時間: 2011/6/21 pm 2:00
佈展時間 早上九點到下午兩點
地點: NTUST 設計系灰專廣場第二教學大樓三樓
http://www.ntust.edu.tw/ezfiles/0/1000/img/4/layout_ntust_20110412-m.jpg
展示要求:
A2 海報 (組員, 作品名稱, 概念, 技術, 照片...)
functional prototype (模型展示)
A4 說明書一頁五十份
部落格上傳:
影片一支
高解析度 (1280x1024 以上)照片 2 張以上
概念說明 500 字
每位成員 200 字跨領域學習心得, 100 字給組員的話
2011年6月14日 星期二
2011年5月23日 星期一
week 13. Cross group evaluation
1. revisiting notions of "Form," "Expression," "Function," "Material."
2. Each group discusses with a brainstorming session, an ideation session.
3. Both Meaning-making (Expression-making) and Form-giving (with LMA) are of same importance.
4. Each group needs to work out a design process. Especially identify "design problem," and "engineering problem."
5. One group is evaluated and criticized by another group.
Brainstorming:
IDEO 7 rules of brainstorming
7 secretes to good brainstorming
go into the story: brainstorming=improvisation
the world cafe
Form language
http://tangibleinteraction2011.blogspot.com/2011/03/week-3-form-making.html
CIID interaction design
http://ciid.dk/education/portfolio/
2. Each group discusses with a brainstorming session, an ideation session.
3. Both Meaning-making (Expression-making) and Form-giving (with LMA) are of same importance.
4. Each group needs to work out a design process. Especially identify "design problem," and "engineering problem."
5. One group is evaluated and criticized by another group.
Brainstorming:
IDEO 7 rules of brainstorming
7 secretes to good brainstorming
go into the story: brainstorming=improvisation
the world cafe
Form language
http://tangibleinteraction2011.blogspot.com/2011/03/week-3-form-making.html
CIID interaction design
http://ciid.dk/education/portfolio/
2011年5月2日 星期一
week 10. review and comment
Metaphor:
Dan Saffer's Metaphor in Interaction Design:
http://www.slideshare.net/adorepump/tangible-interfaces-presentation
comments on concept proposal issues: reminiscence
1. Time factor
expression of "Time capsule"
pensieve
sound capsule
futureme.org
2.
What is the expression ?
other brother project
CaraClock photo viewer
Metaphor In Interaction Design
View more presentations from Rung-Huei Liang
Dan Saffer's Metaphor in Interaction Design:
The Role of Metaphor in Interaction Design
View more presentations from Dan Saffer
http://www.slideshare.net/adorepump/tangible-interfaces-presentation
comments on concept proposal issues: reminiscence
1. Time factor
expression of "Time capsule"
pensieve
sound capsule
futureme.org
2.
What is the expression ?
other brother project
CaraClock photo viewer
Caraclock
3. LED expression for "秘密"
抽屜, 藥櫃
4Photo: A Collaborative Photo Sharing Experience
3. LED expression for "秘密"
抽屜, 藥櫃
4Photo: A Collaborative Photo Sharing Experience
View more presentations from Chihyun
4.
4Photo: A Collaborative Photo Sharing Experience
5. Ritual
量身高
6.
Spatialization of Time
Linear, circular, height, depth Form
4.
4Photo: A Collaborative Photo Sharing Experience
5. Ritual
量身高
6.
Spatialization of Time
Linear, circular, height, depth Form
2011年4月18日 星期一
week 8. expression
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
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
2011年3月28日 星期一
2011年3月21日 星期一
week 5. form review
1. form review
2. feature interaction designer: Dan Saffer
2. feature interaction designer: Dan Saffer
Tap is the New Click
View more presentations from Dan Saffer
Ideation and Design Principles Workshop
View more presentations from Dan Saffer
The Role of Metaphor in Interaction Design
View more presentations from Dan Saffer
2011年3月7日 星期一
2011年3月6日 星期日
week 3. Form making
1.
