DESIRE Summer School Liveblog Day 2

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The morning session

Balder, Stefan, and Erin

After a description of the three different projects and the approach they’ve taken, then a discussion of  how we tend to simply select the methods we’re familiar with that are part of our disciplinary training.  The example of Erin’s work with how poets are creative and then comparing that to the design process.  She shows some examples of a recorded session of a study and a transcript then we break into groups and talk about how we would analyze it.

The second morning session with Nigel Cross

The title is Understanding Design Cognition:
Case Study: Philippe Starke as written about by Lloyd and ? from Delft.
Alessi asks him to design a kitchen tool, then Phillipe goes to a small island off Italy and has dinner, the Primo Piatto has baby squid and he begins sketching the lemon squeezer progressively and over the course of the meal he goes through several stages.

We are able to get a more general idea of the process from this even if Starke does not describe it himself  it is something like Analogy, Evaluation, Improvement, Precedant (bringing in things from one’s past) then final product sketch.

Goel & ? (Neuroscientists) have a patient who’s an architect and they ask him to redesign an office space. Essentially he’s unable to complete this fairly simple task, for control they have a similarly trained and experienced architect who is able to do it. 2 90 minute sessions.

Protocol studies:
Design a new litter colection system for the dutch railways system. Again done with colleagues at Delft. They were familiar with the current system. People are brought in for 90 minute design session. They had a large file of information from which they could draw if they asked for. There were lots of stakeholders, the railways, the company that produced it, the janitors, and others as well. 9 experienced industrial designers. Their designs were then normalized in terms of how they were presented and then these designs were given to others to assess. These people were from the University and used to grading design concepts. Creativity, materials were all factors. The problem that emerged early was that of newspapers. This came from the survey of cleaners they identified this as a problem. It’s the largest ingredient of the litter (bulkiest). Fill up the bines, they are left behind on the seats. The railway company wants to be environmentally friendly.
All of the designers thought that separating the newspapers would be a good idea, they all thought that this was a good idea and no one else would have this. This is a good example of how it may be new to you, but it’s certainly not new to the world.
Designers tend to force some kind of pattern in the information like the example of the pixelated dog. This shows the co-evolution of the problem and solution space. You get a formulation of the problem that is partial then a partial solution then back to a developed problem structure then back to the solution and back again. A scatter plot of creativity v overall and they don’t always correlate.

From an analysis of think aloud protocol one researcher found the following activities.

  • Gather data
  • Assess value and vialifity of data
  • Identify constraints  and reqs
  • mofel behavbioud and environment
  • Define problems and possibilities
  • Generate partial solutions
  • Evaluate solutions
  • Assemble a coherent solution.

Then some scattergrams of some of the levels of some of these activities.  The solution-driven ones have more generate and the problem driven ones talk more about identifying.

The Role of Sketching in Design

Norman Foster sketch of the Gherkin and the restaurant at the top.

Jack howe says, “If I’m stuck I draw something.  Even it’s is silly I draw it.  The act of drawing seems to clarify my thoughts.”

Sketches of Leonardo Davinci, the sketch is not of the thing being designed but many aspects of it, possibly in rapid succession or simultaneously.  Today architects do similar things, James Sterling is an example used here with a page from his sketchbook.  Alvar Aalto is the next example with lots of different parts of it all in a big sheet. Frank Gehry is the next example, and there are two different kinds of sketches one that seems to include details, but the other is more of the overall form. Richard MacCormac and then Gordon Murray.  The drawing is a way of finding out what is good.

Sketches handle different levels of abstraction simultaneously.
Sketches enable identification and recall of relevant knowledge.
Sketches assist problem structuring through solution attempts.
Sketches promote the recognition of emergent features and properties.

What expert designers say about designing:

Santiago Calatrava
“To start with yhou see the thing in your mind and it doesn’t exist on paper, and then you start making simple sketches and organizing things, and then you start doing later after layer.
This is Design Thinking as Reflection.

Kenneth Grange
The designer’s job is to produce the unexpected. No brief of itselft…… you have to find the plums.

Design Thinking as opprtunitistic.

Richard MacCormac
I don’t think you can deisgn anything just by absorbving information and then hoping to synthesise it into a solution.
I or someone else will come up with an idea that seems powerful enough” then
Design thinking is an exploratory process, and as conjectural.

Geoffrey Harcourt
The solution I came up with wasn’t a solution to the problem at all.  But when the chair was actually put togetehr ina way it solved the problem quite well. but from a completely different point of view.

Design Thinking as emergent.

Ted Happold
I have perhaps one real talent, which is that i don’t mind at all living in the area of total uncertainty.
He was the chief engineer of Sydney Opera House and Pompideiu center.
Design Thinking as ambiguous.

Denys Lasdun

Design Thinking as appositional.  It doesn’t follow logically from what was said before, but it fits the solution.

Mies van der Rohe
The cleint wasn’t very happy at first. But then we smoked some good cigars and we frank some glasses of good rhine wine and he liked it.
He convinced the client over cigars and wine.
Design Thinking is rhetorical.

Expertise in problem solving

  • tackle the problem in the ‘easiest’ way
  • Accept teh problem rules
  • adopt standard problem representation
  • re-use previous solutions

Expertise in Design Thinking

  • Tackle the problem in a difficult way
  • Challenge problem rules (Murray)
  • Construct novel problem representation
  • Create new solutions from first principles.

Jean Bernard is asking a question about how sketches may be part of working memory, helping them remember things, Nigel says that yes, there has been some work on that, and sometimes it is and sometimes not.

Lunch, in the hotel restaurant

First afternoon session

Real-world studies of design cognition: using cognitive ethnography to understand design behavior

by Linden J Ball & Bo Christensen

Ethnography can be a useful thing for design research and this is from the cognitive science so-called cognitive ethnography, a term Linden coined about 10 years ago.  Reliability and validity is very different in this kind of ethnography.

Overview

1) Antropology and the origins of ethnography

2) Sociology and Ethnography

3) Ethnomethodology and ethnography

4) Ethnography as a ‘radial category’

5) Cognitive ethnography

Traditional Ethnography: what is it?

A form of investigative fieldwork and analysis: Malinowski was the prototypical example.  He was forced to live there initially alone, but then he got lonely enough to start interacting with them.  It involved immersive observation.  It invovled an analytic mentality in something that was “in situ”.

Sociologists from the 1940s-1970s adopted this same method, often studied smaller, disposessed groups, giving them a voice.  i.e. hell’s angels etc.

William Foote Whyte (1943) Street Corner Society is an example.

Garfinkle’s 1967 book critiqued ethnography, saying it misses the activities the “interactional what” of how/what groups do together.  John Hughes’ book “making work visible” is a good example.

Ethnomethodology and systems design

HCI and CSCW has taken up this kind of thing in the 80s and 90s.  Every grant that came through seemed to have a sociologist attached to the project doing ethnography, where this would produce requirements for the computational people could then turn into a system.  Bently et al’s air traffic controller study would be a prototypical example.

Linden’s paper “Putting ethnogaphy to work….. in the IJHCI.  The idea of a radial category from Lakoff is used.  What if enthnography is a radial category?   There are some prototypical characteristics of ethnography: situatedness, richness, participant autonomy, openness, personalization, reflexivity, self-reflection, intensity, independence, historicism.

