甚至歡迎試誤。
發生互動是一種過程,在開關或切換光照模式之間,亦是使用的一部分,
因此完成照度模式的設置並非終點,而是包含「轉換之間」,
讓人與燈的關係形成一種相處,
創造與燈一起做某事的方式,而非使用燈(作為一個工具)來完成某事。
閱讀與休息之間,製造一種氛圍的流轉,如一場人與燈的日常互動演出,
切換它並不是為了換幕,而是一切正在上演,
它也必須包含所有的互動和人對它的想像與思考,才使其完整。
因此,帶著樂趣和遊玩的心情,
記憶不須强迫,它是從過程中自然而生,並邀請你和它一起“發現”更多。(婉貞)


錯誤當然也是互動的ㄧ種,重點在於人類賦予產品越來越強大功能同時,人類也越常
迷失在按鍵與功能選單之中,必需自問:找不到的功能還算功能嗎?每次都按錯功能
使用是人或產品有問題?使用者面對早被設定好層層疊疊操作模式,只能放棄或服從,
產品功能的服務轉而奴役使用者。twins 把功能聯結在使用的開放形式上,創造ㄧ種
更親切與詩意的互動,思考從原本使用經驗中再創新的使用經驗。當然,燈具只是運
用光源的必要存在,如同所說光的開展照亮下ㄧ幕演出,從互動而非操控中得到的必
有更多樂趣。(俊中)


批判互動設計作業04 / M10210302 + M10210308 / 林浩翔 + 陳敬恆


林浩翔:
twins這個東西有兩個目的性,(1) 增加人際關係互動 (2) 多元的機能,意圖以隱諱的外型( form ) 製造各種機能 ( funtion ) 的可能性;


陳敬恆:
其實我覺得這的確是一個治癒人心的好產品,在生活當中確實是可以觀察到人對於“陪伴”的需求和依賴性。不說別的,單舉“上廁所都要手牽手一起去”這件事情,不得不說我們真是不甘寂寞的動物。


林浩翔:
可是一起做什麼這件事,在twins這個作品中我認為是比較弱的,因為它無形中有一個淺規則:「我必須遵守設計師所預設的使用方法,才能傳達出我的使用狀態」,可是它的外形又很隱諱,造成會有種「其實要怎麼用,用在哪都可以啦」的感覺,因為我平常是不喜歡看說明書的人。

陳敬恆:
關於這一點我覺得滿認同的,確實這個設計還滿矛盾的,假設這個設計是希望讓使用者自然的去隨著自己的習慣和想法使用,但我看不到他的開放性,畢竟產品本身有一套確實的遊戲規則在裡面,透過摸索我們自然會回到那個規則上。假設這個設計是讓使用者透過規則來達成設計本身的目的的話,確實整體又太過隱諱了一些,而且很麻煩的是我們還必須去學習它的規則才能夠順利使用。


林浩翔:
所以意思是說:這作品"預設"了一個可以被摸索出來,甚至是先定義好的規則,但外型又保留了一定的隱晦程度,沒有很明確的傳達出來,這其實是矛盾的。是嗎老皮?


陳敬恆:
大致上就是這樣了阿寶。


林浩翔:
我認同,因為我看到影片的第一個想法就是「一定要這樣用嗎?」,不過相對來說這樣的作法其實保留了很多的開放性,是不是有可能增加了二次對話的可能?比方說因為對於對方的投射而去彩繪木頭外框、或是分享不同的使用方法;而藉由這樣的過程,使雙方的互動能更為深入,使得這個作品本身其實變成了一個開始。


陳敬恆:
也許我們還得再考慮一個“時間”的面向還有使用的對象,如果今天是一對情侶在使用這樣的裝置時,我覺得應該會產生強大的共鳴,這個東西除了能夠溝通之外,是不是也會成為一個感情的寄託,長時間的使用我想一定會產生某種程度的情感,然後使用者會自行在上面製造意義,這樣的狀況下確實會讓人產生新的溝通語言和使用方式。


