| 1. |
- Peeters, Jeroen, 1986-, et al.
(författare)
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Unveiling the Expressivity of Complexity: Drifting in Design Research
- 2017
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Ingår i: Proceedings of the Conference on Design and Semantics of Form and Movement. - : INTECH. - 9789535135883 - 9789535135876 ; , s. 309-324
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Konferensbidrag (refereegranskat)abstract
- Design research is regarded to be a mode of inquiry particularly suited to engage with complex topics. In our work, we are interested in unpacking the complexity at the heart of an embodied aesthetic experience. In this article, through our digital and physical artefacts and a methodological reflection, we illustrate an ongoing design research project that a multi-disciplinary team of interaction designers, professional dancers, software developers, artists and 3D modelling experts are carrying out to develop insights on how to understand this complexity and how to use such insights as inspiration for interaction design-related projects. By embracing combinations of design, new technologies and simple visualisation tools, the project investigates the complex and hidden expressivity embedded in the skills of dancers in a programmatic design research approach. This investigation leads to insights on different levels. Firstly, cycles of formulation, realisation and reflection on design programs express parts of this complexity and this lets new research interests emerge. Secondly, as a body of work, reflecting on these cycles exposes how our “drifting” within this programmatic approach has started to unveil the complexities inherent in our research program. In this article we aim at contributing to the growing understanding of what designerly ways of knowing might be and how a practice aimed at expanding and contributing such knowledge unfolds.
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| 2. |
- Peeters, Jeroen, et al.
(författare)
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Diffract Me! : using a Skills-Based Approach in Design Practice
- 2014
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Ingår i: KEER2014. - Linköping : Linköping University Electronic Press. - 9789175192765 ; , s. 313-328
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Konferensbidrag (refereegranskat)abstract
- The potential of skills in design is intriguing; as skills open up new perceptions of the world they allow meaning to arise as we engage with the world. Several skills-based techniques that leverage this potential have been developed, and integrated into the Designing in Skills framework. The framework builds on personal engagement of designers in their practice, and promotes them to take a first-person perspective, enabling designs to be enriched with meaning. In this paper, we present the most recent workshop based on this approach, which specifically focuses on employing the Designing in Skills framework as a starting point and catalyst for design practice. We briefly introduce the Designing in Skills framework and present the DiffractMe! project in which we built on this approach to explore its potential for design practice. We conclude with reflections on the process and result by the involved designers. These reflections offer insights into the value of this approach for enriching interactive design with experiential qualities.
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| 3. |
- Peeters, Jeroen, 1986-, et al.
(författare)
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Touchme!, diffractme!
- 2014
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Ingår i: Proceedings of Design Research Society Conference. "Design's Big Debates".
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Konferensbidrag (refereegranskat)abstract
- In this poster we present an engaging, interactive lighting installation entitled DiffractMe!. The design process for DiffractMe! was based on skill-based techniques, aiming to extract subtle yet profound experiential qualities from everyday perceptual motor-skills, in order to design and build engaging interactions. The installation consists of a frame and two interaction columns. The frame houses moveable transparent prisms, Rendering a complex and colourful light projection. Each interaction column features a transparent surface that visitors can manipulate, using their hands. These movements influence the movement of the prisms, and provide a type of force-feedback to the other interaction surface. This allows us to explore the qualities of engagement in this design on three levels: Firstly, visitors engage with the installation themselves, through a subtle, haptic interaction that allows them to play with light diffraction. Secondly, visitors at one installation engage with each other, in a subtle, haptic dialogue that makes them aware of, and involved in, each other’s movements. Thirdly, the dynamic and colourful light projection has a profound effect on the space surrounding the installation, enticing and engaging passers-by to become involved.
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| 4. |
- Kaptelinin, Victor, 1958-, et al.
