Rethinking affordance

n/a – Critical survey essay retheorising the concept of 'affordance' in digital media context. Lead article in a special issue on the topic, co-edited by the authors for the journal Media Theory

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Transforming the complexity of a theoretical framework into an experiental design methodology for designers

In design, a wide range of design tools and techniques that are derived from theoretical frameworks have been developed. However, there are only a few that consider the perceptual qualities involved in interaction. Although existing tools are widely adopted, designer’s need for considering theoretical notions of ecological perception (Gibson, 1986), embodied interaction (Dourish, 2011) and affordances (Gibson, 1986; Norman, 1988; Hartson, 2003) has not been addressed in the context of design tools. This paper describes the development of an experiential design method card system based on the Interaction Frogger framework (Wensveen, 2004). The design method card supports designers to better understand the perceptual qualities of interaction design and convey this knowledge into their design processes. First, we introduce various theoretical frameworks that deal with perceptual qualities within interaction design, particularly focusing on the Interaction Frogger framework. Consequently, we investigate how a complex theoretical framework can be translated into practice utilising a design tool, by examining a case study of developing a set of design method cards. This set of method cards was examined by means of focus group sessions with design researchers and redesign exercises with designers and design students from various backgrounds. Throughout the redesign exercise, the experiential nature of the method cards system helped designers and design students to gain insights into perceptual information exchanges that emerge between objects and users. Furthermore, the method cards gave them a systematic platform for these insights to be reapplied into their design process. Overall, the design method card system provides opportunities for design practitioners, researchers, and students to explore perceptual qualities within the interaction design space and further an opportunity to utilize theoretical knowledge in a practical design process

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Communication, Machines & Human Augmentics

This essay reformulates the question of human augmentation as a problem of advanced human-machine communication, theorizing that such communication implies robust artificial intelligence and necessitates understanding the relational role new technologies play in human-machine communication. We focus on the questions, “When do electronic tools cease to be ‘simply’ tools, and become meaningfully part of ourselves,” and, “When might we think of these tools as augmenting our selves, rather than simply amplifying our capabilities?” These questions, already important to the medical and rehabilitative fields, loom larger with increasing commodification of pervasive augmentation technologies, and indicate the verge on which human-machine communication now finds itself. Through analyses of human and machine agency, mediated through a theory of close human-machine communication, we argue that the critical element in discussions of human-machine communication is an increase in sense of agency, extending the traditional human-computer interface dictum to provide an internal locus of control

Designing mechanical joints to facilitate user interaction within a physical representation of digital music

Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2011.Cataloged from PDF version of thesis.Includes bibliographical references (p. 18).This project involved the mechanical design of a modular musical instrument, named the "Sound Strand." Intended to be attached end-to-end one onto another in order to produce a string of music, each module was constructed to be easily maneuverable by hand and compactly contained within a 4"x2"x2" space. The result was a module that contains three mechanical joints, which allow three separate degrees of motion within the module. A final design was achieved with a three-piece mechanism that allows Elongation, Rotation, and Bending movements. Analog potentiometers serve as the electronic tools that read the physical changes in each joint by sensing movements and outputting a voltage signal; a microcontroller with an analog-to-digital converter then transforms the electrical outputs into a digital signal, which leads to circuit boards intended to also fit within the modular space. After several iterations, the design was streamlined to optimize mechanical freedom while minimizing size, loose joints, and material used.by Yan Shen.S.B

Life is an Adventure! An agent-based reconciliation of narrative and scientific worldviews\ud