(original paper in IJDesign)
2.
3.
persuasive design
4. A hierarchy of consumer needs by P. Jordan:
(image from slowdesign.org)
5. Timo Arnall: A form vocabulary for RFID
(retrieved from nearfield.org)
(nearfield.org)
6.
"Forms in various materials invite touch and manipulation"
Retrieved from interactions
7.
siteless book sample page
8.
Retrieved from "Move to get moved"
Problems:
1. How to design simple forms for rich interaction? (including movement-centric, social interaction, self-expression, etc.)
2. What's the relationship between movement and form? Can we think "movement" without form?
3. What kind of form is suitable for movement?
4. Echoing "tangible interaction = form + computing" by Mark Baskinger and Mark Gross, if "tangibility = movement + form", how can Tangibility be explored?
5. Affordance: restriction or hint?
EX1:
regarding "functionality" of a music player, pick up 8 representative forms on the above siteless sample page for 8 Effort qualities of LMA
Retrieved from "Move to get moved"
Retrieved from "interactions"
Studio Action 2:
Prepare a A2 poster
collect music players and other inspiring form
make a physical model of a music player
show the picture of this model on poster, and analyze according to LMA
Deadline: 3/22, 2011
(original paper in IJDesign)
2.
3.
persuasive design
4. A hierarchy of consumer needs by P. Jordan:
(image from slowdesign.org)
5. Timo Arnall: A form vocabulary for RFID
(retrieved from nearfield.org)
(nearfield.org)
6.
"Forms in various materials invite touch and manipulation"
Retrieved from interactions
7.
siteless book sample page
8.
Retrieved from "Move to get moved"
Problems:
1. How to design simple forms for rich interaction? (including movement-centric, social interaction, self-expression, etc.)
2. What's the relationship between movement and form? Can we think "movement" without form?
3. What kind of form is suitable for movement?
4. Echoing "tangible interaction = form + computing" by Mark Baskinger and Mark Gross, if "tangibility = movement + form", how can Tangibility be explored?
5. Affordance: restriction or hint?
EX1:
regarding "functionality" of a music player, pick up 8 representative forms on the above siteless sample page for 8 Effort qualities of LMA
Retrieved from "Move to get moved"
Retrieved from "interactions"
Studio Action 2:
Prepare a A2 poster
collect music players and other inspiring form
make a physical model of a music player
show the picture of this model on poster, and analyze according to LMA
Deadline: 3/22, 2011
2011年2月28日 星期一
week 2. Movement
1. Laban Movement Analysis (LMA)
http://en.wikipedia.org/wiki/Laban_Movement_Analysis
Body
Effort
Shape
Space
Effort (dynamics)
Float, Punch, Glide, Slash(砍), Dab(輕拍), Wring(絞), Flick(輕彈, 抽打), Press
Classification from Reference 1 (Ross et al.)
Simplicity v.s. complexity
abstract art v.s. practical
Reference:
1. Figure 4. in Designing Behavior in Interaction: Using Aesthetic Experience as a Mechanism for Design
2. Move to get moved: a search for methods, tools and knowledge to design for expressive and rich movement-based interaction
3. other movement analysis:
http://en.wikipedia.org/wiki/Benesh_Movement_Notation
http://en.wikipedia.org/wiki/Eshkol-Wachman_Movement_Notation
Exercise 1:
Specify the 3 dimensions for 8 movements listed above
Exercise 2:
Sketch at least 3 gradations for each dimension of the four Effort (dynamics)
Studio Action 1:
1. observation:
Find representative tangible product pairs for each dimension of the four Effort (8 in total)
2. create:
http://en.wikipedia.org/wiki/Laban_Movement_Analysis
Body
Effort
Shape
Space
Effort (dynamics)
- Space: Direct / Indirect
- Weight: Strong / Light
- Time: Sudden (or Quick) / Sustained
- Flow: Bound / Free
Float, Punch, Glide, Slash(砍), Dab(輕拍), Wring(絞), Flick(輕彈, 抽打), Press
Classification from Reference 1 (Ross et al.)
