Posts about “MAU IxD”

  1. Instrumental knowledge

    Sansa: A Modified Sansula for Extended Compositional Techniques Using Machine Learning

    McLean J. Macionis and Ajay Kapur 2018

    This feels like a school project, a good school project, but not one with very high academic standards or contributions. It feels like something that might be the result of our final project in TEI.

    I think it is a bt thin in motivating why they did it. There are many instruments that are easy to pick up and understand and a lot of them could probably house electronics. Why choose the sansula?

    Most of the features are just the result of electrifying an instrument, not particularly their implementation. The parts that are more unique feel a bit bolted on, would making gestures with the whole instrument have any positive effect for the musician. On top of that, those examples don't really use the instrument as such at all. So why not just use a sensor in any ol object then?

    Kontrol: Hand Gesture Recognition for Music and Dance Interaction

    Kameron Christopher et al 2013

    Kontrol seem to be in the same vein as Sansa in terms of the type of text. It seems a bit less cohesive as some of the examples of the Kontrol seem to be totally different devices.

    I think the saxophone example shows a lack of understanding of the instrument and context. When talking about the Guqin they go into great lengths to describe how the tone is generated and what makes it special but with the saxophone they seem to think that the important part is the hands. Thinking you can respond to the music by just knowing hand movement. That would be like just knowing what string was played on a guitar or the guqin.

    Furthermore I don't think most saxophonists that use filters would use them with a laptop, I think they would have pedals.

    Trying to cram some buzzwords into the text in the end does not do it any favors. What do they mean by "incorporation of nanotechnology"?

    Sensori-Motor Learning with Movement Sonification: Perspectives from Recent Interdisciplinary Studies

    Frédéric Bevilacqua et al 2016

    This text was better. It goes through some earlier research into the use of sonification in different fields.

    At times it feels like it rushes through what they did but there are some nice insights in it. The parts about what sounds are expected and how that can be used to increase the effect of the sound is interesting.

    Most of the research seem to be inconclusive and they want further research to explore the same issues. Some of the experiments seem to be replications of older experiments and have the same results. It's hard to see the contribution of the paper other than saying that this is a field that could be studied further. I think they are right in that though. This field seems interesting and it should be studied more.

  2. Photo by Franck V. on Unsplash

    Computer, make music

    This week we explore computer assisted music with the help of machine learning in Wekinator and some Processing.

    Before the demo today I ws pretty sure I was going to do this project in Node and the browser and use TensorFlow PoseNet there, but after seeing how easy it was to get going with Wekinator and Processing I'm not so sure anymore. I think we will just doi it with the tools Daniel demoed today and I can create some kind of web server that connects to Wekinator in my spare time.

    A web server bridge could still be useful as it could be used for some distributed systems like art installations that the audience can interact with. I think this is a good project for the future.

    Today also showed how much progress my class has made since last year with programming. It also showed in the last course but I ws impressed to see how people just started editing the Processing examples even though we have barely worked in Processing before. It really shows how experience builds confidence and how understanding of one language translates to other languages.

    Assignment: ML Music

    Brief: Design an instrument that uses a computer to generate sound

    Materials: Wekinator and Processing or other stuff

    Team: Cathrine, Denisa, Simon and me

    We started by looking through some examples and started poking in the MIDI output example but we moved on after a while as our understanding of MIDI is limited and we don't see the great payback in figuring out all of that in a week to get Logic Pro to work with it. We think we can make more with just Processing and playing samples.

    Simon made a nice example where he extended the drum machine example. He imported some nicer samples and and this will probably be a basis when continue work with Motion Leap tomorrow.

  3. Photo by Ricardo Gomez Angel on Unsplash

    Show and tell it with physics

    Today was show and tell with dataPhys. Some groups showed really nice concepts but a lot of us missed the opportunity to do some real physicalizations. In my opinion, most of us just did visualizations in a 3d space. I know the lines are blurry but we could have used physicality more, and this applies for most groups.

