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:





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批判互動設計作業06 / B9910102 / 邱顯雅

John McCarthy & Peter Wright

The first paradigm is to optimise the fit between humans and machines. 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.

The second paradigm, at the centre is a set of information processing phenomena or issues in computers and users such as 'how does information get in', 'what transformations does it undergo', 'how does it go out again', 'how can it be communicated efficiently' etc. 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.

The third paradigm is to treats interaction not as a form of information processing but as a form of meaning making. 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.

The Function of InTouch in first paradigm aspect aims to send and receive information more ergonomic with touching. Rather than pressing the button, touching the surface can accompany more emotional feels, which generally regard as the sense of touch. The main functional component of InTouch, 

Arduino, makes the interaction as man-machine coupling, which interprets and visualises the information of considerations into colour metaphor.

In second paradigm, a readable expression of communication is important,  and InTouch emphasises this point with colour metaphor; according to psychology, we usually take considerations and cares as warm, indifferences and ignorer as cold, which are also match the colour metaphor of red and blue. Not only a colourful lighting machine, the system preference also gradually transfers the colour light in a perceptional way, which means that the users must touch the surface for a while then the colour will finally turn, suggesting that the person who spends the little span of time to operate this system is with sincere feelings to you.

Not based on any other paradigm, third paradigm articulates multiple interpretations that give a rich sense of the site of interaction over single, objective description of it. InTouch, in 'zensign' theory - what you don't build is as important as what you do build, does not use the method that sends literal words as message, instead the system ask users to send your concerns in the method of aesthetic distance by two symbol lights, which compared with defined words can suggest more multiple meanings in different situations.

ergonomics 人因工程

palette 調色盤=多元

legitimate 合法性

pragmatic 實用 但不一定正確

ambiguity = 模糊

optimization = 優化

zensign = 山水畫-留白   遊戲-沒看到的東西最重要 ex; 氣氛、不確定感。   想像!!

information-processing metaphor

embody = 實現

experiential quality = 似曾相似的感覺

批判互動設計作業06 / M10210308 / 陳敬恆

The mode of communication has been changed by the convenience of information exchanges nowadays. We can connect with each other through many different ways, for example, besides using telephone, there are video calls and some social platforms or apps. Although telephone and video calls have already fulfilled people’s needs and desires of contacting with others, there are still many social platforms and apps flourishing. This phenomenon indicates that the needs of people still exist. People might just need a feeling of being accompanied rather than intentionally contacting, therefore products like “inTouch” are designed.

Analyse this work through The Three Paradigms of HCI

First of all, inTouch is a box which contacts people by internet. Through the changing of light colors indications, users can press the grids of box for feedback. This design has changed our previous habits of communication, such as words, voice, images… etc. and it meets one’s needs of accompanying feeling.

First paradigm

Compared with other social platforms, there are no any clear instructions on inTouch. Users might be confused while operating it. It is an ambiguous method to use light colors changes to signify the status of operation because user can not clearly determines whether the message has been sent out or not and even don't know whom they are contacting with.

Second paradigm

The square shape box divided into four small squares seems to be too functional and lacks the suggestion of accompaniment and connection.  The operation mode of "stabbing” is masculine and uncoordinated with a feminine feedback of light color changes. Comparing with the contact modes that use words and pictures, light color changes are more obscure, without emotions. The color change may become a fixed pattern of usage. It could become a game-like function in the end and ignore the importance of communication between people.

Third paradigm

inTouch is designed to be hanged on the wall. The converting light colors is used to have users aware that someone who is contacting. The goal of this design is to suggest the atmosphere of accompaniment. However, even if we first define the color should be conveying a  warm sense, according to past human experiences which red lights suggests the message of “warning”, it will not necessarily change one's feelings. According to the habits of people using other platforms, we can discover a state that people are obsessed with knowing others’ concerns towards themselves, for example, some people will constantly focus on their devices and repeatedly checking the social platforms or devices every few seconds. Thus, although inTouch is designed to be ambient, people will use it deliberately because of the human nature.