林浩翔:
所以其實我們可以透過這樣的思考邏輯,去檢視身邊習以為常的物件,重新思考它的形狀跟功能,並予以再設計。工業時代的形隨機轉 ( form follow function ) 已經不再是設計師要思考的層面,之前的工業設計師處理這個已經太出色了,應該是再退一步,思考設計物本身與環境、行為、使用者之間的對話關係與在長時間下的發展性。

批判互動設計作業03 /B9934001 /林季樺

On contrary to modern appliances which set to be ‘always on, updating and available’, Photobox intends to be the opposite. Random photos from the user’s flickr gallery printed out at random time do exclude any intervention from the user; that is to say, the box works on its own to decide which and when to print, taking no account of user’s intention or  preference. Moreover, all equipment associated with high technology is hidden in an antique writing box, which aims at reminding users of a ‘non-digital cherished thing’ to distinguish itself from so-called ‘contemporary technology’ not only by its self-independence but by its outlook as well. Also, in technology aspect, Photobox points out an intriguing fact that, having an urge to produce to a product that expected to react without delay, duration of time can only be set in the unit of millisecond in programming environment. This fact can be so trivial but just critical enough to provoke further discussion and reflection.


Despite on the same call of making digital photo material, little printer is not quite the same. Instead of preserving photos as collection, little printer does it more to be image consumption. In contrary to Photobox, little printer needs user’s active intervention. It allows user to select what and when to print via virtual and physical interface; then all selected information inclusive of photos and texts are printed out by a thermal printer, whose print is less durable than what the Photobox produces. Besides, unlike the antique outlook of the Photobox, little printer tends to announce itself as a modern device or appliance with a definitely modern outlook with clean line of minimalism.

批判互動設計作業04 / b9934009 / 汪庭安 / B9934031 / 周雅涵

function

周:這個燈最特別的點是與他人的連結這件事,因為其他功能有其他性能更好的燈可以做到。

汪:也就是情感價值大於功能價值,也可以說就此燈而言功能就是可以知道對方的狀態,一個使用的心理狀態。

周:它不是用最優化的性能去界定其價值。更重要的是彼此一起使用的感覺,而不是個別時使用的功能優劣。

material

周:燈是大家非常熟悉的產品,也就是simple material,感覺反而很難設計。

汪:燈雖然有很多人做過很多案例,可是作為表達情感的媒介而言是容易創作的,如果使用更具功能性的工具來設計,工具的功能也許會與要表達的東西相衝,或造成害處,燈則不會。

周:這個設計之所以會用燈作為媒材可能是因為燈可以了解對方的狀態,因為燈存在於生活之中,切換燈的動作等同於切換生活的狀態,式其他產品較難表達的。

汪:讓我想到可口可樂的乾杯杯也是存在生活之中的物件,但也同樣用以燈來表達,因為燈光是很好表達情感的媒介,燈的顏色、亮度、情感可以造成不同的expression。

form

汪:這個形狀的產生,我覺得他應該是根據光線的角度切了那些斜面,然後後來我們自己覺得他是一隻鳥。

周:嗯,看到他的操作影片讓我想到,比如說在睡覺的時候你可能不想要夜燈你想要把它關掉,可是你為了讓對方知道所以你開了夜燈,因此在使用這個產品的時候也不一定是你自己要使用的功能,感覺也是你要跟對方說的你的狀態,因此也不能就把它關掉。

汪:關掉感覺像是不想要對方知道自己這邊的狀態。

周:那轉的這個動作呢?感覺比較像是用形狀的改變而不是一般燈的切換來切換..用形狀來判別,而且這樣用手倒來倒去感覺比較有互動。

汪:如果他不是現在這個有點像鳥的形狀,而是一個..例如說四方形,就不會有那個感覺了。雖然一樣用倒來倒去切換也是有互動,但跟直接按按鈕切換好像就也沒有差那麼多的樣子。他之所以用這樣的形式要配合這樣的形狀,是為了更好地傳達情感給使用者。

汪:他讓對方知道自己狀態的方式,不是刻意的去做一件多的事情,例如說傳個簡訊或fb說"我在看這本書",而是,他只需要做他本來要做的事:閱讀時需要開燈,他整個使用過程是不著痕跡的。