    I think Julia, Therese and Victor did a really nice concept where visuals didn't matter that much. The data was conveyed with weight, and the "data points" where of different shapes so it would be hard to just see which was bigger or smaller. I think this was a brilliant move because it "traps" the data in physical space. An image of this physicalization communicates very little of the data. You really have to interact with and relate to the object to "read" it.

    I wasn't that happy with our concept. It wasn't very strong. I don't mind that we took the provocation very literally, that was our intention and I think it was a bit fun not to make a social commentary but we could have worked a lot more on the physicality of it. It's mostly an object that you observe and very few of the data points could not just have been visualized.

    Other things that came up during this course was how showing data is not neutral just because the data is just numbers. When you edit and filter data you have to think of the social and cultural context you act within.

    Context and history matters

    I also think there was a weird discussion about how the texts were too old to be relevant. I think it is very dangerous to think that visualization design is a solved problem in the last 10 years. We have more or less visualized data as long as we have recorded history and there are a lot to learn from that. Design is not bad just because it does not fit our current trend, it might actually be better att communicating the data. And just because we have better looking AR now than in the 90s it does not mean we have better AR.

    Context and history matters, a lot.

  4. Photo by Isis França on Unsplash

    Finally working

    This week had a rough start, one member was sick and another was working so on monday we decided to just do some ideation and try to get a context to design for. As we where only half the group present we decided not to make any decisions when we thought everyone would be there the day after. The ideation process didn't go very well either.

    The only more concrete idea that came out of the day was a physicalization of the development of fetus. An object that can show the size and weight the fetus at different stages of the pregnancy. I find the idea intriguing as it is something you will never be able to experience in real life, at least not as a positive experience, and it is something where numbers are too abstract to really communicate the reality. The object could also show things that happen in the fetus as it develops, like neural development, but It may also be detrimental to the experience.

    For the tuesday we decided to read the three papers and meet up after lunch to discuss them and then ideate together. Just as we where going to meet up we got messages from the teammates that where absent the day before, that the situation was the same as on monday. We met anyway to discuss the texts and ideate a bit more. During the discussions we agreed on making something less political than people would expect us to do, and hopefully something that could provoke nice feelings and joy. At the end of the day we had narrowed our contexts down to weather in a home setting. Not the most exciting context but that was intended.

    On Wednesday we met before the seminar to work a bit on the project but the absent teammates had not read anything and had not looked at the slides on canvas so we had to dedicate the morning to explaining the concept for the week and what the project brief is. At least we could start talking a little more productively after the seminar and get into the physicalization of weather.

    The Thursday was the first and last real work day. We started by trying to explain our ideas and how we see them being designed. This didn't lead us to any big insights and we decided to test the FSB method to step through the process and not jump ahead as much. This was a lot better for us, we could define what we wanted the artefact to to and then go on to how to do that. It seems like a nobrainer but I never done it in this way, not like this rigid framework.

    In the end we got something together but I think it really shows that we didn't work at full speed this week. It's sad because I think the topic is super interesting and I would have wanted to explore it more.

  5. Photo by Jeremy Lishner on Unsplash

    Tangible bits and other pieces

    Tangible Bits: Towards Seamless Interfaces between People, Bits and Atoms

    Hiroshi Ishii and Brygg Ullmer 1997

    Although this text is very old it is a fun read. You can see how academia was miles ahead of commercial companies and developing techniques that would take a decade to start to trickle out into the world. The Microsoft PixelSense (Surface when launched) was very similar to the metaDESK and a very interesting product. It sadly went nowhere, maybe because the price tag of $10000.

    My understanding is that this is seminal work that informed much of the work in tangible interaction later on. Most of the examples are interesting but some feel a bit too quirky or gimmicky, like the LiveWire.

    As a text it's more of an overview of work that has been done and there are not that many insights or maybe I take them for granted 20 years later. There are cognitive benefits to physical objects (atoms) and coupling this with a digital data (bits) create a new way of controlling a digital system and suddenly we can touch the digital world (or cyberspace as they call it) and it becomes tangible. The hope is to have the benefits of both worlds.