批判設計作業柒/M10110302林秉毅

各個觀點
Technology Perspective技術觀點
挑選句子	It is more important to extend the range of culture values, building on what is already understood, rather than illustrating it. 應該要去對已經存在的事物(技術)建構它的文化價值，而不是單純只是去描述說明這是一個什麼樣的技術
	The human factor “community”, who have developed a view of the electronic object, derived from computer science and cognitive psychology, that is extremely influential in the computer industry. 目前來說，人因工程被資訊工程與認知心理學影響很深，太過於技術導向與直覺化
	All problem whether of nature, human nature, or culture, are seen as technical problems capable of rational solution 不論是自然、人類、文化通通給他視為技術問題並且給他一個理性的回答，以價值中立的科學研究方式來探討社會與環境
關鍵字	Material Culture物質文化，為了滿足人類生存與發展所創造的物質產品及其表現的文化，這些物質就是文化的要素與景觀，像是建築、服飾、交通…等
	Instrumental rational工具理性:工具（手段）的有用性，從而追求事物的最大功效，為人的某種功利的實現服務。通過精確計算以達到最有效達至目的的理性,又叫“功效理性”或者說“效率理性”(工具也可將它看作技術/科技)
	Cognitive psychology探討人們對於訊息的刺激的反應行為，在設計上的應用則是讓使用上更直覺更快速，降低學習的時間
	Value-free價值中立，希望排除人的主觀價值觀(對於某種事實/現象/人/物的心理反應與行為取向)，目的是為了能夠還原事實的真貌，這套廣泛應用在科學研究上，行為主義則利用這種方式進行社會研究
人物	Jean Baudrillard法國社會學家哲學家，提出消費社會，在消費社會娛樂公式化、帶給人類感官刺激上的麻痺，變成說無法忍受重複的事物，鞏固消費社會必須透過刺激商品多樣性與包裝
	Paul Virilio法國文化理學論家，主要領域:建築、媒體、現代戰爭，核心概念是速度，現在處在一個accelerated culture加速度文化中，加速度越快，導致的災難就越徹體
	Don Norman’s The psychology of Everyday Thing設計心理學，談到的許多關於認知心理學與設計物的關聯
	Roy Ascott新媒體藝術的先驅，以藝術家與理論家的身分活躍在互動多媒體的藝術領域，他將控制與電信學引用到多媒體藝術創作中，其中他創了一個”Technoetics”詞，是指對藝術/科技/意識三者合而為一的探索與實踐
Semiotic Perspective符號學的觀點
挑選句子	Both at linguistic level and at the more general level of the study of consumerism. 符號學的兩個面向，語言與消費 Linguistic: objects can be written and read as visual signs. 在語言學上必須要能夠讀與寫 Consumerism: semiological analysis of objects as commodities has revealed their part in maintaining what Roland Barthes has called mythologies. 消費上則是商品必須去維持他們的神話
	Shift the emphasis on the analysis of the commodities away from the production of objects to the consumption of signs. 由注重產品本身(功用)改變去重視消費符號(符號價值)
	While the rise of semiotics in the 1960s was advantage in that it provided for the extension of linguistic research into other domains, any of which could be treated as a semiotic system 任何事物都可以把視為一種符號的系統
關鍵字	Mythologies神話學，神話是一種言談/傳播/訊息，在消費文化裡符號系統呈現的是被操控的內涵意義，像是廣告神話就是利用消費者所認識的外延符號上添加推銷商品的概念，也就是內涵意義，神話也牽涉到意識形態的操作，反映出神話所處的社會如何解釋規則以及價值觀與信念…等
	“For a critique of the political economy of the sign” 馬克思主義的政治經濟學，認為商品的價值指的是”物品能滿足人的某種需要與效用”，像是衣服能夠禦寒，是使用價值，實際上買衣服未必是為了禦寒，若買名牌這是為了彰顯地位，則是屬於符號價值
人物	Roland Barthes法國文學批評家/文學家/社會學家/哲學家/符號學家，許多著作對後現代主義影響很大，”作者已死”是他的著名口號，著有神話學，從符號建構程序的觀點，將消費文化所建構的視為一種神話系統的運作
	Baudrillard，法國哲學家/現代社會思想大師/後現代理論家，被譽為知識的恐怖主義者，提出符號經濟學批判，認為符號學者不該脫離政治與經濟
	Daniel Miller英國人類學家，主要研究物質文化與大眾消費
Design Perspective設計觀點
挑選句子	In the fluid world the permanent feature we need are no longer there as a matter of course, but are the result of our desire; the “solid side” in a fluid world, if and when it exists, will be the result of a design 人們期待一個卻切長存的事物在這個流動的世界裡，指的應該是一個經由設計產出的一個正確並且可以持續存在的物件
	We are lacking a discipline, perhaps an ‘’object ethology”, which allows us to analyse and systematize object and to formulate the rules and codes of their behavior. 我們缺泛一個規範學科允許我們去系統化/公式化/解碼物件們的行為，他們說不定會爆走
關鍵字	Design after Modernism後現代設計，現代主義以簡單、一致的方法去解決問題，低廉、簡單、功能，並且強調專家與技術認為這樣就可以解決所有問題，他忽略了個人需求、文化、審美、環境，後現代設計正是要滿足他所忽略的需求
人物	John Thackara後現代理論評論家，他認為我們這一代正在為過去一百年設計錯誤進行修正，無論任何事情都必須重新設計，去營造一個可持續的社會
	Ezio Manzini是可持續設計理念的先驅與學者，近期重視社會創新研究，現代社會需要一個有遠見的解決方案
相關資料
Literary Perspective 文學的觀點
挑選句子	The most fruitful reflection on material culture is to be found  not in anthropology or sociology, but in literature. 在物質文化裡面最具有反思力量的不是在社會學或者人類學而是在文學
	The best writing in this area blends anthropology, sociology and semiology to explore the irrational dimension of the material culture of everyday life. 在這領域最好的著作是融合人類學/社會學/符號學來去探索物質文化中的非理性或是感性的區塊
關鍵字	The poetics of Space空間詩學，空間並非填充物體的容器，而是人類意識的居所，被居住過的空間超越幾何學的空間，建築學是棲居的詩學，而不單只是一個盒子
	In praise of shadow阴翳礼赞，Junichiro Tanizaki的短文隨筆，阴翳之美是昏暗、曖昧之美，明暗之間的灰，並強調美不是孤立存在，是和周遭環境連繫在一起，相互影響襯托
人物	Gaston Bachelard法國科學家/哲學家/詩人，他試圖調和理性與經驗，他的哲學分兩部分，科學認識論與詩學想像理論
	Junichiro Tanizaki日本著名作家，曾入圍諾貝爾文學獎，著有長篇小說，春琴抄、細雪，是日本的唯美派大師