周:而且人跟人真實相處的時候,很多時候也不是語言和文字的,而是一種在身邊的感覺。Twin有這樣的概念,單單只是知道對方的狀態,就有陪伴感。

汪:還有這樣也能給人一種想像空間,它不是告訴你"我在讀哈利波特"而是告訴你他在閱讀,我們就會開始想像他現在在哪裡,讀著什麼書,有著怎樣的心情等等。

周:如果沒有兩個人之間互動的功能,而是一個人獨自使用的話,其實燈是在什麼模式好像無所謂,可如果是兩人使用時,因為你知道對方會接收到你的狀態改變,即使是一人使用也會想著另外一個人。所以其實當一個人使用的時候也是兼顧著對方。


兩人小結:這個作品的目的就是要讓兩人之間有所聯結,所以也不能說他因為功能性的方面比較弱就說是沒有價值的,因為追求很功能性燈具的人就不會選擇這類的燈..因為他想要的功能性不是這個作品所想要達成的事情,而這個作品的價值是在於,他在互動的過程中以一種不著痕跡的方式達成讓兩人間有所聯結的目的,並且有情感的傳達跟一個美的情境。

批判互動設計作業04 /B9934001, B9934007 /林季樺, 張文韋


C:張文韋
L:林季樺



L:我想,Twins 旨在創造出一盞可以無時無刻陪伴你的燈,藉由它跟你在一起做什麼事情,也可以傳遞給其他人,讓其他人知道你在做什麼,達到連接。

C:所以它想要囊括所有燈可以做的事情。它隱含了一種意圖,透過這盞燈把兩個人的生活連接在一起,也有一種野心讓這盞燈成為陪著使用者一起生活的一個角色。但是成效也不一定啦。而且這四種功能的狀態好像也不能算是全部的生活,氣氛燈跟關掉其實也蠻像的,或是說有點曖昧。

C:然後另外一個我覺得令人困惑的是,燈擺放的姿態不是會影響到它發光的部位跟發光的模式嗎?可能是因為他造型的關係,很難直覺的知道他會從哪裡發光。

L:感覺要一遍一遍試誤才會知道,也可能沒辦法明確的確定。

C:還有就是它的姿態跟功能的聯結,並沒有很明白。

C:它可能多多少少有一點,但是沒有做得很明顯。功能裡面性格最強烈的是閱讀燈跟床頭燈,所以其實也可以選擇一個比較具象的方式,用兩個東西的典型來作造型,至少檯燈有一個蠻清楚的典型,床頭燈比較弱一點。

L:一開始就在想為什麼要用木頭材質,可能像是photo box一樣,想帶給人一點溫度,呼應陪伴這件事情。

C:木頭感覺真的是會留在身邊留久一點的東西。另外我也好奇它側躺下來會是什麼樣子。



L:就像你說的,閱讀燈跟床邊燈是最明顯的生活對應。就像是在告知別人我目前的狀態。對於一般學生來說,閱讀或看書可能會比較偏向工作性質,床邊燈、氣氛燈則表示休息。有點像是在 FB 打卡,用來表示現在的狀況,並希望別人也知道。不過無形之中好像也會給用另外一盞燈的一點壓力?不知道是好還是不好,可以一起激勵也可以是一種炫耀。

C:那你覺得 Good Night Lamp 就比較不會造成壓力嗎?

