Exploring reflective design: an approach to digital archives

In this short paper we discuss our explorations with adopting reflective design as an approach to designing a digital archive for the performing arts. The stakeholders in this project are diverse, comprised of members of the partner organisation, the public, the design team and government funding agencies. Each stakeholder has different expectations and skills to bring to the project. It is proposed that reflective design with its mix of critical reflection with a human centred design and prototyping approach provides a methodological framework that enables the complexities of the project to be integrated into an action orientated design exploration

Innovative teaching strategies: enhancing the soft-skilloriented approach through integrated onsite-online learning environments

ABSTRACT The integration of ICT in Higher Education requires reflective design by teachers. In particular, from recent international research on the subject, it emerges that the perspective of the TPCK framework (Technological, Pedagogical, Content Knowledge) can favour an effective design reasoning of teachers. Teaching practice requires the implementation of innovative organizational models for the creation of learning environments that offer continuity between classroom and distance learning (Hybrid Instruction Solution). The empirical mix-method research involved a group of volunteer teachers of different teachings. The objective was to design and implement innovative teaching solutions using ICT in onsite/online environments to enhance specific soft skills in students. The results of a questionnaire (CAWI) given to incoming and outgoing teachers from the experience of designing and conducting the didactic action will be presented. the TPCK perspective design of integrated learning environments and the reasoned choice of coherent methodologies seem to make a soft-skilloriented didactics feasible

Interpretation at the controller's edge: designing graphical user interfaces for the digital publication of the excavations at Gabii (Italy)

This paper discusses the authors’ approach to designing an interface for the Gabii Project’s digital volumes that attempts to fuse elements of traditional synthetic publications and site reports with rich digital datasets. Archaeology, and classical archaeology in particular, has long engaged with questions of the formation and lived experience of towns and cities. Such studies might draw on evidence of local topography, the arrangement of the built environment, and the placement of architectural details, monuments and inscriptions (e.g. Johnson and Millett 2012). Fundamental to the continued development of these studies is the growing body of evidence emerging from new excavations. Digital techniques for recording evidence “on the ground,” notably SFM (structure from motion aka close range photogrammetry) for the creation of detailed 3D models and for scene-level modeling in 3D have advanced rapidly in recent years. These parallel developments have opened the door for approaches to the study of the creation and experience of urban space driven by a combination of scene-level reconstruction models (van Roode et al. 2012, Paliou et al. 2011, Paliou 2013) explicitly combined with detailed SFM or scanning based 3D models representing stratigraphic evidence. It is essential to understand the subtle but crucial impact of the design of the user interface on the interpretation of these models. In this paper we focus on the impact of design choices for the user interface, and make connections between design choices and the broader discourse in archaeological theory surrounding the practice of the creation and consumption of archaeological knowledge. As a case in point we take the prototype interface being developed within the Gabii Project for the publication of the Tincu House. In discussing our own evolving practices in engagement with the archaeological record created at Gabii, we highlight some of the challenges of undertaking theoretically-situated user interface design, and their implications for the publication and study of archaeological materials

Crazy ideas or creative probes?: presenting critical artefacts to stakeholders to develop innovative product ideas

A number of design practices derive from and develop the notion of critical theory. Notable developers of such “critical design practices” are Dunne &amp; Raby with “critical design”, Sengers and colleagues at Cornell University's Culturally Embedded Computing Group with “reflective design”, and Agre with “critical technical practice” within artificial intelligence research. And there are an increasing number of designers who, whilst not specifically explicating their theoretical ancestry, include critical elements in their products. The reflection afforded by the products of critical design is generally seen as its endpoint. However I have used this reflection instrumentally within human-centred design activities. “Critical artefacts” have proved more useful as tools than direct questioning techniques; in particular as a way of enabling stakeholders to engage with novel situations and consequently engage in creative thinking about future possibilities. This paper begins with a review of critical design practices. Two case studies are then detailed demonstrating my approach. A discussion of the commonalities and differences between critical design practices follows noting their relationship to critical social theory and the relationship of my work to them. Finally further research to develop generalisable methods is outlined.</p