(författare)
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Understanding the Interpersonal Space of Online Meetings : An Exploratory Study of "We-ness"
- 2021
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Ingår i: Proceedings of the ACM Conference on Computer Supported Cooperative Work, CSCW. - New York, NY, USA : Association for Computing Machinery (ACM). - 9781450384797 ; , s. 79-83
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Konferensbidrag (refereegranskat)abstract
- The covid-19 pandemic has severely limited the possibility for people to meet physically, which forced many individuals and organizations to employ online meetings as their predominant mode of communication. A potential problem with the unprecedentedly central role of online meetings in a wide range of everyday activities is the disruption it may cause to intersubjective experiences, an intuitive mutual understanding of the participants and their thinking of themselves as a group, a "we". To address this problem, about half a year into the pandemic we conducted an exploratory study, in which the informants (N=36) completed a survey, comprising a set of Likert scales and open-ended questions focusing on "team spirit", moment-to-moment coordination, emotions, and the sense of presence in online and physical meetings. The results indicate that online meetings may present particular challenges regarding the experience of "we-ness", and different types of online meetings can be experienced differently. Implications of the results for further research are discussed.
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| 5. |
- Kuenen, Stoffel, 1975-
(författare)
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Aesthetics of being together
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Design deals with matters of aesthetics. Historically, aesthetics in industrial design refers to the designed artifact: aesthetics of objects. When designed artifacts include digital technologies, aesthetics in design refers to what happens between people and artifacts as well: aesthetics of interaction. Now that these artifacts increasingly mediate our social lives, what aesthetics in design quite obviously also refers to, is what happens between people.This dissertation proposes an aesthetic of being together, as a necessary addition to current notions of aesthetics in interaction design practice, when it engages with digital systems that are part of people’s social life. It does not answer the question what Aesthetics is in general, instead it examines the work that particular notions of aesthetics do in interaction design practice.The practice based design research assembled in this dissertation starts from current notions of aesthetics in interaction design to explore the social experiences that mediated interactions between groups of people offer. What I found, through designing digital systems, is that current notions of aesthetics in interaction design are not conducive to addressing the kind of social experience people have with such systems. On the contrary, current notions actually inhibit interaction design to approach any experiences that cannot in the first place be conceived of as useful in terms of instrumental task performance. Yet, being social is hardly like performing a task or using other people in that sense.An aesthetic of being together is a proposition of a different fundament for interaction design practice. In addition to referring to properties of things and qualities of interacting with things, it refers to the kind of relations that come to expression between people interacting with each other with these things. Consequently, interaction design needs to resolve basic issues in what it considers and brings to expression, i.e. people’s relations with things and people at the same time. This requires (re-) considering what the designed thing is, what interaction is about and what the role of design is in bringing those to expression.My work contributes to the field of interaction design research an example of how, through practice, fundamental issues can be addressed. By orienting one set of concepts, ways of working and objectives into a different design situation, tensions built up that exposed foundational issues with that frame of reference, while pointing to the different fundaments needed to enable design practice to engage such situations.The results of the practical experimentation led to the articulation of a series of structural mechanisms of mediating systems. These mechanisms provide material handles for interaction designers on how experiences of being present with others take shape. They configure the relations of artifacts and people in different ways than current notions of aesthetics afford. This theoretical investigation is then synthesised in the form of a new logic of expression for interaction design practice: an aesthetic of being together.
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| 6. |
- Peeters, Jeroen, 1986-, et al.
(författare)
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Mocap tango : traces of complexity
- 2016
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Ingår i: Proceedings of Tenth International Conferencee on Tangible Embodied and Embedded Interaction. - New York : Association for Computing Machinery (ACM). - 9781450335829 ; , s. 545-550
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Konferensbidrag (refereegranskat)abstract
- In this paper, we report on an ongoing design research project MoCap Tango. Tango is a form of partner dancing in which two bodies sense each other in a dynamic, physical dialogue that is known for its subtle complexities, beauty and intimate experience. In MoCap Tango, we explore how we can use our skills as designers to highlight and unravel these embedded qualities and use them as inspiration in designing interactions. Using an optical Motion Capture System and custom-made passive markers, the movements of two world-class tango dancers are visualized in real- time. We present our motivation for this project, describe the first prototype and conclude with reflections on what this prototype revealed in terms of design opportunities and its relevance for the TEI community.
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