- Space: Direct: single-focused, channeled, pinpointed, lazer-like
- Weight: Strong: powerful, forceful, firm touch, impactful
- Time: Sudden: quick, urgent, instantaneous, staccato
- Flow: Bound: controlled, careful, contained, restrained
Simplicity v.s. complexity
abstract art v.s. practical
Reference:
1. Figure 4. in Designing Behavior in Interaction: Using Aesthetic Experience as a Mechanism for Design
2. Move to get moved: a search for methods, tools and knowledge to design for expressive and rich movement-based interaction
3. other movement analysis:
http://en.wikipedia.org/wiki/Benesh_Movement_Notation
http://en.wikipedia.org/wiki/Eshkol-Wachman_Movement_Notation
Exercise 1:
Specify the 3 dimensions for 8 movements listed above
Exercise 2:
Sketch at least 3 gradations for each dimension of the four Effort (dynamics)
Studio Action 1:
1. observation:
Find representative tangible product pairs for each dimension of the four Effort (8 in total)
2. create:
- Select a clip of music
- Analyze the clip with 4 dimensions in Effort of LMA
- Draw 2D representation of it
- Find a tangible product to match this clip
- Finish in form of video
2011年2月20日 星期日
week 1. Introduction
1. How is "Design Basics" taught in design school?
Examples
Examples
Examples
設計是什麼
2. What is the basics of "Tangible Interaction Design" as a design discipline?
Interaction Design Process by Bill Verplank
What are the significant contrasts for Tangible Interaction?
What principles are applicable? For example, synectics triggers, (synnectics examples), basic systems in nature.
3. Material
"Materials touch directly on three major topics:
1. A designer may be motivated and stimulated directly by a particular material.
2. Materials are expressive, verying from fragile and refined to earthy and coarse.
3.Certain materials are chosen for their inherent physical properties that relate directly to the function of the finished work."
4. Expression
"Expression. Basically it describes any outward, visible manifestation of an inward condition, feeling, or mood: a shrug, a frown, a grimace, a smile -- physical indicators of inner emotional states. In design, expression refers to the act of overtly communicating a visual idea." Stoops & Samuelson.
"Three phases are involved in the design process, and each contributes to individual expressiveness:
1. Recognizing and delimiting the visual problems to be solved, and deciding what sort of action is needed.
2. Putting on paper a personal, imaginative, synthesis of ideas as the specific form and arrangement of the concrete physical solution develops. This middle phase, the imaginative, creative one, is the most characteristic phase of the whole design process. It embodies the designer's expression.
3. Finally the design is translated, built, printed, constructed, woven, fabricated by the designer or under the designer's supervision." Stoops & Samuelson.
"When designers reach the point in their creative development where considerations of placement, proportion, and empty space occur without conscious effort, their work may be called expressive." Stoops & Samuelson.
如何用 expression 開展設計
5. Function
"Form follows function" is probably the most often repeated statement about design. Clearly, it means that the form of an object should be defined by the work it has to do."
6. Form
Tangible Interaction=Form+Computing
7. Movement
Laban Movement Analysis
Designing Behavior in Interaction: Using Aesthetic Experience as a Mechanism for Design
Reference:
Simplicity in Interaction Design
Introduction to Interaction Design
Expressive Interaction Design 2010 at NTUST
Grading rules:
1. Final project 70%, Design and engineering collaborative work. (Generally, every member in a group has the same score, however, participation in proposal, presentation, and discussion will alter)
2.Personal studio action 30%, consists of 3~6 homeworks done individually
Things you might prepare:
1. Sketching tools: sketchbook, drawing tools (pencils, markers, crayon...), glue, tape...
2. Form-making tools: Foamcore, hard paper, knife, nail
3. Function-making tools: Arduino, toolbox for sensors and actuators, if necessary, NB, Digital camera, projector...
4. Body and Brain.
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