    I love the example of the Marble Answering Machine. Maybe we don't use answering machines anymore but saving data (but more like a pointer) as a physical object gives us a relation to the data. We can keep it in a box to save for later and remember what they are by their characteristics like color and material. We can even customize them by writing on them or scratching our initials into them.

    This text really inspires me. This is the reason i signed up for this programme, I was tired of being stuck in the digital world, I wnt to mix the worlds.

    Opportunities and Challenges for Data Physicalization

    Yvonne Jansen et al. 2015

    The concept of physicalizations is an interesting one, like supersized visualizations, but the text fails to show any appealing examples in the paper. Most examples are in my opinion just visualizations with other media. They may have some extra benefits but it's such a subtle difference that I don't think we can in all examples even talk about physicalization.

    In the Hans Rosling example I argue that the fact that it is on a stage where the audience can't interact with the objects makes it a visualization. If this was to be considered a real physicalization, I argue that any movie or animation depicting physical objects also would count as one. I think that to be considered a physicalization there should for the audience be a diminishing of experience when the physicalization is recorded on video. In this example there is no active perception, non visual communication or other benefit.

    I get that the lines can be a bit blurry, but if you want to argue for why this is important and why we need a new field of research, you have to make examples that are good and make your case strong.

    The other parts of the text are more about how visualizations could benefit from being tangible. It borrows a lot from TUI but that is to be expected as the relationship between physicalization and TUI is similar to the relationship between visualizations and GUI.

    The authors also get into the challenges of physicalizations and this seems to be similar to that of visualizations where animation and interaction can make data easier to grasp but can also make the representation harder to read.

    Visualization Criticism

    Robert Kosara 2007

    THis paper felt like the least solid one of the bunch. It takes a very strange stance when it says there are two kinds of visualizations, pragmatic and artistic, that are impossible to reconcile. It is like the author thinks that charts and graphs have no inherent meaning, as if any language, visual or other, can be communicated in a totally neutral voice without meaning. I think he comes from a place where numbers are more correct than other information, and this is probably true for most of us, but if we think harder and deeper we can also argue that the numbers are just abstract representations of the world. Statistics are a nice way of working with a complex world but they are not the world. Quantitative measures can often be less accurate than qualitative but they are so much easier to work with.

    I think Kosara comes from a good place when he wants critique, and that some of his ideas are good, like having different experts weigh in on and review papers. It's just in the connection to the art world and how it should be implemented that he stumbles. I think he misunderstands what an art critic is, it is not an artist little helper that comes to the studio to discuss his latest work of art. A critic writes and theorizes about art, not for the individual artists sake, to contextualize, analyze and explain the art to others.

    Another mistake in my opinion is to think that critics not being artists is a bad thing. Why is it bad to have someone that is an expert of art theory theorizing. In a way it is the same as he proposes, he wants visualization researchers to peer review his work, he does not want just engineers to review engineers. It's the same concept, take an expert of the theory of visualization to review visualizations.

    The method of critiquing also baffles me. Are the rules for real? This is nothing like art critique, this is mentoring or tutoring. The author wants clear rules for good design and someone who can tell him how to do it. What he wants could probably be delivered as a book or course. It is similar to Twitter's Bootstrap for the web. It could make a lot of visualizations better but it does not make those visualizations good.

    When writing a paper in the vein of "how this can learn from that" it is a good idea to have knowledge about the "that" otherwise you are just setting yourself up for failure. Most of the critique I have is about the author's notion of the art world, but when the whole premise is to bring a concept from the art world into visualization that becomes pretty important. The paper would have had more weight if he just dropped the parts he didn't grasp and focused on what he wanted. It might even fit in a tweet:

    Fake tweet that sums up the paper

    Rant over.

  6. Diagram by Florence Nightingale

    Provocative information

    This week started with a lecture on visualization and physicalization of data and how that can be used and has been used to make information easier to grasp.

    Almost ten years ago I fell in love with a visualization of the 2008 credit crisis. I still think it is pretty good but it today the visuals feel a bit dated. The nice thing about it is that it explains a very complex problem in a simpler graspable way.