Cognitive Ethnography identifies the following problems with traditional ethnography for design research: Intensity (You don’t have years, usually only weeks) independence (Whereas theories need to e tested and validated) non-verifiability.

This is importnat if you’re a congnitive psychologist, but I wonder how much this matters if you are not.  This doesn’t lessen the interest however for those that are, as well as knowing more about the history of it.

A cognitive ethnography of design re-use by ball & Omerod (2000).  Identifying the information unit of re-use.  This is a prototypical example of cognitive ethnography.

Stefan asks what about Ed Hutchins Cognition in the wild and his notion of cognitive ethnography, Linden says that there are similarities but perhaps his notion is a bit more laid out but they seem to be compatible.

Studying deisgn coginition int he real-world- combingin ethnography with protocol analysis.

Overview: 1) Studying design cognition in the real world 2) th in vivo methodology 3)DTRS7 4)The use of analogy in design 5) the use of mental simulation in design.

DTRS7 design meetings, 4 camera angles recording in situ real design meetings lasting 1-3 hours and then all materials are collected.  7 hours of total video and then segmentation by turn taking for a total of 3886 data points.

So what is in-vivo methodology? Dunbar 2000-2001, involves ethnography & Protocol Analysis (PA).  Finding and recording suitable real-world design situations, where natural design dialogue occurs., transscription, segmentation and coding along PA lines. No special instruction to ‘think aloud’ involved.

Quite often the amount of data is massive so you need to make selections of the data to code. Segmentation will depend on what is being studied.

So the advantages of in vivo are that it has ecological validity, the possibility of stdying cognition live in the real world etc. the disadvantages are that it may turn into a single case study, it takes a long time etc.

A coffee break then practical exercises with cognitive ethnography and in vivo methodologies.

DESIRE Summer School Day 1

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This is not a liveblog but a retrospective account of the first day.

Welcome by Joao Mota of University of Aveiro, the organizer of the Summer School.

The doctoral colloquium organized in an impromptu fashion as the original organizer was not able to make it was done by Balder & Stefan.  We all had a chance to present madness style (1-minute) our PhD work with a poster if we had one.  Stefan took pictures of each person, hopefully these will be available before the end of our time here.

We had a series of negotiation games, which I found very entertaining.  We put two words on opposite ends of a long space, and had to negotiate who we thought ought to be where.  The warm-up was A on one end and Z on the other and we had to line up by first name.  I happened to love that one as I’m very obviously always first.  Then we lined up with Art on one end and Engineering on the other, not nearly so cut and dried and lots of negotiation there.  One where it near and far was interesting and I was wrong.  It was near and far from Aveiro in relation to where you were born.  I was convinced since I was born in Washington state I was the farthest, some of the people from Brazil thought they were farther.  Our Chinese colleagues were there but didn’t speak up too much.  In the end I stood my ground, but it was our Chinese colleagues who should have gotten the far distance as it’s farther by almost 1000km.  And for the record Brazil is MUCH closer.

After a break we had a session with Nigel Cross who talked about Creative Cognition in Design.  Nigel studied with John Christopher Jones after a kind of winding course though engineering and architecture.  We jump into case studies from DTRS 2, the well-known data set that was analyzed by a number of different teams, then there was a symposium then a book was written.  It was very interesting to hear Nigel talk about the different ways the data can be viewed.  It was very good to see that all the different approaches from various disciplines were all respected.

Kudos to Nigel for taking short Q&A breaks throughout his time.  Some people did remark though that the presentation style was not very dynamic, and I tend to agree, but I was fairly enthralled since he’s such a well known figure.

Then case studies with a number of well known designers.  The story of Gordon Murray the F1 race car designer was intriguing as he had some kind of objective measure of success: he wins races.  He was given a set of rules that changed and it wasn’t about staying in the rules, but how can I satisfy them but get around them in some way too.  He also discussed Kenneth Grange, Richard MacCormac, Geoffrey Harcourt, Denys Lasdun, and Ludwig Mies van der Rohe.

In some ways the designer will make their job more difficult, by blowing up the conflict, making the problem more grand that it perhaps was to start, but then it makes the resolution even better.  There’s framing of the problem using first principles.

We then met soon for a long and winding bus ride with a few missed turns to a winery out in the country.  The champagne flowed very freely and all but a few of us were tipsy, of course I was one of the few choosing not to partake.  Along with the champagne (well it wasn’t properly champagne but a sparkling wine, but that is not too important I suppose) we had loads of appetizers.  Many different kinds coming around on trays.  There was so much so often we all ate quite a lot.  Not a lot of vegetarian choices and so a few had to suffer.  We then had  a tour of the winery and it was quite nice.  Then dinner we sat down to a table with 5 glasses 4 knives and 4 forks.  I quickly turned my wine glasses upside down and they were cleared away but there were all these different things for people to sample along with more appetizers, then a more formal starter which was fantastic.  A nice goat cheese wrapped in filo dough and then honey drizzled over it along with arugla in a nice local olive oil on the side.  We were all quite full when the main dish came out: a rather large fish dish presented in a tall rather large form.  Greens on the bottom, fish in a nice creamy sauce all topped with bread crumbs on the top.  I only got through 1/3 of mine, though a few people did manage all of it.  The dessert was a pinapple carppacio with fruit coulis and a ball of coconut ice cream.  It was very artistic looking but really not the best.  We stayed at the tables for a time and some of us were restless to leave as it was after midnight.  We got people to start standing up and soon we were on our way back in the bus.  Hilarious conversations of vegetarianism and what that meant and why some people and the atrocity that is food production in America was discussed along with people that smelled of horses and cigarette smoke.  Yes it was bizarre and I have no idea how much of it came up.  We arrived back at the hotel not too much before 1am.  The LONGEST dinner of my life by far.

DIS 2010 Day 3 Liveblog

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Yvonne is taking the stage, thanking the organizers for inviting me.  Yvonne was worried about using her old power point so Richie Hazlewood helped with the slides.  There will be no pictures of slides yet.

A History of Turns

A turn to the social, to the home, to design, turn to emotion, and a turn to fun.  We need to take into social and not the cognitive.  It is legitimate to say we’re going to study how we put technology in the home, the work at Intel for example.  In the turn to design she cites Terry Winograd and others.  She credits Norman with the turn to emotion among others.

A turn to the wild.  DOing THINGS in the real world from the lab to the outdoors, made at least partially possible by ubicomp technologies.  Putting sensors outdoors and see how people use them.  It’s expensive and messy and unpredictable.  Why go wild? make a big differfence. 1) Creating something novel 2) Invading the real worlds 3) changing people’s behavior 4) Exploring what ie means to be human.  Yvonne wants people to go out and make a difference and in order do that she says we need to get out of the lab and do things that are not just incremental.

The Hunting of the Snark from DIS 02 Two research aesthetics technology inspriation and ludic engineering in the equator project between sussex, Bristol, and Nottingham universities.  It was to promote a playful learning experience based on the poem by Louis Carrol.  Explore physical and digital spaces by hunting this elusive creature.  Use a PDA to find things and then the digital found item is then something physical that was ‘food’ for the snark that they could use feed him and the snark would respond.  As they fed the snark they would capture its emotional response.  If the snark liked the food it would either be happy or unhappy and makes sounds.  Combining all these playful things together\, and because it was novel it made the kids question it, how it was done etc.

