L'analyse de l'expertise du point de vue de l'ergonomie cognitive

This paper presents a review of methods for collecting and analysing data on complex activities. Starting with methods developed for design, we examine the possibility to transpose them to other complex activities, especially activities referring to sensorial expertise. R\'esum\'e Ce texte pr\'esente une revue de m\'ethodes pour recueillir et analyser des donn\'ees sur des actvit\'es complexes. A partir de m\'ethodes d\'evelopp\'ees pour des actvit\'es de conception, nous examinons la possibilit\'e de les transposer \`a d'autres actvit\'es complexes, notamment des actvit\'es faisant \`a appel \`a des expertises sensorielles

Bibliographie

Ahuja Jaspreet S. & Webster Jane, Perceived disorientation: an examination of a new measure to assess web design effectiveness, Interacting with Computers, 2001, vol. 14, n° 1, pp. 15-29. Akin Ömer & Lin Chengtah, Design protocol data and novel design decisions, Design Studies, 1995, vol. 16, pp. 211-236. Alexander Christopher, Notes on the ..

Both Generic Design and Different Forms of Designing

This paper defends an augmented cognitively oriented "generic-design hypothesis": There are both significant similarities between the design activities implemented in different situations and crucial differences between these and other cognitive activities; yet, characteristics of a design situation (i.e., related to the designers, the artefact, and other task variables influencing these two) introduce specificities in the corresponding design activities and cognitive structures that are used. We thus combine the generic-design hypothesis with that of different "forms" of designing. In this paper, outlining a number of directions that need further elaboration, we propose a series of candidate dimensions underlying such forms of design

Design: One, but in different forms

This overview paper defends an augmented cognitively oriented generic-design hypothesis: there are both significant similarities between the design activities implemented in different situations and crucial differences between these and other cognitive activities; yet, characteristics of a design situation (related to the design process, the designers, and the artefact) introduce specificities in the corresponding cognitive activities and structures that are used, and in the resulting designs. We thus augment the classical generic-design hypothesis with that of different forms of designing. We review the data available in the cognitive design research literature and propose a series of candidates underlying such forms of design, outlining a number of directions requiring further elaboration

Les gestes dans des réunions de conception architecturale

L’importance d’autres modes d’expression et de représentation dans l’interaction que le « verbal » a été reconnue dans le domaine du « cognitive design research ». À quelques exceptions près, toutefois, la seule modalité « non verbale » étudiée a été le graphique ; le geste a reçu peu d’attention.Notre objectif à long terme est de déterminer la contribution de chacun des différents systèmes sémiotiques que des personnes collaborant sur une tâche adoptent dans leur interaction (modalités verbale, graphique, gestuelle et autres). Ici, nous étudions le geste dans la conception collaborative. Nous avons analysé une réunion de conception architecturale.Notre recherche sur la conception nous avait conduit à regarder la conception comme la construction de représentations. Dans nos analyses précédentes de conception collaborative, nous y avions distingué des activités de représentation et d’organisation. Ces études étaient, toutefois, basées principalement sur du verbal.Dans l’analyse présentée ici, nous avons observé que le geste aussi a ces deux utilisations. Il contribue à la construction de la représentation de l’artefact et à l’organisation des activités de conception et de l’interaction entre participants.Pour un certain nombre d’auteurs dans la recherche sur le geste, parole et geste constituent un système intégré. Notre analyse confirme que les gestes sont produits principalement dans une configuration co-verbale.Dans la conclusion, nous discutons les implications possibles de ces données pour différentes situations de travail collaboratif.The importance of other modes of expression and representation in the interaction than the “verbal” has been recognised in the field of cognitive design research. With few exceptions, however, the only “nonverbal” modality studied has been graphic, gesture having received little attention.Our long term goal is to determine the contribution of each of the different semiotic systems that people working on a task adopt in their interaction (especially, speech, graphic, and gestural modalities). Here, we focus on gesture in collaborative design. We analysed an architectural design meeting.Our research led us to consider design as the construction of representations. In our previous studies of collaborative design, we distinguished representational and organisational activities. These studies were, however, based primarily on the verbal.In the analysis presented here, we observed that gesture also has these two uses. It contributes to the construction of representations of the artefact and to the organisation of design activities and of interaction among participants.For a number of authors in the field of gesture research, speech and gesture are an integrated system. Our analysis confirms that gestures are mainly co-verbal.In conclusion, we discuss the results with respect to possible implications for different collaborative work situations and to their contribution to gesture studies and to cognitive design research

A theoretical model for design in Management science : the paradigm shift in the design profession for management as a constraint to management science as an opportunity

Design Management has changed greatly since 1990 Peter Gorb definition .The purpose of this paper is to synthetize the various models of Design Management and to explain their limits in front of the paradigm shift of the design profession, changing “from an activity based profession to a knowledge based profession” professor Yjro Sotamaa- UIAH The territory of design in Management science will be developed in detail with the limits of these diverging forces. The converging model of Design value management based not on practices but on management science models will be explained with its proactive force. Finally ,this value model will be applied enhancing its pertinence in the emerging “design leadership” trend and consequently the potential for a “design thinking “ input in front of the new challenges of contemporary managers : sense building, complexity , innovation , Socially Responsible Organizations