    The Crisis of Credit Visualized by Jonathan Jarvis

    I made some infographics over the years but I never made anything very interesting or good. I can make nice illustrations but when it comes to animation i fall short. My biggest deficit was probably the lack of understanding for the concept I tried to visualize. I never got enough time from the clients to make a really informed infographic and I think that is probably the most important part of it. You really hae to research and get into the finer details of a concept to understand what is really important and worth bringing in to the visualization.

    Physicalization seems to bring a new set of problems. Not just what parts of the information do you want to give form. You also have to decide how it should be experienced, as the physical form gives it opportunities and challenges that are not present in graphics. Should the weight of the object reflect something? Should the audience pick it up? Is it an experience or an object? There are so many possibilities.

    Having the real world presence can also give sculptural qualities and it makes me think of art and installations but with a message. I guess this could be just as the relationship between art and visual communication. Calling physicalisation of data art is probably an insult just as a nice book cover can be beautiful, but it's not art. Even so my thought go there, and even more when talking about dynamic physicalisations. I start to think of fluxus and how some artists painted with acid on plastic that melted away.

  7. Photo by nattarin kraiwachirasit on Unsplash

    Smell & tell

    the battlescent logo

    Today we had our show and tell with the smelly games. There where both good and less good games. Maybe smell does not do a good job in delivering a rhythm, but the same game could have become more like twister.

    I liked the "Smelly Cat", a smelly version of "Old Maid". I liked the physicality of the cards and how well smell could be implemented. The same goes for "Domi-nose", a domino with scent. Theses games had smell in them as natural ingredient that had a value of it's own and never had to be translated. You never have to know what the scents are or their names, you just have to pair them with the same scent.

    Many games had "guess the smell" components. But in some, like the mentioned above, the smell was a quality, you never had to translate it. Just like a color in many card games, it's just there to make the game work.

    Sadly it felt like the presentations got rushed the longer the day went. In the first ones we could ask questions and such but in the end it was just presentation -> demo -> over. I would have liked a bit more information and discussion.

  8. Photo by Darren Nunis on Unsplash

    Building Battlescent

    After the Wednesday smell workshop we got a quick assignment for the week to present on friday.

    Assignment: Smelly Game

    Brief: Modify an existing game to incorporate smell. It does not have to be the complete game, you can focus on just one aspect of it.

    Materials: Smell and any other materials.

    Team: Cathrine, Denisa, Simon and me

    We started brainstorming on games and quickly gravitated towards Battleship. Not going with our other alternative, "Guess who", was lucky as two other groups went with that.

    We started exploring how smell could be added and we decided to change the guessing mechanism into a smell skill assisted guessing. A quick paper prototype, where you closed your eyes and tried to track the smell showed promise and we decided on that concept.

    We then started designing the board in illustrator and I guided Sion through it as he has very little experience with that and wants to learn. Cat and Denisa took the designs and ran to the laser cutter while Simon and I designed some smell containers to 3d-print. We where unlucky with the printer as the PLA did not want to stick. This has been the problem for some days and I have not been able to solve it. I hoped as these designs where simple and we used the best PLA it would work but it didn't.

    Luckily we had anticipated this and asked Johannes if we could use some of his small containers he has for a smell project, and that was absolutely fine. With that in mind we designed our game board to be compatible with his containers and that saved us in the end.

    I will try to find some IPA and see if that solves the 3d-printer problems.

    The Wednesday ended with us fitting the parts to see if everything works and then we went home. We where a bit worried about the smell of burned MDF ruining the game so I took all the parts home to lay them out on my balcony for the night. Julia mentioned baking soda as a possible smell absorber too but we didn't try that.