Invading real worlds. Cambridge Tourist Centre: enabling new group interactions which is an ongoing project.  This was based around an MS Surface.   Paul Marshall is the researcher doing.  He did an ethnographic study of groups that came to the visitor center.  What he found is that when the group goes in people go in for inspiration and one will go to the queue and the rest will kind of fan out and forage for some information.  Groups who go to the counter the encounter is often suboptimal in terms of who gets the information and the interaction.

So the assumptions of the project were there is a need for group planning tool.  They got an idea of who a typical group is, and based on the lab studies they had a good idea on how groups might collaborate.

So the solution since they weren’t designers they hired an Interaction Design, so they hired Matt Davies.  Aesthetics were very simple and easy to use.  When they showed it to MS Research they weren’t impressed because they weren’t taking advantage of the cool gestures or interactions of the surface, but to yvone and team that was the point.  There is an individual choosing phase where you pick cards of what you want to do and then there’s a group reviewing phase where you can see what everyone wants to do.  A plan is printed with a map, who wanted to do what etc.  The tourist centre was impressed however.  The local news did a piece on it and that is being shown now.  It’s a bit dark though.  There was quite a bit of coverage on it.  Paul then did an in the wild study.  It was an instant success with the staff, but the visitors didn’t go over to the site, so they had to provide signage and tweaking on the site.  They had to add cues as to where they needed to touch in order to start.  The amount of use varied.  They also discovered how wrong they were about their assumptions.  How people approach multitouch.  Often one person would join and the other brother won’t approach but will look on.  Slowly the second boy approaches after watching.  They also didn’t expect was that even strangers use it at the same time.  This guy is using it and another girl walks up and when the guy wants to print his map she gets a pop up saying are you ready and she keeps pressing no.  He swipes at the table and then leaves she then takes over.  Another thing is that often people don’t talk to each other as they use it, they are concentrating on the interaction.  They hardly ever got groups of 4 using it, but they did get a group of 2 who came and used it in just the way they had designed it to be used.  They had a donation box and they actually got quite a bit of money so Yvonne thinks that shows it may be economically viable.

Encouraging stair usage.

Richie is in central stage on the video showing how the carpets will subtly try to get you to take stairs.  There are a series of pressure pads in front of each elevator door and the start of each set of stairs.  Most people enjoyed the leds on the carpets, it made them smile.  The balloons were more vague though people didn’t realize what they would do or what they meant but there as a buzz about it.

There was conflict in the data, people reported some change in behavior, but not a lot, though there were some clear indications that the average changed after it was installed.  They don’t know for sure.

Next up is change, a collaboration between Open U and Goldsmiths w/Bill Gaver.  They are using the idea of social norms.  This is a powerful effect on behavior.  If the avg # of beers is 3 the person drinking 6 may reduce, but the person drinking less may increase, this is called the boomerang effect.  Household energy effect, householders were told what they were using and if it was more they decreased, and just the same the under increased, so instead they used happy and sad faces and this didn’t cause people to increase if they were doing well.

The Tidy Street Community

A cohesive neighborhood, but they didn’t want to have avg energy usage displayed publicly as it could be divisive.  Gaver didn’t like the idea either so theyh settled on using the national grid as a comparison instead.   There’s something like this called can I turn it on already.  So a kind of two dial approach is being used that is aesthetic and ambiguous but perhaps too ambiguous.

How do we inform our designs when changing people’s behavior.  Theory-based approaches may not be socially acceptable.. .and the slide wizzed by.

Why go wild? Explore what it is to be wild.  Extending sense, the e-sense project with Andy Clark, Hon Bird, Simon Holland, and Paul Marshall.  The final project is the question, a current project.  An immersive theatre experience for both the sighted and blind.  Maria Oshodi is the artistic director.  A haptic device directs people to oases of sound in a dark space.  Interesting differences in how different kinds of people used the performance.

Research in the wild, do it, it makes a difference even though it’s messy and expensive and unpredictable.

Paul Dourish is chairing this session and first up is John Zimmerman presenting for himself, Jodi Forlizzi, and Erik Stolterman on An Analysis and Critique of Research towards a formalization of a research approach.

Abstract: The field of HCI is experiencing a growing interest in Research through Design (RtD), a research approach that employs methods and processes from design practice as a legitimate method of inquiry. We are interested in expanding and formalizing this research approach, and understanding how knowledge, or theory, is generated from this type of design research. We conducted interviews with 12 leading HCI design researchers, asking them about design research, design theory, and RtD specifically. They were easily able to identify different types of design research and design theory from contemporary and historical design research efforts, and believed that RtD might be one of the most important contributions of design researchers to the larger research community. We further examined three historical RtD projects that were repeatedly mentioned in the interviews, and performed a critique of current RtD practices within the HCI research and interaction design communities. While our critique summarizes the problems, it also shows possible directions for further developments and refinements of the approach.

Research through design in HCI can be good as it’s holistic and designerly, it can deal with wicked problems, and more intentional constructors of a preferred future that is also possible.  The bad is that science and research is counted as equal.  There are breakdowns in the design research community.

Types of design research from Frayling: research into (on about) research for design, and research through design.

What is the intention of research, it may be connected to action research.  hrough Design: tThere is less agreement on whether it is scientific or not.  In general researchers choose methods that they know not what is best for the situtation (from Edmondson and McManus 2007).  Nascent and mature.  Nascent is when they do not know what phenomena are important, explore, theory as proposition.  Mature is increasing knowledge of a situation, works to investigate, condifm and refute.

Theory in HCI, in traditionally cog sci the thing must come before threory.  Moust then the theory of how hte mouse works.  So to see how this works they interviewed 12 leading IxD/HCI design researchers. Goals were to state of design research, design research and theory and what the challenges are.

Man he is moving fast, I justg can’t capture what is going on.

Frameworks, philoisophies, and implications for design.  When asked for cannonical examples they hesitated.  Maypole, Equator, and Designing Quality in Interaction were mentioned.  Beautiful things that can actually be put into the world.

A romantic view of design.  The genius designer is still alive in the HCI research community, there is a notion of design as a black art, something that will corrupt work.  There are not enough venues and there is no funding the NSF in the USA doesn’t fund this kind of thing.  There is poor service by design researchers, we need to review 10 papers for every one they submit.

We need a poper research methodology.  Better documentation of cases including evolution of and rational for the problem framing. Deatils on how outside theory is intefrated, agreement of types of problems Research through Design can best adress, agreement on what it means to be a high quality.  Not everyone agrees with this.

Q&A One person wanted to know who was interviewed, and we’re not going to say says John, but he characterizes it.

Bridging Designers’ Intentions to Outcomes with Constructivism by Kevin Muise & Ron Wakkary, Simon Fraser University
Abstract: This exploratory study investigates the value of constructivist theory for the field of interaction design. In this paper we explore how designer intentions and outcomes can be expressed in constructivist terms, and how constructivism can describe the relationship of design intentions to outcomes. This study’s findings point to the potential of an emerging constructivist framework. The authors present the findings of two case studies of designer intentions and outcomes from two museum design projects. The paper presents themes drawn from the analysis that include designing for personal experience, play, and social interaction.