L:嗯,可能是因為不同主體吧?它畢竟是一盞靜態的燈,只有 on 跟 off。但 Twins 就不一樣,假設我現在在看書或者在睡覺,還是會注意到對方的狀態,有點像動態顯示,讓我覺得很麻煩。

C:似乎如此。而且這個互相顧慮的循環會不斷循環下去。

L:Good Night Lamp 基本上只會顯示我是醒著還是睡著,至於醒著做什麼,就不會揭露出來。可是若是像這盞燈的顯示形式,就會造成一種恐慌感,就像那種「我還沒有去做模型但你已經在做模型了」的緊張感。

C:因為它給你一個回應的管道。比方說晚安燈,它並沒有開一個回應的管道給你。因為其實他根本就不預期你要把自己那邊的燈也關掉。但 Twins 開啟了一個可回應的管道,會讓人感受壓力,是因為對方會知道你可以回應,他就會預期、期待你的回應。

L:而且還是兩個人之間的互動,會更有壓力。

C:如果跟社群網站來相比的話, 基本上它是用一種比較低調的方式在做兩人之間的連結與互動,

L:這不一定吧,社群網站上可以一次看到很多人的訊息,但你也可以決定要不要看。雖然比起用文字敘述,訊息可能用燈光表達會比較不具侵略性的,但還是有一定侵擾。但如果換一個角度來看,當訊息是文字的話,可以看一眼就算了而不去仔細看內容;燈的話,在熟悉它的運作後,就會直接理解它的意義,不論你想知道與否你都會知道。



C:你剛剛講的從閱讀、氣氛燈到睡覺,像是一種漸進,專注度上的漸層。不過我覺得造型跟功能的關聯度還是有點低。

L:閱讀燈的造型是可以理解的。可能應映了檯燈的理型,但是因為轉換的需求所以做了一些調整跟妥協。一般燈具不是 on 就是 off,也不會要帶著它離開原來的位置,就算是在小套房,從床頭拿到書桌也還是很奇怪。但 Twins 卻是期望你帶著它走。



C:那你會覺得翻轉這個動作它是有什麼聯結在裡面的嗎?譬如說我們在跟物件的互動中,翻轉這件事情有沒有在怎樣情境中發生?

L:翻轉會產生不一樣的樣貌,像是直立或是橫躺的兩個方向,讓他跟原來的樣子不一樣。多多少少會有呼應到它功能的地方,只是想不到翻轉的動作是從哪裡來,因為他不是一個你自然而然就能夠想到的與他互動的方式。

L:它感覺在功能的安排上也有去依照使用情境的時間順序,從關、打開、休息、打開的關係來看,鄰近的模式也有一定的相關性。不過沒有明講的話真的很難知道這些事情。也許沒有那麼明確點出,是想要讓使用者多花點時間跟它相處吧。

C:也可以這樣子講。它如果沒有一個明確的姿勢,表示它該站成什麼樣子的話,也可能是影射它其實可以用各式各樣的姿勢來站立。譬如說你剛剛講到站立跟躺著,氣氛燈就比較適合躺著,然後站著就是檯燈跟床邊燈。

L:不過我覺得床邊燈也可以是躺著,因為睡覺時人是躺著的。

C:也是,如要用漸進的方式來講的話,床邊燈好像應該要比氣氛燈還更像躺著。我覺得看起來閱讀燈跟床邊燈的姿態其實很像,都是比較像直立着,不知道他們的姿態有影射出什麼不同的意義。

L:像是關掉跟氣氛燈我也覺得不太好分。

C:讓我想到的是,一般設計都在追求「看了就知道怎麼用」、「形隨機能」之類的,給很多暗示、使用方式的指引。然後比較起來,像上課時候提的那些設計,會比較希望人跟物件有一段相處的時間,彼此交流、琢磨久一點。那應該要怎樣去判斷這類設計的好壞呢?應該也不會是一昧的增加困難度、增加互相相處需要的時間,怎樣去判斷這個需要花時間相處的設計是好的還是不好的。因為他也不可能變成一個簡單的原則,讓它變得越來越費解、越來越陌生。譬如說在講陌異化的時候,終究還是先需要一個熟悉的東西讓他踏進來,去抓那個陌生跟熟悉的比例吧。

C:其實講起來,我覺得這個作品沒有給我一個熟悉的指引。就像從它的命名來看,Twins是一個很大的重點,但 Twins表示對方狀態的方式是, 在對方光亮的那面,表示個小光點這樣。但光的位置就已經很難記了,面對這樣的變化,會不太知道該如何反應。

