| 1. |
- Andersen, Kristina, 1970-
(författare)
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Making Magic Machines
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- How can we design experiences that explore ideas and notions of the unknown? The aim of the work outlined here is to create short, intense, workshop-like experiences that generate strong commitments, and expose underlying personal desires as drivers for new ideas. I would like to propose a material practice, which uses open-ended making to engage in the imagination of new things. Informed by a concern or a longing, this exploration employs familiar yet mundane materials - such as candy and cardboard - through which several planes collide: the possible, the unknown, the feared and the desired. The process is aimed at allowing a broad range of knowledge to materialise - through ways that are less normative, and less constrained by commercial and technological concerns, and to emerge instead as far-fetched ideas that offer a kind of knowledge, which belongs to no one. The format has evolved over time, from relatively elaborate workshops for technology prototyping, towards the point where they are now focussed on the making of work that is about technology, rather than of technology.
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| 2. |
- Blythe, Mark, et al.
(författare)
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Anti-Solutionist Strategies: Seriously Silly Design Fiction
- 2016
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Ingår i: Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems (CHI '16). - New York, USA : ACM Press.
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Konferensbidrag (refereegranskat)abstract
- Much of the academic and commercial work that seeks toinnovate around technology has been dismissed as“solutionist” because it solves problems that don’t exist orignores the complexity of personal, political andenvironmental issues. This paper traces the “solutionism”critique to its origins in city planning and highlights theoriginal concern with imaging and representation in thedesign process. It is increasingly cheap and easy to createcompelling and seductive images of concept designs, whichsell solutions and presume problems. We consider a rangeof strategies, which explicitly reject the search for“solutions”. These include design fiction and critical designbut also less well-known techniques, which aim forunuseless, questionable and silly designs. We present twoexamples of “magic machine” workshops whereparticipants are encouraged to reject realistic premises forpossible technological interventions and create absurdpropositions from lo-fi materials. We argue that suchpractices may help researchers resist the impulse towardssolutionism and suggest that attention to representationduring the ideation process is a key strategy for this.
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| 3. |
- Karpashevich, Pavel
(författare)
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Designing Monstrous Experiences Through Soma Design
- 2023
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- There is currently a wave of research and development of novel on-body technologies and materials, including shape-changing technologies to be worn on or used close to the body. Traditional interaction design methods and interface models are not always a good fit for designing meaningful interactions with these technologies as they primarily interact with our somatic selves—not our language-oriented, symbol-processing ways of being in the world. Design researchers are therefore borrowing ideas and methods from the arts and humanities to design with and help to ”humanize” these technologies. One such approach, originating in pragmatist philosophy, is a design program named soma design. Soma design grounds design processes in our first-person sensuous, subjective experience of the world, aiming to deepen our aesthetic appreciation of ourselves and the world that surrounds us. Soma design has previously mostly addressed gentle, soft experiences. The work,I came to engage in, shifted away from the solely soft and comfortable, and instead addressed borderline uncomfortable, at times uncanny, yet evocative experiences. To shed light on and better articulate those experiences, I turned to monster theories, in particular, using the lens of the monster from the humanities, alongside the impurity concept from social anthropology.In my work, I define these monstrous experiences as ambiguous experiences, which transgress the seemingly opposing experiential categories of comfort versus discomfort. I did so through designing with technologies that apply restriction, pressure, shape-changing, weight-shifting onto our bodies that introduced ways of alienating us from our own bodily rhythms such as our breathing rhythm. As I argue, monstrous experiences constitute one way of addressing some of the dividing dualistic rifts in interaction design. Through the analysis of my design studies, I show how monstrous experiences help to dissolve the distinction between the inside and the outside of the human body—especially when they come into contact with each other through wearable technology, questioning and bridging the boundaries of where one ends and the other begins. In my design experiments, monster experiences are bordering between the human-like and organic versus the alien and unnatural. Monstrous experiences thus expand the repertoire of soma design, adding more ”radical” design exemplars. They help with ”humanizing” the domain of uncomfortable experiences through providing a different articulation, rooted in literature and art.My work on monstrous experiences makes two main contributions to design for somatic experiences. First, the monster can serve as an analytical lens that bridges dichotomies such as comfort/discomfort, inside/outside, or leader/follower. It provides another perspective from which such opposing categories, despite their seemingly built-in contradictions, can be united into a coherent whole. Second, monstrous experiences can serve as an estrangement method, a design tool for discovering new ways of connecting with our somatic selves, the world that surrounds us or other people, as well as new ways of using sensors and actuators to address, change, affect or alienate bodily processes. Monstrous experiences can help to explore the space between soft/hard and pleasant/uncomfortable experiences, thus, offering an alternative perspective on ”naturalness” in interaction design.
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| 4. |
- Wang, Jinyi, 1985-
(författare)
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Crafting Movement : Moving Image Collections for Interaction Design
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis conceptualises, investigates, and reflects on the moving image design space in Human-Computer Interaction (HCI). Motivated by the increasing number of videos, films, and animations produced in the field, the thesis recognizes moving image making as a designerly way of inquiry across research and practice, and argues for the importance of moving image as a research topic in interaction design. The first contribution of this thesis is the conceptualization of the moving image design space. The growing body of moving images, varying in forms and purposes, can be held together to establish a foundation of knowledge that informs and generates new research and practice. We identify four collections of existing works and their different roles, namely moving image as design technique, design element, design exhibit, and design promotion. The second contribution is the manifestation of moving image making through concrete design studies. These exemplars empirically demonstrate how they investigate, enrich, and challenge the four established collections, and ultimately expand the moving image design space. These contributions not only provide new knowledge on moving images for better understanding their various roles in interaction design and making works that respond to emerging design opportunities, but also foreground the discussion on the mediation aspect of moving image in HCI.
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