How well do designers’ intentions connect with outcomes? How usefule is constructivism in describing the relationship between intentions and outcomes?  These are the two main questions.  Museums were used for this study.  Case Study 1: Kurio at Surrey Museum. Case 2: Bodywork2 in Vancouver.  MARVEL was used from Griffen et al 2005 to evaluate visitors experience.

Moving to the other session now I’m catching part of TTI Model: Model extracting individual’s curiosity level in urban spaces by Chihiro Sato, Shigeyuki Takeuchi, Takuo Imbe, Shuichi Ishibashi, Masahiko Inami, Masa Inakage, Naohito Okude, Keio University Graduate School of Media Design
Abstract:Recommendation systems have become widespread, however these systems only determine information inputted from the customers through a browser, and cannot be used when actually moving around outside. This paper presents TTI Model, a model extracting individual’s curiosity level in urban spaces on their spare time by collecting behavior data from sensors. It calculates person’s real time curiosity level by analyzing behavior depending on the walking speed within the city, such as window shopping or just hanging around by themselves. This paper evaluates this model with a sensor device prototype, and elaborates possibilities when understanding individuals in detail, by extracting the curiosity predicted from current behaviors using sensors.

By measuring how quickly people are walking in the Tokyo train station they get an indirect measure of curiosity.  They used a sensor in a nicely decorated brooch or something that can be attached to the wrist.  An interesting concept certainly.

Up now Human to Dancer Interaction: Designing for Embodied Performances in a Participatory Installation
by David A. Shamma, San Francisco, CA, USA at Yahoo Research, Renata M. Sheppard, Minneapolis, MN, USA Jürgen Scheible, University of Art and Design, Helsinki, Finland
Abstract: In this article we describe the creation and exhibit of a participatory installation performance. Graffiti Dance allows the audience to graffiti paint with light onto a building’s side and receive immediate local feedback from a set of dancers choreographed to respond to the movement on the public display. The installation is a holistic experience using a plurality of sources (syndicated news Images and Twitter) and local influences (from mobile uploads) that reflect our understanding of the world around us, how we speak out in public forums, and how we interpret the creative act. We present the results of the performance from the perspective of the audience and the dancers and present new directions for future performances.

A very cool and artful project!  I’m definitely going to go out and watch the videos of this one later today.  I loved that the dancers were able to interact with the audience, something that professional dancers don’t get to do normally.  It makes me think about how little interaction really happens in most traditional performance pieces.

Richie Hazlewood is up now after lunch with Bricolage and Consultation: A case study to inform the development of large-scale prototypes for HCI research. by
William Hazlewood, Indiana University at Bloomington
Nick Dalton, Open University
Yvonne Rogers, Open University
Paul Marshall, Open University
Susanna Hertrich, www.susannahertrich.com/
Abstract: We describe the many challenges faced when designing, implementing and embedding large-scale installations in a physical space, such as a building. A case study is presented of a distributed ambient display system intended to inform, lure and influence people when moving through the building. We outline the wide range of technical, user, aesthetic and practical aspects that need to be addressed; pointing out how many unpredictable problems can surface when going ‘big’, ‘physical’ and ‘out of the PC’, We argue that a different set of ‘non-user-centered’ processes are required. Furthermore, we suggest replacing iterative design – which is at the core of user centered approaches – with a ‘design-implementation’ approach that has more in common with the original Waterfall model, but with the new processes of bricolage and consultation added for progressing the design.

Big and outside the box, like the data fountain connected to the relative price of the dollar, euro, and yen and many others. DIY hardware platforms such as arduino and lilypad and fidgets are all examples. What does this involve? Not many people have studied what it takes to build such things. Normal UCD processes don’t necessarily work especially since iteration may not be possible due to cost involved with large concepts like this. Two skills that are necessary are bricolage (using materials that are at hand) and more poeple (bringing in other people into the process). More examples of large physical installations, and now the example of their project which is to motivate people to take the stairs. There are sensors at the entrance to elevators and on the stairs. There is a cloud or two different color balls with one color being stair climbers and another for those taking elevators. There are organic light patterns subtly encouraged people to take the stairs. The focus of this paper of course is on the process.

Consultation with outside people is the first.  Observation is the next phase, then bodystorming. Prototyping is next, looking at a number of different concepts may play out is what this may look like.  In this case they prototyped the clouds with mushrooms and tomatoes.  Doing this kind of thing quickly.  The next phase is shopping which can be painfully long, and involves going all over the internet and also many different stores.  Tinkering is the next phase.  Next is engineering, specifically physical engineering.  Next is calibration, and lastly is evaluating.

The process is descriptive, not prescriptive.  One person asks if there is ever failure in a project like this, when do you start to say it’s not worth it to keep throwing money at a project.  Richie says NEVER, they will always make it work.

Now I’m switching sessions so we have Do Emotions Matter in Creative Design? by Corina Sas & Chenyan Zhang, Lancaster University
Abstract: A wealth of research has suggested that emotions play a significant role in creative problem solving, but less work has focused on investigating their roles in design. This is surprising given that creative problem solving lies at the heart of the design process. In an exploratory study we interviewed 9 expert designers about their emotions during the design process. We identified several relevant emotions and extended Wallas model of creative problem solving with emotional components for each of its stages. We also identified ways in which expert designers regulate their emotions and concluded with a discussion of the contributions of our work for design methods and tools, design thinking and design expertise.

How do designers deal with their emotions during the various phases of design? A nice interview study.

That’s it for me today, thank you all for tuning in. Remember that corrections and comments are available.

DIS 2010 Day 2 Liveblog

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Sorry everyone I missed the morning session.  I got wrapped in conversations with people.

I’m in session A this morning. Up next is Intuino: An Authoring Tool for Supporting the Prototyping of Organic Interfaces by Akira Wakita, Keio University & Yuki Anezaki, Takram Design Engineering.
Abstract: Recently, organic interactive devices, inspired by shapes and movements of nature and living things, have been attracting attention. In order to implement such behavior, programming skills and mathematical knowledge are essential. Due to this, for the potential users of the devices, such as product designers, it is too hard to apply the attractive interfaces to their works. We propose Intuino, an authoring tool that can prototype behavior through time-line operations, spline drawing, or other visual PC operations. The system enables the designers to concentrate on their essential works of interaction design,i.e., selection of the sensor and actuator, and tuning of their operations. Through various practical examples and discussion about them, we will show that our tool can make the prototyping process stronger and can also be used as the tool for facilitation, debugging or creativity support.

A fantastic video presentation of this organic fabric covered  exhibition piece called Ephyra.  There were a number of hurdles in making the robot.  They used Arduino  with Intuino and now he’s showing a video of Intuino, which looks like the kind of arduino tool I’d need to use I’m not much of a programmer.  Really nice tool, highly recommendable, don’t know if it’s mac only or not.  There’s the answer, Intuino is an AIR application so platform agnostic.  A case study was conducted with 18 students who were stuying product and fashion design.  Now showing a student project by Arisa a flower that opens and blooms and releases a scent, created with arduino/intuino.  Several very nice examples, a therapeutic warmer moving eyes on sticker, a butterfly whose wings moved in an unusual way.  The tool helps with discovery via trial and error and debugging is much easier.