Design as Externalization: enabling research

The article is concerned with a central contribution of designing to information visualization in the digital humanities. The activity is characterized as one of externalization, instantiation in visible or tangible form of ideas that might otherwise be internal to the minds of the designer and other participants. A spectrum of different interpretations of this process in the existing literature is discussed, focusing on early attempts to theorize designing as a means of creating new knowledge, and especially the ways in which that new knowledge contributes to defining or redefining the question or problem to be addressed. The arguments are illustrated with recent practical examples from the authors’ own work in designing with a range of cultural organizations, museums and archives. The article concludes with reflections on how projects may best benefit from this work of design, empowering the designer as a co-researcher, alongside the historian, curator or other humanities scholar

Developing the Modern Scene Design Process: Cognition and the New Stagecraft

This dissertation examines the working processes and professional activities of American scenic designers between 1910 and 1950. Beginning with the assertion that a common idea of design process has persisted among American professionals for much of the century, my case studies probe the history of “the process.” Previous historians have noted that the modern scene design process was heavily informed by the New Stagecraft movement and promulgated its aesthetic values: simplicity, unification, collaboration. Inspired by European modernist production, especially the work of Edward Gordon Craig, Adolph Appia, and Max Reinhardt, New Stagecraft artists produced simplified or abstract settings, unified design concepts, and introduced a more collaborative production model. This dissertation argues that the New Stagecraft revolution was not only an aesthetic shift, but also the beginning of theatrical design as a profession. I do so by analyzing ways in which New Stagecraft designers defined and defended their professional status. They developed new tools for script analysis and documenting their work, published books and articles demonstrating the value of good design, and strategically allied themselves with organized labor and major universities. They also institutionalized their practices in labor regulations, entrance exams, and educational curricula. The perceived stasis of the design process can be attributed to the preservation of specific design behaviors in these institutions. Methodologically I draw on studies of designing based in the cognitive and design sciences. Archived remnants of past designers are analyzed through principles of situated and extended cognition, such as offloading, affordances, and artifact use. I then develop my conclusions through concepts of professional expertise, including reflective practice and practicum education, and finally link individual practices to social change by applying the history of professionalization as it has been developed by sociologists. In total this dissertation charts a method for applying cognitive studies research to theatrical design history, and a way of linking private creative practices to larger changes in theatrical production methods. By studying the behavior of influential scenic designers, both in the studio and in their professional networks, I show how strategically placed individuals’ processes came to define the field

DESIGN THINKING: COGNITIVE PATTERNS IN ENGINEERING DESIGN DOCUMENTATION

Engineering design is an integral resource that on the surface uses creative, scientific, and process knowledge. Over the years many research driven improvements have been made to the methods and tools used for crafting the engineering design profession. Some progress has been made in exploring the cognitive processes, reading between the lines, and thinking about design thinking. This information is valuable to engineering designers in visualizing and performing the product development process. This dissertation is interdisciplinary in nature. The goal of this research is to apply cognitive research techniques to engineering design documentation to understand what happens in the mind during the design process. This research can be considered as an exploratory study of uncovering cognitive processes during design by developing a coding scheme that is applied to student and professional design journals. A successful cognitive coding scheme can be used in different domains and leads to development of new metrics for examining journal activities. This first study will enable future work aligned with the larger research goal of improving the understanding of design thinking. Engineering design documentation is one method of revealing insights into the mysteries of the mind. Design journals are used in this study combined with a Cognitive Coding Scheme created by the author to explore design thinking. This dissertation focuses on identifying patterns in cognitive behavior of engineering designers. Design documentation is also analyzed for insights on attitudes towards design journaling. This dissertation will make a contribution to the field of engineering design research by presenting a cognitive coding scheme capable of revealing insights into the mind of the designers

La conception des documents pour le Web

Pourquoi les documents électroniques pour le Web sont-ils si souvent difficiles à utiliser et à comprendre ? Quelle activité cognitive développent les concepteurs de ces documents ? Quelles difficultés rencontrent-ils ? Cet ouvrage vise à apporter des éléments de réponse à ces questions. Pour cela, dans un premier temps, des éléments historiques sur l’étude scientifique des activités de conception sont mis en perspective avec les spécificités de la conception de documents pour le Web. L’auteur présente ensuite des études qui analysent les difficultés auxquelles les concepteurs de ces documents sont confrontés et les conséquences qu’elles peuvent générer au niveau des documents conçus. Enfin, le rôle de l’esthétique et ses liens avec l’ergonomie clôturent cet essai.Ce livre s’adresse aux étudiants et enseignants-chercheurs qui s’intéressent à la psychologie et à l’ergonomie cognitives des documents électroniques. L’ergonome ainsi que le concepteur de documents Web pourront également y trouver des connaissances intéressantes pour leurs pratiques