    Testing the smell board

    Today started with us sanding the board dow a bit to remove stains and a bit of smell. THe smell problem wasn't that bad, it was more like a background noise that was quite easy to disregard. It clashed a bit with bay leaf, which was one of our three smells, so we decided to change that in the end.

    with enough time it was quite easy to pin point the "ships"

    Trying it out on our selves and our classmates showed that with enough time it was quite easy to pin point the "ships". We tried different configurations where the "ships" could be any shape and not just lines or even scattered around. This proved to make it harder but we also strayed from the original game, so we decided to play with time instead. Having a time limit also made it harder so we stuck with that.

    After having a lot of discussions about how the game rules could work we decided not to focus on those parts and more on just the smelling/guessing part of the game. The brief is clear on that we don't have to show a complete game and we want to focus making our redesigned part as good as possible.

    We tested on more class mates and are happy with the result. Tomorrow we make the powerpoint and get to see what everyone else has been doing.

  9. Photo by Pedro Figueras from Pexels

    Smoke rings

    We had a workshop on smell. Simon started by introducing us to the history of scent toys and games.

    Kōdō

    We started with a simpler form of Kōdō, where you are subjected to three scents and have to remember them. Then we got to smell them again in a random order and we had to guess which ones they were. I took notes on the smells to try to categorize them and to remember.

    1. Citrus, tar, wood
    2. Citrus, vanilla, caramel
    3. Carnation, leather, dentist

    I think most of us had all three right when guessing. Maybe Simon made the game a bit too easy.

    Rose bombs

    These rose water filled egg shells are interesting as an artifact. As eggs they feel very fragile, are a very good size and weight in the hand and afford throwing, they almost demand throwing. The history is several hundred years old and they were used to spice up dinners and parties. It's like an antique water ballon, but they are nicer to handle than balloons.

    Maybe the first scented toy, a rose water filled egg shell. Like a 16th century water balloon.

    Vortex Cannons

    Vortex cannons were a lot of fun. By blowing smoke rings, they can deliver smell over longish distances and target people. The smoke is just for visuals, it is easier to play around with if you can see the ring.

    Vortex cannons shooting smoke rings
    Vortex can be built easily and can deliver smell over a longer distance and with some accuracy

    Combining this with computer vision and servos could make a fun project. A Raspberry Pi with a camera that turns to target people and shoot smells using a vortex cannon actuated by a solenoid. Maybe later.

  10. Photo by Alejandra Coral on Unsplash

    Smelling

    We start a new week with a new theme, smell. Talking about smells sparked a lot of interest in me. It's a complicated topic as there is no rgb of smell, we have about 350 different working smell receptors, digitizing that is hard. So it requires physical scent carriers and that is bulky. The resolution in a scent display is very low, the ones we saw only had 4-8 different smells because it get bulky. I never thought about this topic before but Simon's angle had a lot of personal hooks for me.

    Seeing how my mothers sense of smell and taste diminished in her last year, and seeing how that made her eat less and all the problems that led too was very hard. I saw the same tendencies in my girlfriends grandmother and in a lot of people when I was working in an home for elderly. That's why it felt personal reading the articles about the research and the coupling between loss of smell and dementia.

    It also made me think of my brother who lost his sense of smell around the age of 25. It probably has to do with allergies and such but it would be interesting to try some smell training on him. I may try the 12 week thing on him.

    Gaming is something that hooked me as a child, I still am very interested but I don't practice as much as I would want. I remember trying to play "Leisure Suit Larry" in the early nineties. My strongest memory was trying to get by the age verification system. If my memory serves me, you had to answer questions that children shouldn't know, like old politics and stuff. We had to refresh until we got the one question we knew the answer too.

    There are a lot that I didn't know about smell. The belief that humans are bad at smelling is not true, we are even better than dogs at some categories of smells and we can learn to track by scent out in nature.

    This week will be interesting.

  11. Photo by Jeremy Yap on Unsplash

    Multiscreening

    Last friday we all presented the films we made that week. The assignment in was a video prototype of a multi-screen experience with a glanceable UI and it was interesting to see all the takes on the concept. Some groups made real good videos and concepts while others I think got away from the assignment a bit when they wanted to make cool things. I think it was clear that as soon as visual design elements where introduced in the videos, the critique would get skewed towards that. A lot of critique focused on colors and technology.