There was a socialization process of the tool.  Tools and activities were embedded into the workshop environment.  There were design workshops with crits, and weekly lectures.  Intuino will soon be available on the internet and they want to connect to MAX/MXP and others.  A good presentation, Q&A is quite good and it looks like they are connecting Intuino to several other platforms including Lego Mindstorm.  I’d love to see this kind of quick prototyping happen more at Philips Research.

Bosu: A Physical Programmable Design Tool for Transformability with Soft Mechanics byAmanda Parkes, Hiroshi Ishii.
Abstract: Physical transformability is emerging as an important element of interaction design as advances in material science and computational control give rise to new possibilities in actuated products and kinetic environments. However, this transition also produces a new range of design problems- how do we visualize, imagine, and design the physical processes of transformation? This paper presents Bosu, a design tool offering kinetic memory—the ability to record and play back motion in 3-D space—for soft materials. It is used for motion prototyping and digitally augmented form finding, combining dynamic modeling with coincident sensing and actuation to create transformable structures. Evaluation from a workshop with architects and interaction, product, and fashion designers is presented discussing the ramifications of physically programming motion with a new soft materiality, moving toward new ideas in body mimesis and material construction for kinetic design.

Why kinetic design? We should have physical kinetic interactions, things that people can really relate too.  Jodi Forlizzi’s study with the roomba is a good example of how peoples interactions were totally transformed by what she is calling kinetic design.  Approach offers kinetic memory the ability to record and play back motion in 3D space.

Stedman’s blanket project is a good example of organic and she showed a number of really great examples together of these kinds of things.  For Bosu they built several prototypes of how you can manipulate the form of the structure and then it plays back that physical manipulation.  Motion design workshops were split into inspirational sessions and building sessions.  Using a triagle part of Bosu she’s developed some fashion concepts.  These workshops were then evaluated.  It was a four day workshop with 11 participants, 6 male 5 female.  They were looking at how the design process would change when introduced to this new kind of design.

Fun video of a participant exploring physical space around the body, using the body as a pop-up book. Other participant videos this one by an architect.  So what are the problems with them? There isn’t a lot of availability of the pieces, and there were problems getting it all to work if you have 100s of actuators.  Coordinating the complexity of all of this was difficult, perhaps moving to a better tools such as Intuino may help.

Up now is LilyPad in the Wild: How Hardware’s Long Tail is Supporting New Engineering and Design Communities by Leah Buechley, MIT Media Lab & Benjamin Mako Hill, Massachusetts Institute of Technology
Abstract: This paper examines the distribution, adoption, and evolution of an open-source toolkit we developed called the LilyPad Arduino. We track the two-year history of the kit and its user community from the time the kit was commercially introduced, in October of 2007, to November of 2009. Using sales data, publicly available project documentation and surveys, we explore the relationship between the LilyPad and its adopters. We investigate the community of developers who has adopted the kit—paying special attention to gender—explore what people are building with it, describe how user feedback impacted the development of the kit and examine how and why people are contributing their own LilyPad-inspired tools back to the community. What emerges is a portrait of a new technology and a new engineering/design community in co-evolution.
Lillypad is an arduino module that lets you make soft sewn electronic or interactive products. It has been used in a lot of different applications, many fashion and art related but also sports and this bag that tells you what kind of line to knit next.
In the long tail of hobbies is where lillypad is compared to more popular things like Lego Mindstorm. Tinkering is for sure in the long tail. She’s exploring this community, who are these people, who’s buying the kits, and who’s building stuff. Is the community a new community? Or is this a community that existed and adopted the lillypad and is this different than other engineering communities etc.
Leah compared the lillypad community with the arduino community. She partnered with SparkFun who sells Lilly Pad. She was able to find out that lilypad users were skewed more towards women. They were only able to document things that were shown online. They hired Mechanical Turk people to collect all this stuff from the net. They then collected age, gender, nationality taken from online profiles harvested from places like flikr and others. Hilarious visual comparison of arduino v lilypad creations, WAY WAY different. So among these builder documenters the arduino is 86% male 2% female and then lilypad is 68% female. Oops sorry missed the rest, but here was a % that is unknown. Now she’s showing the % of people taking these technology and engineering degrees.
So there’s a simple solution, just make different kinds of tools. We are limiting our vision of the application of technology. The images of lilypad, she argues, show what we’re missing from our community, therefore it’s important and possible to do it. Not sure that I really understand or agree with her argument even if I agree with the intent of it.
I’m not really sure where she’s going with this but she’s showing a lot of modifications of lilypad that were made by users solving design problems and one of them is now officially available.
So what does this mean for the larger community of tinkerers and engineers. internet + software + hardware is being remixed just as all the purely digital stuff. Leah encourages the HCI community to study this kind of community as it’s understudied.
If you build it they will come, this has to do with putting tech into different contexts that they understand and relate to they will show up. We’re missing out if we don’t take advantage of that.

Sorry for no reports on the afternoon session we went and enjoyed the fantastic ARoS museum here in Aarhus.  Full liveblogs tomorrow.

Reflections for the day.  Networking is of course the most important part of any conferences.  I continue to meet great researchers doing interesting things.  A big thanks to all my fellow twitterers who helped me get the more used hashtag.  I enjoyed the physical prototyping session a great deal.  It’s interesting because I’ve never put anything together with arduino ever.   I’ve used some demos with them, but I didn’t construct them.  It’s all just very cool stuff and to see some of the communities that are springing up around it is intriguing.  The primacy of the lived experience seems to be coming up for me there.  I’ll blog more about that in the upcoming weeks.

Well the big party here at DIS2010 is happening so I’m going to get out there on the dance floor.

DIS 2010 liveblog Day 1

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Richard Coyne’s keynote has starte, in Architectural design there has been much reductionism via cartesian coordinate systems CAD, CAV (visualitzations) and CAM (manufacturing).  Even when working with meaning in design reductionism was present in goals and subgoals.  Romanaticism reacted against all that.

McCluhan in Richard’s opinion has made many overstated claims, but yet must be quoted.  Talking about the ear vs the eye and how the ear held sway.  Tribe v civilization.  There were still lots of ideas of disconnection and reduction.

What is it to be engaged in cultures of the ear.  In his work they’ve been playing with this idea.  A series of sound boxes.   The main point was the importance and value of looking at sound and understanding the antagonism that’s there.  There the4 (re)turn to the body. Embodiment and gesture among many others. McCluhan talks about sound and gesture.  The gestures according to Ingold is about thinking, embodied thinking.

Tuning as a sonic metaphor, this seems to be the big message here.  Sonic objets trouves, with teapots and cups with sensors.  The line between tweaking, calibrating, and performance was very blurry.  Richard calls that tuning, distuning, or playing around with tuning.

Tuning involves mechanical components, tolerance, adjestment, calibation.  These are all small repetitive invremental movements.  There is a lot of synchronization .  Mumford, who to some extent inspired McCluhan, talked about clocks.  Clocks don’t keep track of the hour but synchronizes the actions of men. (From technics and Civilizations he also goes into historical aspects like Roman water clocks etc).