The scientific worldview is based on laws, which are supposed to be certain, objective, and independent of time and context. The narrative worldview found in literature, myth and religion, is based on stories, which relate the events experienced by a subject in a particular context with an uncertain outcome. This paper argues that the concept of “agent”, supported by the theories of evolution, cybernetics and complex adaptive systems, allows us to reconcile scientific and narrative perspectives. An agent follows a course of action through its environment with the aim of maximizing its fitness. Navigation along that course combines the strategies of regulation, exploitation and exploration, but needs to cope with often-unforeseen diversions. These can be positive (affordances, opportunities), negative (disturbances, dangers) or neutral (surprises). The resulting sequence of encounters and actions can be conceptualized as an adventure. Thus, the agent appears to play the role of the hero in a tale of challenge and mystery that is very similar to the "monomyth", the basic storyline that underlies all myths and fairy tales according to Campbell [1949]. This narrative dynamics is driven forward in particular by the alternation between prospect (the ability to foresee diversions) and mystery (the possibility of achieving an as yet absent prospect), two aspects of the environment that are particularly attractive to agents. This dynamics generalizes the scientific notion of a deterministic trajectory by introducing a variable “horizon of knowability”: the agent is never fully certain of its further course, but can anticipate depending on its degree of prospect

Intuitive Cities: Pre-Reflective, Aesthetic and Political Aspects of Urban Design

Evidence affirms that aesthetic engagement patterns our movements, often with us barely aware. This invites an examination of pre-reflective engagement within cities and also aesthetic experience as a form of the pre-reflective. The invitation is amplified because design has political implications. For instance, it can draw people in or exclude them by establishing implicitly recognized public-private boundaries. The Value Sensitive Design school, which holds that artifacts embody ethical and political values, stresses some of this. But while emphasizing that design embodies implicit values, research in this field lacks sustained attention to largely unconscious background biases or values, rooted in cultural attitudes and personal interests, that lead theorists and planners—often too narrowly—to promote design organized around specific values such as defensibility. In examining these points, I draw on J. J. Gibson, a central figure for some writing on aesthetics and cities, and whom pragmatists and phenomenologists in turn influenced. Taking a cue from pragmatists in particular, I argue Gibson’s perceptual theory of affordances entails a theory of values, meaning our perception and therewith movements are inherently value-based. I advocate design that accounts for relatively constantly held values such as safety, while also handling the vast pluralism that exists and not crushing the aesthetic vibrancy of city life

Designing Hybrid Interactions through an Understanding of the Affordances of Physical and Digital Technologies

Two recent technological advances have extended the diversity of domains and social contexts of Human-Computer Interaction: the embedding of computing capabilities into physical hand-held objects, and the emergence of large interactive surfaces, such as tabletops and wall boards. Both interactive surfaces and small computational devices usually allow for direct and space-multiplex input, i.e., for the spatial coincidence of physical action and digital output, in multiple points simultaneously. Such a powerful combination opens novel opportunities for the design of what are considered as hybrid interactions in this work. This thesis explores the affordances of physical interaction as resources for interface design of such hybrid interactions. The hybrid systems that are elaborated in this work are envisioned to support specific social and physical contexts, such as collaborative cooking in a domestic kitchen, or collaborative creativity in a design process. In particular, different aspects of physicality characteristic of those specific domains are explored, with the aim of promoting skill transfer across domains. irst, different approaches to the design of space-multiplex, function-specific interfaces are considered and investigated. Such design approaches build on related work on Graspable User Interfaces and extend the design space to direct touch interfaces such as touch-sensitive surfaces, in different sizes and orientations (i.e., tablets, interactive tabletops, and walls). These approaches are instantiated in the design of several experience prototypes: These are evaluated in different settings to assess the contextual implications of integrating aspects of physicality in the design of the interface. Such implications are observed both at the pragmatic level of interaction (i.e., patterns of users' behaviors on first contact with the interface), as well as on user' subjective response. The results indicate that the context of interaction affects the perception of the affordances of the system, and that some qualities of physicality such as the 3D space of manipulation and relative haptic feedback can affect the feeling of engagement and control. Building on these findings, two controlled studies are conducted to observe more systematically the implications of integrating some of the qualities of physical interaction into the design of hybrid ones. The results indicate that, despite the fact that several aspects of physical interaction are mimicked in the interface, the interaction with digital media is quite different and seems to reveal existing mental models and expectations resulting from previous experience with the WIMP paradigm on the desktop PC