The Infrared Imaging Spectrograph (IRIS) for TMT: optical design of IRIS imager with "Co-axis double TMA"

IRIS (InfraRed Imaging Spectrograph) is one of the first-generation instruments for the Thirty Meter Telescope (TMT). IRIS is composed of a combination of near-infrared (0.84--2.4 $\mu$m) diffraction limited imager and integral field spectrograph. To achieve near-diffraction limited resolutions in the near-infrared wavelength region, IRIS uses the advanced adaptive optics system NFIRAOS (Narrow Field Infrared Adaptive Optics System) and integrated on-instrument wavefront sensors (OIWFS). However, IRIS itself has challenging specifications. First, the overall system wavefront error should be less than 40 nm in Y, z, J, and H-band and 42 nm in K-band over a 34.0 $\times$ 34.0 arcsecond field of view. Second, the throughput of the imager components should be more than 42 percent. To achieve the extremely low wavefront error and high throughput, all reflective design has been newly proposed. We have adopted a new design policy called "Co-Axis double-TMA", which cancels the asymmetric aberrations generated by "collimator/TMA" and "camera/TMA" efficiently. The latest imager design meets all specifications, and, in particular, the wavefront error is less than 17.3 nm and throughput is more than 50.8 percent. However, to meet the specification of wavefront error and throughput as built performance, the IRIS imager requires both mirrors with low surface irregularity after high-reflection coating in cryogenic and high-level Assembly Integration and Verification (AIV). To deal with these technical challenges, we have done the tolerance analysis and found that total pass rate is almost 99 percent in the case of gauss distribution and more than 90 percent in the case of parabolic distribution using four compensators. We also have made an AIV plan and feasibility check of the optical elements. In this paper, we will present the details of this optical system.Comment: 18 pages, 14 figures, Proceeding 9908-386 of the SPIE Astronomical Telescopes + Instrumentation 201

Tensions of Data-Driven Reflection: A Case Study of Real-Time Emotional Biosensing

Biosensing displays, increasingly enrolled in emotional reflection, promise authoritative insight by presenting users’ emotions as discrete categories. Rather than machines interpreting emotions, we sought to explore an alternative with emotional biosensing displays in which users formed their own interpretations and felt comfortable critiquing the display. So, we designed, implemented, and deployed, as a technology probe, an emotional biosensory display: Ripple is a shirt whose pattern changes color responding to the wearer’s skin conductance, which is associated with excitement. 17 participants wore Ripple over 2 days of daily life. While some participants appreciated the ‘physical connection’ Ripple provided between body and emotion, for others Ripple fostered insecurities about ‘how much’ feeling they had. Despite our design intentions, we found participants rarely questioned the display’s relation to their feelings. Using biopolitics to speculate on Ripple’s surprising authority, we highlight ethical stakes of biosensory representations for sense of self and ways of feeling

Alternate endings: using fiction to explore design futures

Design research and practice within HCI is inherently oriented toward the future. However, the vision of the future described by HCI researchers and practitioners is typically utility-driven and focuses on the short term. It rarely acknowledges the potentially complex social and psychological long-term consequences of the technology artefacts produced. Thus, it has the potential to unintentionally cause real harm. Drawing on scholarship that investigates the link between fiction and design, this workshop will explore “alternate endings” to contemporary HCI papers. Attendees will use fictional narratives to envision long-term consequences of contemporary HCI projects, as a means for engaging the CHI community in a consideration of the values and implications of interactive technology

Fifty shades of CHI: the perverse and humiliating human-computer relationship

This paper presents a critical lens on the nature of the relationship between people and contemporary technology. Specifically, the form and language of erotic BDSM romance fiction, a genre that deals specifically with the nature of power in relationships, and which has proved extremely popular recently, are used as a means for provoking reflection on the nature of power in the human-computer relationship. Three sexually explicit scenarios are presented, in which technology is portrayed in a dominant and controlling role, highlighting the often subservient and apologetic nature of human interaction with technology. We suggest that readers offended by graphic and explicit descriptions of sexual behaviour do not read further than this abstract