Calibration is really key in science.  Gallileo talking about all the adjustments he had to make with his early equipment.  So as scince is so dependent on instruments, there is a lot of calibration.  Standardization implicates ideas of small adjustments and coming into alignment.  When we think about interaction design and in computer animation motion capture systems there has to be calibration between the sensors and the system.  In all of these sensor systems there is tuning and adjustments in all of this.

Now back to Vitruvius one of the first design theorists.  Proportions and keep coming up.  There is a word that keeps coming up is adjustment, and can be understood as tuning.  Adjustments for proportions and and other ways of adjusting things.

Tuning in the environment.  Mary Shafer wrote the tuning of the world, somewhat based on McCluhans idea of returning to the world of the ear.  The earth forms the body of an instrument across which strings are stretched and are tuned by a divine hand.  We need to find the secret of that tuning.

Heidegger talks about attunment in being and time (Stimmung) and Alfred Schutz talks about mututal tuning-in relationship.

Now we’re moving into what a metaphor is.  The relationship of  ’is’.  Metaphor and misclassification, this is a kind of mistuning.  Ricouer talks about this. Metaphorical truth and literal falsity.

Tuning as a metaphor is where Richard wants to go here.  The mobile device as theatre, globe, navigator, etc.  So mumford’s idea of clocks as syhcronization the mobile device as synchronizing and so we tune our interactions between ourtselves and the environemnt.

Vincente Rafael, the cell phone and the crowd, an essay about how demonstrations in the Philippines were facilitated by cell phones.   This is one example of technology and esp mobile devices tuned and synchronized.  They enabled estrangement, I’m not really sure what he means here.

This idea of practices, and how they change and are tuned with emerging micro pratices and short lived practices with emerging technologies.  Examples of phones in public environements with camera and how things come and go.  We try different things and try different things and tune.  Michael bull talks about ipod culture, creating a sonic bubble.  Using technology to mediate the environment and this is also a kind of tuning.

In museums people take pics with their phones because there is no flash, do this over and over again, and why and for what purpose.  So we take pictures holding the device away from ourselves, and how this has changed from traditional cameras, but we stoop over computers.

Mashups as tuning as well.  Instatracker is an example.  This is reminscent of bricolage, objet trouve etc bringing all kinds of things together and adjusting them.  These adjustments and mashing together is a kind of tuning.

John Urry writes about tourism, and tourism with mobile devices.  The gaze of the tourist renders extraorinary activites that otherwise would be mundane and everday.  Tourist desitinations can be “sensuously other” in everday practices.  We’re hybrid assemblies of humans objecgts and technologies that travel around and configure the environment.

From concentrations of expertise to a demovratizations of inovation, crowd sourcing, shareware, open source, gift society etc.  I’m really not clear how this relates to tuning and metaphor at all.  From mobile phones to fully-featured smartphones.  From users to actors.  These are shifts in metaphor.

Detuning estrangement, defamiliarization, desnsitizations, distinction. difference.  Why tuning, it shifts the focus to the faltering aspects of equipment rather than its idealized seamles operation. Standardization and recalibraion.  MObility and tuning. How individuals use devices to tweak and tune their interactions.  In military terms there is the idea of sending out scouts and getting the information back and then retuning plans, just as technological systems sending out packets.

Malcolm McCullough talks about HCI and ubicomp, and even in Zen and the art of motorcycle maintenance and a few other references I didn’t catch.

Q&A now

Paul Dourish asks about different types of tuning.  Tuning of a group to a single source or mutual tuning within people.  Which of these two kinds of metaphors can/should we use in design?  Architecture it’s often the first one say s Richard.

Geraldine is asking about appropriation, people are surprised when a system is then appropriated and changing the value and meaning of the system.  It’s usually portrayed as a good thing, but it’s a kind of failure of the design too.  Didn’t catch the response on this one.

Q: In design we often go for tuning and harmony, but there is clearly a kind of distuning that can encourage interaction.  Is there a sweetspot there? A: This needs to be played with.

Big round of applause.  Apologies if I messed up parts of it, this is a best effort kind of thing.

Paul Dourish in next.  Always an excellent entertaining speaker. Title: HCI and Environmental Sustainability: The Politics of Design and the Design of Politics
Abstract: Many HCI researchers have recently begun to examine the opportunities to use ICTs to promote environmental sustainability and ecological consciousness on the part of technology users. This paper examines the way that traditional HCI discourse obscures political and cultural contexts of environmental practice that must be part of an effective solution. Research on ecological politics and the political economy of environmentalism highlight some missing elements in contemporary HCI analysis, and suggest some new directions for the relationship between sustainability and HCI. In particular, I propose that questions of scale – the scales of action and the scales of effects – might provide a useful new entry point for design practice.

The paper has a long history started a few years ago a theme that has been going for a while in CHI DIS and other places combining sustainability and interactive systems. We’ve seen a lot of papers and projects being done on this topic. There are three broad parts of this:Sustainability of our practices, understanding tech use in sustainability, interaction design in support of environmental sustainability.

There are a lot of applications that help people reflect on their everyday life in order to change things that will help make them more sustainable. There is a good paper on mapping all of these in HCI from CHI last year by DiSalvo et al. The assumptions made by these papers is his starting point. Environmental action as individual moral choices. Markets as tool, assuming rational actors, perfect knowledge, self-intrerested choices etc. Environment and environmentalism as stqable, objective, natural facts. This is a kind of idea about the environment used to be something that was going to kill you, now we go out and visit it on the weekends. Scientific citizenship and expertise, Brian Winn’s work in the STS community talks about this kind of thing.

We’re forgetting other things though, the political context of sustainability.  Things such as market regulation, cap and trade offsets and all of these kinds of things to force market economics on this.  Scientific citizenship that has a kind responsible action in the world.  The relationship between individual action and collective action.  What are the implications of focusing on these kinds of things.

In Scandinavia they’ve engaged with design and politics, but in other kinds of HCI we’ve avoided it.  CS doesn’t want to touch politics.  Ferguson, 1994 a developmental anthropologist talks about the anti-politics.

Ecotopianism by David Pepper talks about this in a few papers.  He’s talking about some people who have fairly extreme positions on this.  Change and stasis, local and global, modern and postmodern, scale and action are the four sets of ideas he engages with.

Change and stasis, the regressive nature of ecotopian stasis.  The tension lies in the need to change a series of things in order to get to a sustainable state and once there it must be maintained.  Any deviation from that stasis is not to be allowed.  He equates stasis as regression, and how do maintain all of these things?  Technologies of monitoring and regulation are kinds of things that tend to fit into this category.

Local and global.  Diversity (eco and bio-) and universalism.  What will work in one place won’t work in another.  The forms are universal, but there is a tension what happens on a local level.  We often do an ethnographic study and then we apply it to large groups.  We often

Modern and Postmodern. Polyvocal, provisional v technological progress.  We tend to focus on local needs but we often bring in universal technological solutions.

Scale and action.  Scale is the more important, the relationship between  the knowledge we have and the action that we do.  Scale is both spatial and social.  Spatial is where you can affect things physically, i.e. locally.  Social scale is about how we are all connected socially.  Strategic essentialism in environmentalism, and acting as a member of a collective.

