回憶懷舊是我們生活中的日常現象，而科技早已融入其中，甚至取代了我們的能力。絕大部分的記憶輔具，以可靠的資訊提醒使用者那些可能已被遺忘的記憶。然而，卻較少有研究反思這樣以功效為主的「記憶」擴增設計，是否普適於以經驗為重的「回憶」輔助；也少有研究探討回憶經驗與人造物互動性質之間的關係。本論文以一系列數位回憶輔具（reminiscence aid）的設計研究來探索這個設計議題，同時，設計者自身也以這段透過設計的研究（research through design），反身地理解並定義何謂一個好的科技輔助懷舊（technology-mediated reminiscence）。我們視回憶懷舊為日常生活中一段意義建構的歷程。透過這樣的觀點，我們認為回憶輔具應由三個重要的互動屬性所組成：喚起（evocative）、對話（dialogical）與重構（reconstructive）。我們藉由三個框架設計物（framing artifact）與一個設計案例的田野研究經驗，反思何謂一個可能的、更好且「正確」的科技輔助懷舊設計，並主張將人與回憶輔具之間視為一個互為主體（intersubjective）的關係。在這樣彼此知悉的互動關係中，本論文提出「被感知的缺陷（perceived drawback）」此一互動設計的經驗品質（experiential quality），其目的在激起使用者的批判敏銳度，並鼓勵使用者主動跳出數位回憶物消費習慣的常態。本論文記錄了上述批判式製作（critical making）的科技設計與介入的過程，與實作背後的設計思維，以提供人機互動領域的懷舊科技設計者可參考的設計建議。Reminiscence has been viewed as a phenomenon across our whole life, a life where technologies live with us. Most work on digital memory aids focuses on “adding” information to the venue to help users remember or recollect things that might have been forgotten. However, little of that research has reflected on this mainstream approach and focused on the relationship between reminiscence and the qualities of interactive artifacts that leads to a better reminiscence experience. In this dissertation, we present a design research process to gain knowledge of designing reminiscence aids, and show how it reflexively helps us understand a better state of technology-mediated reminiscence. We see reminiscence as an experience-centered rather than a utility-oriented interaction where people are engaged in a meaning-making process situated in their daily lives. From a constructive perspective, we define and explore a new design space for reminiscence aids based on three interaction attributes, namely, evocative, dialogical, and reconstructive. With an epistemological stance of research through design, three framing artifacts and the Reflexive Printer, our design example, illustrate our propositions toward what might be a preferred and “right” interaction design for technology-mediated reminiscence. With the insights from the field studies, we reframe technology-mediated reminiscence as an intersubjective interaction between human and artifact. In this mutually informed relationship, we propose perceived drawbacks as an experiential quality for provoking the critical sensibilities of users and engaging them in transgressing the norm of digital photo consumption. This dissertation is a documentation of the critical making and the design thinking behind our practices. We also highlight several implications for designing technologies for reminiscence that HCI communities can leverage in the future.中文摘要 II
ABSTRACT III
TABLE OF CONTENTS V
TABLE OF FIGURES VII
