Tangible Interaction Design: 4月 2011

Artisan intentions towards artistic meaning have become a major factor that distinguishes fine
art from craft in recent years (Risatti, 2007). Risatti asserted that "if the maker is deprived of choice, of free will in the making processing, he or she also is denied any chance at expression." He also cited Husserl that "the concept of meaning is reserved for the intention to mean." (Risatti, 2007) By placing the artisan at the focus of meaning creation, Risatti extended the notion of intentionality from Husserl to posit that "meaning should be understood as being made into the object as an intentional act of its maker." (Risatti, 2007) We can infer that the artisan's intention to express more profoundly impacts artistic meaning than expression does.

~Rung-Huei Liang

From use to presence:
1. an expressional: a thing designed to be the bearer of certain expressions
an appliance: designed to be the bearer of a certain functionality
2. "A thing always presents itself through its expressions."
3. "When we let things into our lifeworld and they receive a place in our life,
they become meaningful to us. We can say that this act of acceptance is in a
certain sense a matter of relating expression to meaning, or of giving meaning
to expressions."
4. "When we think of the expressions
of, for example, a mobile phone in elementary phoning-acts such as listening,
talking, waiting, dialing, etc., these are clearly related to some basic form of
mobile phone use. However, thinking about the thing in terms of how it forms
its presence by means of its expressions in such acts is different from thinking
about its functionality, for example, how it enables people to talk to each other
despite not being co-located."
5. "In, for instance, graphical design and many areas of industrial design, form giving often means to design the exterior of an object. This is reasonable when the object is sufficiently static and when its internal workings do not contribute to the overall expression. If we think about the material that forms the expressions of computational things, it is clear that it
is a combination of computations and interaction surfaces."

6. Assume that we will design a digital doorbell. A doorbell is something we
use to attract the attention of people inside as we stand outside a door, to notify
them that someone is at the door. There is nothing in this description that
refers to the expression of a doorbell. We can also describe a computational
doorbell as a thing that displays the execution of a certain program everywhere
inside of a compartment or a house as it is initiated outside a given door. This
is a distinction between describing the notion of a doorbell in terms of use and
describing what thing a computational doorbell is in terms of its expression."
7. "To design a mobile phone as an expressional means designing it on the basis
of a collection of generic expressions, that is, the expressions associated with
phones and phoning. To do this, we typically bracket functionality and focus on
the expressions of a mobile phone in use: How does it feel? How does it look?
How does it shape a gestalt of movements, speech, and gestures? How does it
transform and present my voice? How does it express time? Again, the expressions
of a mobile phone in use are different from what the phone expresses in
terms of being a part of my life, and here our focus is on the expressions of the
phone in use as we try to understand these expressions as a foundation for its
presence in everyday life."
8. "As an expressional, the mobile phone with a hands-free set is simply, among
other things, a “talking-loudly-to-yourself”-device. Being a “talking-loudly-toyourself-
device” is just one out of many things a mobile phone can become
as it is adopted as part of someone’s everyday life. For instance, it might
turn into a “flirting-device” that is used to initiate and ground a conversation
(cf. Weilenmann and Larsson [2001]), a “check-that-nothing-has-happeneddevice”
that is brought along just to see that no one has called, a “walkingcompanion”
that is brought when going for a walk to ensure company for
conversation, etc."

Slow Technology:
1. "We do not talk about
functionality and design, but about the complete
expression of a thing as it appears in the given
context."
2. " Why is it not enough to
have a reminder sign on the wall saying in
capital letters ‘‘SMILE’’ or ‘‘THINK OF YOUR
FAVOURITE PAINTING BY MATISSE’’, etc?
A key reason why this substitution is pointless is
that the reminder sign is very imprecise in telling
me what my favourite painting by Matisse is or
why I should smile. It is the expression of the
Matisse painting itself – or probably a reproduction
– hanging on the wall that is important. The
function of a thing designed to invite and make
room for reflection is inherent in the precise
meaning of reflecting that is given by the total
expression of the given thing; function is
inherent in design expression."
3. "One of the basic ideas behind the examples of
slow technology is to use simplicity in material in
combination with complexity of form. ... Simplicity in material invites people to reflect
when there is an obvious complexity in form."
4. "The design should give time for reflection
through its slow form-presence and invite us to
reflect through its clear, distinct and simple
material-expression. It is a combination of
simplicity in material with a subtle complexity
in form focusing on time as a basic element of
composition."

Conceptual Designing and Technology:
1. "I extensively used the method of
moving between analyzing expressionals in terms of function, and
appliances in terms of finding expressions."
2. "To create the form-making qualities, the material properties
were analyzed to find what transformation types the material
could offer designers, by searching for variables that designers
could manipulate through the design activity."

Reference:
1. From use to presence: on the expressions and aesthetics of everyday computational things
2. Slow Technology
3. Conceptual Designing and Technology: Short-Range RFID as Design Material
4. Design for Internet of Things

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