There is a lot of ongoing work.  ”code green” is something that Dourish and his lab have been working on.  Connecting people together through their actions and building a collective frame or frames.  This involves social movement theory.

The design of politics.  Digital media as sites of action.

Rushed through the last bit so I missed it.

Q&A Q:Geraldine asks why he left out the work done in Sweden about ludic ways. A: well the paper already had 60 references and he played with the typography a bit, but he tends to agree there are other ways of doing this.

Q: How are we addressing things on a scale that we don’t really understand.  This was also mentioned by Richard. How are we doing this? A: Playing with notion of scale is something that can be difficult and they’re working on this in the lab now.  Social movement theory again is coming up.

LaDantec et al

Abstract: The design and use of Information and Communication Technology (ICT) has now evolved beyond its workplace origins to the wider public, expanding to people who live at the margins of contemporary society. Through field work and participatory co-design with homeless shelter residents and care providers we have explored design at the common boundary of these two “publics.” We describe the design of the Community Resource Messenger (CRM), an ICT that supports both those in need and those attempting to provide care in a challenging environment. The CRM consists of three components: 1) a message center that pools messages to and from mobile users into a shared, persistent forum; 2) a text and voice messaging gateway linking the mobile phones of the homeless with the web-enabled computer facilities of the care providers; 3) a shared message display accessible from mobile texting, voice, e-mail, and the web, helping the two groups communicate and coordinate for mutual good. By democratizing design and use of technology at the margins of society, we aim to engage an entire “urban network,” enabling shared awareness and collective action in each public.

Two publics, Dewey introduced this idea in one of his books.  A public is particular and there are many of them.  Publics form via action on issues.  Technology can be a catalyst to create and organize publics.

The homeless shelter was a first time short term shelter for women and their children.  They had to deal with information overload.  So many places they needed to go to take care of paperwork and dealing with case workers.  This was very difficult.  Maintaining social support was hard because they moved, often it was across the city, but people also came from out of state or farther away.  Building trusted relationships was hard, this was primarily with the shelter staff, but also with other mothers in the shelter.  Transience and impermanence was something that was everywhere.  There were distinct generations of families that went through.  So these mothers and children were one public.

The other public is the staff.  There are lots of other publics they could choose, but these are the two they chose.  The staff confronted the following issues.  Managing multiple relationships, dealing with many different women and in a short period of time in the evenings and mornings.  Coordinating cooperative actions between weekend and weekday activities.  Coping with resource constraints was  a big thing they needed to deal with internally and externally.  No one shelter offers all the services that a person needs.  Ideological alignment is something that was a pervasive problem.  There are different ideas of what good care should be and there was some different ideas and having everyone on the same page helped.

So they took all of these ideas and put them into a “pretty standard design process.”  They created a kind of customer relationship management.  There were SMS parts to this and a community message board and a large display in the shelter.  SMS and voicemail, i.e. mobile phones are the main way they communicate.  Familiarity was very high with mobile phones was the best way to do this.  Apps and web sites and apps just won’t do for them.  All they need to know is how to use their phone’s two basic functions.  Almost all the women had mobile phones, and they provided phones to the few that didn’t.

Stepping back there is a deeply optimistic notion in publics as well as people who design technology interventions.  Publics as a framing for democratization.  The challenge of participation is always there in design, but then there’s new people coming in, and how do get those people to use it.

Q: What makes using the notion of publics different than other ways of involving stakeholders? *by me A: He’s working on it.

Q: Did you think of a non technology solution? A: A bit, but the circumstances led us to believe that technology was the best way to go.
Participatory Sensing in Public Spaces: Activating Urban Surfaces with Sensor Probes

Stacey Kuznetsov & Eric Paulos, Human-Computer Interaction Institute, Carnegie Mellon University
Abstract: Recent convergence between low-cost technology, artform and political discourse presents a new design space for enabling public participation and expression. We explore non-experts’ use of place-based, modular sensors to activate, author and provoke urban landscapes. Our work with communities of bicyclists, students, parents, and homeless people suggests design opportunities for merging grassroots data collection with public expressions and activism. Members of each community were given probes that represent the measurement of exhaust, smog, pathogens, chemicals, noise or dust, and asked to engage with them as fully functional sensors over the course of one week. Our findings offer insights into participation, environmental sensing, and data sharing within and across four different communities, revealing design implications for future sensing systems as instruments of social currency and political change.

Using “sensors” to see what people think about various things.  People could put them different places.  None of the sensors actually measured anything but made people think about various things.  It can broadcast concerns about things.  Sorry folks I was distracted during this talk, the presentation had lovely pictures taken by participants throughout.  I like the approach, and the idea, but the design implications weren’t particularly clear.

Break for lunch.  My 20 min nap turned into a 40 min snoozefest so I missed a talk. Picking back up with Social distance, mobility and place: Global and intimate genres in geo-tagged photographs of Guguletu, South Africa
by Marion Walton. A kind of mashup of tourist and local photos posted through MMS and other means give an interesting look at space/place and sociality. All early adopters in this system and a very interesting idea.

TouchFace: the Interaction between Cursors and Live Video Images for Casual Videoconferencing by
Yujin Tsukada, Hitachi Ltd. and University of Maryland
Francois Guimbretiere, Cornell University and University of Maryland

This is about adding touch to video conferencing such as skype or ichat. In previous systems there was interaction between images each other images and in games and other applications you can interact between avatars, with Touchface you can do both.  As you mouse over various parts of the generated avatar the cursor changes from pat to stroke, to tocuh, to slap.  Pat is on the top of the head, touch is on the face.  Slap is the sides of the face.  Your own generated silhouette also reacts to the interactions.  It was lol funny to watch the interactions of slapping.  Stroking someones head seems interesting.

Suki Grandhi is next with Telling Calls:Informed Call Handling Decisions. Reducing the negative impacts on one’s local context such as being in a movie, although interruptions can be of potential value. If we provide more information about who is calling and in what circumstances will it help make better decisions on whether to take a call or not. It’s a smartphone application that one uses. 8 types of information one may enter all optional. Subject, location, activity, callers estimated length, people they are with, urgency, and mood. It was implemented on an AT&T Tilt Smartphones on WinMobiloe6. These were determined by a previous survey study. There is a single unified interface between senders and receivers.

Those who received the calls found it very useful, though those who placed the calls found it somewhat onerous.  Design implications: prioritize information presented by caller, make it easy to enter information.

After the break we’re now in Design’s Processional Character by Swan et al.
Abstract: In this paper, we examine the ideas behind and reactions to a prototype online tool designed, in-house, for an art college’s interaction design department. The web-based prototype, the Digital Scrapbook, was initially intended as a tool for tutors to oversee their students’ work. However, our ongoing discussions with the department’s members indicate that it is more interesting to its target audience for a variety of other reasons, including its role in design inspiration; group representation and collaboration; and as a repository for documenting the creative process. We speculate on the reasons behind this by further reflecting on the reactions to the tool. We come to the conclusion that members of the department value the Digital Scrapbook because it is seen to reflect the processional character of design. That is, we suggest the system is seen as promising because it reveals the often messy, unintended and meandering routes design can follow. In closing, we suggest how we might support further ways of displaying design’s processional character and discuss the broader implications of displaying collective processes.
The processional from Ingold Walking the Plank (2006). In walking every step is a development of the one before and preparation for the following. The same is true of every stroke of the saw. Like going for a walk, wsawing a plank has the character of a journey that proceeds from place to place, through a movement that–though rhythmic and repetitive–is never strictly monotonous.