TABLE OF TABLES VIII
CHAPTER 1 INTRODUCTION 1
1.1 A TRUE STORY 1
1.2 INITIAL RESEARCH QUESTIONS 3
1.3 APPROACHES 4
1.4 DISSERTATION ORGANIZATION 6
CHAPTER 2 BACKGROUND AND RELATED WORK 8
2.1 DIGITAL MEDIA AND MEMORY 8
2.2 DIGITAL MEMORY AIDS 10
2.3 REMINISCENCE 12
2.3.1 REMINISCENCE AS AUTOBIOGRAPHICAL MEMORY 12
2.3.2 REMINISCENCE AS DIALOGICAL LANGUAGE USE 13
CHAPTER 3 TECHNOLOGY-MEDIATED REMINISCENCE 15
3.1 DIGITAL REMINISCENCE AIDS 15
3.1.1 MEMORY AIDS VS. REMINISCENCE AIDS 16
3.2 A PREFERRED STATE OF TMR 17
3.2.1 EVOCATIVE 18
3.2.2 DIALOGICAL 19
3.2.3 RECONSTRUCTIVE 20
3.3 INITIAL DESIGN SPACE OF REMINISCENCE AIDS 21
CHAPTER 4 DESIGN CASE I: MUSIC LISTENING IN HOSPITAL 23
4.1 INTRODUCTION 23
4.2 THE DESIGNED ARTIFACT: RETRO JUKEBOX 24
4.3 FIELD STUDY 26
4.4 FINDINGS 27
4.4.1 I’M NOT FEELING WELL! 27
4.4.2 SITUATED USAGE IN THE WARD 28
4.4.3 MUSIC-MEDIATED EXPERIENTIAL RESONANCE 29
4.5 DISCUSSION AND REFLECTION 31
CHAPTER 5 DESIGN CASE II: PHOTO SHARING IN RELATIONSHIP 33
5.1 INTRODUCTION 34
5.2 THEORETICAL PERSPECTIVE AND MODEL 35
5.3 THE DESIGNED ARTIFACT: OBLIVESCENCE BOARD 37
5.4 FIELD EXPERIMENT 39
5.5 FINDINGS 42
5.5.1 MEDIATED RECONSTRUCTION OF AUTOBIOGRAPHICAL MEMORY 42
5.5.2 DEVELOPMENT OF TRANSACTIVE MEMORY SYSTEM 43
5.6 DISCUSSION AND REFLECTION 44
CHAPTER 6 DESIGN CASE III: SOUNDSCAPE ASSOCIATION IN LIFE 47
6.1 INTRODUCTION 48
6.2 THE DESIGNED ARTIFACT: SOUNDTAG 49
6.3 FIELD STUDY 53
6.4 FINDINGS 54
6.4.1 ENCODED PERSONAL MEANING IN SOUND TAGS 54
6.4.2 SYSTEM LIMITATION INCREASE SENSIBILITY IN SITU 57
6.4.3 INTERNALIZATION OF SELF-ASSOCIATION 58
6.4.4 PERSONAL VALUE ON DIGITAL MEMENTOS 60
6.5 DISCUSSION AND REFLECTION 62
CHAPTER 7 PERCEIVED DRAWBACKS IN REMINISCENCE 64
7.1 INSIGHTS GROUNDED IN THE THREE CASES 64
7.2 A CRITICAL REFRAMING OF TMR 68
7.2.1 THE THREE THEMES 68
7.2.2 INTERSUBJECTIVE REFRAMING OF HUMAN-ARTIFACT RELATIONSHIP 70
7.3 PERCEIVED DRAWBACKS AS A RESOURCE 73
7.2.1 PERCEIVED DRAWBACKS AND CRITICAL DESIGN 74
7.2.2 PERCEIVED DRAWBACKS VS. AMBIGUITY 75
7.4 THE DESIGN SPACE OF REMINISCENCE AIDS WITH DRAWBACKS 76
CHAPTER 8 DESIGN CASE IV: COMPANION IN DAILY PRACTICE 78
8.1 INTRODUCTION 78
8.2 THE DESIGNED ARTIFACT: REFLEXIVE PRINTER 81
8.2.1 THE DESIGNED DRAWBACKS 81
8.2.2 THE DESIGN OF THE REFLEXIVE PRINTER 83
8.3 FIELD STUDY 88
8.4 FINDINGS 90
8.4.1 ARTIFACT AS AN INTERSUBJECTIVE INTERLOCUTOR 90
8.4.2 LIMITED OR ALTERED INFORMATION FOR MEANING MAKING 91
8.4.3 MATERIALITY IN THE WILD 92
8.4.4 REMINISCING IN DAILY ROUTINE 94
8.5 DISCUSSION AND REFLECTION 95
CHAPTER 9 CONCLUSION 98
9.1 CONTRIBUTIONS 98
9.2 STEPS TO THE PREFERRED TMR 100
9.3 DESIGN IMPLICATIONS FOR REMINISCENCE AIDS 100
LIST OF REFERENCES 10