L:可能會追逐那個點把燈轉到跟對方一樣的位置?它有在暗示你可以這樣做。雖然沒有那麼明顯。


C: 不知道會不會造成某種強迫症,就是一定要對到跟對方一樣的位置。不過這就繞回去剛剛講的社交上的壓力了。

批判互動設計作業03 / B9934031 / 周雅涵

When more and more fast technology aim to take away time, slow technology try to provoke a different philosophy making time appear. Photobox is one of a design project try to practice this philosophy. It is a device which occasionally prints a randomly selects photo from the owner’s Flickr collection and attempts to be used in long period of time.
This device tries to raise reflections on how will digital photo collections be meaningfully experienced since they grow to such a size and scale and how will these archives be passed down. 
Photobox use a more durable paper print in contrast to digital files to discuss the way of store memory. In addition, it use randomness to introduce an unfamiliar machine behavior, making surprise for owner to discover the pastime memory. Furthermore, the artifact use the non-technology look material: an old wooden chest, to be a contrast and also try to evoke a sense of the warm qualities. distance the prototype from a contemporary ‘technology’.
Photobox create a form that a user could ’live with’. It intends to be ambient displays, which did not demand attention from its owner. Also, use simple material, such as a antique box as appearance, and difficult from, unexpected and unusual way to the users, to make people reflect the meaningful of technology. 


Little printer is another device that users can use app to print out the information of dairy life. Both Little printer and Photobox use print paper to contrast the digital from, give reflection on fast and huge digital data, and express it in aesthetic way, but they are different in the aspect of operation and slowness. Little printer require active participation to enact its function, while Photobox do not demand a conscious effort, and not even be controled by it's owner.  Photobox prints much more infrequently than Little printer as well as it's last much more time to experience than the other. That is, Photobox bring out a rare experience of slowness in time that seldom be presented  by normal technology device that even Little printer yet have this quality.

批判互動設計作業03 / B9934007 / 張文韋


     Photobox sparks a reflection of the relationship between people, objects and the social model today. With the materials, like wood and metal parts, and the old-look form, this work brings the feeling of precious and timeless, which also suggests photobox would ‘’live with’’ people in ‘’long period of time’’. Focusing in the interaction between photobox and people, we can find photobox is some kind of ‘’independent existence’’. Randomly ‘’choosing’’ photo to print and letting people need to ‘’check’’ rather than clearly ‘’displaying’’ the status both build the autonomy of object. However, there is still strong relationship between those two existences. Obviously, the database that photobox choosing from is people’s everyday photo gallery, Flickr. On the other side, people collect and display their photos with photobox. The interaction shows an admission and a relationship between ‘’live’’ object and people’s “life”.

      What’s more, with the material of photo, this work brings a critique of the social interaction from the past up to present. In the past, people took photos on special moments to memorize; in the present, people snap photos without much expectation. Photobox gives a chance to the snapped photos become meaningful. Photo is still a way to show one’s life, but the process of meaning giving, the context and the way of display have changed.

  Focusing on the interaction of photobox and little printer, we could find that photobox is an ‘’independent existence’’ and little printer is a kind of ‘’loyalty tool’’. The independent of photobox is implied by the random choosing of photos and working automatically and clandestinely. Comparatively speaking, little printer is a very passive tool.

  Although little printer lacks of independent, the form and graphic still make it more ‘’alive’’. Like photobox, it also tends to get a place of people’s life, but using different way, with different goal. Photobox focus on ‘’emotional relationship’’ between objects with people. It sparks a reflection of their everyday life and builds a stage of self-expression in an abstract way. On the other side, little printer plays in a ‘’functional role’’, which brings digital things into reality and makes information become more applicable, efficient and even more flexible. Because of this difference, photobox turns digital information into precious collections to reappear life and little printer turns digital information into easy scraps to involve life.

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



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 modesSilent, Reading, AmbientBedside),產生合理的印象連結,就會比較完整


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



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

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。


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


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?)
    燈光效果的自組可能?(客製化)
    可以傳遞一行字的簡短訊息給另一個人
當作ambient message
    更多人一起?
    跟樂器的結合?
    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。:)