The aims of the talk are: 1 use of a design tool the digital scrapbook 2 a distinvtive design culture, 3) implications of design (?). Reflection in action by Shoen. Because Swan was asked NOT to do ethnography in the department she stared using digital scrapbook. It’s made to help the staff and faculty know what the students are working on. Students were posting things all over and in all kinds of formats. The technical coordinator thought this could be improved and so the digital scrapbook brings together all of these things from all over via RSS and other technologies and it aggregates them together visually. Tutors could use this to monitor students, but it was unexpectedly appropriated to let everyone know what each other are doing. Looking at each others work is what people ended up using it for the most.
Though they has places to go to including a shared space where everyone worked the digital scrapbook made it all accessible in a different way. People expressed repeatedly in using the scrapbook as a source of inspiration. It allowed view into works-in-progress and the process that wasn’t available on a day to day basis. Documenting process is something that many students struggled with and the faculty wanted more. The tutors found that one students photos helped them explain things to other students and eased the burden of documenting. There was unexpected juxtapositions from thing in the department and also showed links to things that were happening in other departments. There was a sense of process, seeing what was happening. I couldn’t capture the lessons and Implications, but they are in the paper. Swan emphasizes that it did these things by accident. It proved very compelling to use, so we may not know to design for emergence.
In conclusion: The department 1) Collective displays of the processional 2) Demonstrations of creativity.

Investigating the Relationship Between Imagery and Rationale in Design by  Shahtab Wahid, Stacy M. Branham, D. Scott McCrickard, Steve Harrison

Abstract: Artifacts can be used to inspire, guide, and create new designs. As approaches to design can range from focusing on inspiration to formalized reasoning, we seek to create and study artifacts that combine the use of images and rationale. In this paper, we contribute an understanding of the relationship between imagery and rationale through an investigation of an artifact made of both. Through a study of group design sessions, we find images can provide access to rationale, moments of inspiration can be balanced with rationale, and differences between images and rationale must be reconciled. We conclude with thoughts on how such artifacts might be leveraged by the design community.

McCrikard is presenting, but Wahid is looking for a job, please hire him.  Hilarious plug by McCrikard.  Starting with definitions of images and design rationale.  Meaning of imagery has to be determined.  Avoiding discrepancies in how the image is interpreted for the system being designed, e.g. spontaneous notification card being used as a phone card. Rationale is used to check interpretation and link to other cards.  Rational often triggers the use of other cards. Conclusions: the key relationships between imagery and rational are access, balance, and reconciliation.  Must provide rationale in a designer digstible and highly accessible format.  Must balance vontrol over design with design to reuse. Ongoing directions: tools for connecting imagery and rationale, real-world usage and more.

Ideation Decks: A Card-Based Design Ideation Tool

Michael Golembewski & Mark Selby, University of Nottingham
Abstract: Ideation Decks is a project that explores the development of a methodological tool for design ideation. It involves the creation and use of bespoke project-specific card based systems which help to define constrained design problems within a broader overall problem space. Use of this system is intended to support the practice of parallel design by design practitioners, and to help more effectively explore specific problems by aiding in iterative design explorations.

Designers can create their own decks of cards that will help them in ideation and exploring a design space. This looks like a very nice idea. This is not meant as a criticism of the method, because I quite like it, but I wonder what the appropriate venue is for things like this. Honestly I love coming to a conference and hearing about new methods, but is this scientific knowledge? Especially considering the number of card-based ideas that are out there. I’m not going to ask this question to the speaker but I ask it to myself. I aspire to creating a new method or way or working as well, but don’t we need to then talk about what we learned from it, how it changes how we work? Do we need still more of that to make it scientific? I’m not sure. Good question in the Q&A about how the making of the cards is actually the most valuable part of the process, not necessarily using the cards in the process. This reminds me of the idea that so much of what we do is not about the product we create, but rather what we learned as we go through the process.

And we skipped this one, they withdrew apparently.

Now we’re on to Open-ended objects: a tool for brainstorming
by Virginia Cruz & Nicolas Gaudron of IDSL
Abstract:This paper describes a new tool for use in the process of brainstorming workshops on HCI called “Open-ended objects”. It is more of a conceptual presentation of the methodology than an experience report. Open-ended objects are open-ended interactive experiences that are used to introduce a brainstorming session. Their aim is to lead participants to reflect on emotions, human desires and make them forget about their expertise often centred on technical questions. These Open-ended objects are a tangible translation of the brainstorming brief to inspire participants beyond words. They are like interaction seeds that people can use to generate ideas. Besides, this shared and playful exercise sets a gentle and participatory atmosphere. In this paper, we describe the features of this tool that we have created and an example of how we have applied it to an innovation

Some reflections on the day

As usual for me the keynotes are inspiring and then the next most valuable thing is the opportunity to meet new people and old friends and talk about what kinds of things are happening in the field.  The presentations are often decent, but it seems like academic audiences and presenters tend to be very straight laced, like we’re not allowed to have too much fun in presentations.  Why should that be so?  I felt like I was the only one really laughing at the one really entertaining presenter (McCrikard, who was great, thank you so much Scott).  I in fact got a kind of stare from a couple people for laughing out loud.  Maybe we just had similar kinds of humor.  I agree that the presentation time slots are quite short, especially for papers, but I doubt that making them longer would really help much.  How one presenter yesterday at the design conference approached it was in his my words this: “I’m not going to present the paper, I’m going to present the topic in such a way to convince you to read the paper.”  Perhaps this is the approach that we could take.

I enjoyed Chris LaDantec’s presentation, and I spoke with him during a break a bit about the question I asked, but we didn’t get to talk much I’ll follow up more.  The notion of a public is an interesting one.  To be quite frank anytime you can pull a concept out of a “older” philosopher (in this case 80 years old, and I’m also alluding the gaffe of one presenter who called participants older than 30 “older”) and apply it into our work is cool, at least to me.  Chris said he’s really engaging with this idea more and had developed it more in a paper he submitted elsewhere, but it’s still something he wants to work on some more.  What struck me however is that I got kind of sucked into this idea of publics, but it’s like so many things in HCI, we borrow something from some thinker or researcher in another field and we only do it halfway or it’s just window dressing.  I am by no means saying that Chris and his co-authors are tricking the audience or just dressing up an otherwise boring paper with this idea because I genuinely believe he is taking this line of inquiry farther and I see this as his first iteration of using, understanding, and engaging this concept in his work.  I do think however it happens in HCI where we just import things willy nilly and we do it half way without understanding.  This has been written about previously (though I’m not at this time going to link to the papers as it’s at the end of a very long day).  It’s certainly food for thought.

In my own work though I think I see where I bring a concept into a project in a later stage and then it ends up framing much of the outcomes of the work.  Is it fair to say that I used this idea fully?  If it really shaped the analysis or conclusions of my work does it count?  How much different could the study have been if I had used it from the very beginning.  Well, without some concrete examples this is all tired ramblings.  Comments and corrections on content are very welcome below.