design approaches to the electronic
Packages
挑選句子	Commercial design’s approach to the electronic object has been to treat it as a package for electronic technology. 商業設計師要將電子元件視為一種包裝，這很不尋常，因為平常我們都將電子技術給藏起來 On one level the electronics provide decoration, while on another, their exposure signals a nonchalance toward technology. 將電子元件視為一個裝飾品，關心的不在只是他的技術它的用途，而是他的其他衍伸價值
物品	名字Radio in a bag/設計師Danil Weil
	1.The radio’s literal flexibility expresses the flexibile structural relationship between electronic components. 有極佳的彈性與韌性，可以在電子元件之間彎曲 2.Its transparency attempts to demystify the electronic object 透明，使得電子物件的神秘性消失，人們可以更接近電子物件 3.It take a play ful approach to package design. 以一個玩笑戲謔的手法去做包裝設計 4.lt liberate it from product semantic. 解放了產品原本語意上的形式
Fusion
挑選句子	The gap between the scale of electrons and object. 最大裂縫是在於物體與電子的尺寸，電子可以是軟體、元件、演算法、概念，變化十分大，較不容易融入生活裡，成為一個很自然而然的事物
物品	名字Clock/設計師Danil Weil(一個很大的transistor)
	1.      Its size is based on the largest circuit board. 選用最大的電路板，通常電晶體都必須極致的給他最小化，放大後更可以看清楚他的邏輯 2.      The circuit is composed visually and the wires linking the two main coomponents are made from dining forks. 他將電路板形象化，但是電晶體對外兩條連接線卻是用吃東西的叉子來替代，看起來怪異，卻是符合電子特性，利用是平常熟悉的事物
關鍵字	Smart material智慧型材料接受外界刺激或環境改變(壓力/濕度/溫度/酸鹼/磁場/電場)，在控制範圍內產生相當的變化

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.