    I think this was a bit sad as I interpret the assignment to be more about testing an experience and communicating that. I guess it's hard to make any hard lines but I would have liked to see more talk about the conceptual stuff. Like "how is glanceability built in?", "is the information useful and actionable?" and questions like that. I think it's a bit hard to critique in these large environments, especially when there is no discussion already going on. I feel that I come off as a douche when I try to point things out, but I don't feel confident enough to make any claims about the strengths of the design. I need more time with it to find those qualities and a smaller forum where I feel I can goof up without losing face. I guess that is something I'll have to work on.

    KitckenHub

    Our video is about a system that keeps the kitchen staff informed without having to know all the details. You can see if a roast is done soon, but you might not need to know the seconds. The more detailed information is available if you want it on the appliance itself.

    An illustration of how the kitchen hub system interfaces with all the appliances in the kitchen
    All systems in the restaurant send abstracted information to the kitchen hub

    We got some well deserved critique about how the interactions could have been better illustrated and I think the video shows how we were two different teams doing scenes at two different locations. We had just a vague idea of what the other group was doing and we should have had a "director" that could have pulled us in the same direction.

    Take aways

    Overall I think this week showed what a powerful medium video is when you want to show an experience. It also showed us how much more experience we have with this now. Making this movie was so much faster and smoother than last time we had to make a video prototype.

    I also think we got to experience how valuable lo-fi visuals can be. When you leave a lot to the imagination of the audience you don't get irrelevant questions about colors and contrasts.

  12. Rocking scissors and paper

    When setting out to make a quick video prototype of our project we chose paper as our material. We wanted something fast and far removed from graphic design. The fast part might not have been correct. Making six different devices in paper where all had changing components was not the fastest, we could probably have made it faster in illustrator but the what we got was a more true wireframe mindset. While we saw that other groups where debating contrast and colors we could just focus on the interactions and information in the prototype.

    Paper prototypes of UI on a table

    I think we often want do make "shiny" design. We want to present something that is aesthetically pleasing and will impress stakeholders at first glance. This can be a trap where we spend a lot of time debating ad designing characteristics of the design that may or may not even be implemented later on. We also run the risk of getting in love with a design and have a hard time scrapping it later. I have seen this many times in my own work where a design is modified to try to retain some aspects you really like, and while doing so you ruin it and get something bad, but at least you kept your favorite header almost intact :)

    Another danger could be that stakeholders get attached to the design early on and don't want to change it. As they are not as involved in the design process they may have a hard time understanding why something had to change.

    Filming

    Just doing stuff can really make stuff happen. Who knew? We just asked if we could film in the uni cafeteria and in one hour we had planned our shots, filmed a couple of versions of every shot and edited it all.

    Cathrine, Denisa and Simon are filming a paper prototype
    Cathrine, Denisa and Simon are filming a paper prototype. AT times we had to involve more people.

    We had some discussions in the group about how to edit and what to keep. I didn't see the benefit of keeping everything we filmed just because we want to show what we have done. I think killing darlings is really important, especially when you present your things. The audience might not even understand why you liked that thing so much. In the end we compromised and I hope everyone is happy.

  13. Screen time

    We feel the time running and have to decide on a situation. We go through our earlier ideas and decide to ideate on three of them.

    Post-it notes with ideas

    Doctors with patients

    Ideation on doctor patient situation

    We ideate on the patient/doctor situation. This was probably the favorite situation before the ideation but we found it a it boring afterwards, we also worry that our experience in this field may be very limited.

    Patrolling police

    Ideation on police with multiple screens

    If we would pick the police we would likely go into a dark and speculative design. It would be very political and with the short time we have on the project it could fall flat and just be a "black mirror reject".

    The restaurant kitchen

    Ideating on cooking with screens

    This was our least favorite situation coming in, but when we started to explore the idea, it grew on us. I like the idea of using many small screens with specialized information and a large screen with. The worry is that we are biting off more than we can chew, there is a lot to deign and prototype and we only have two days.

    A sketch of how the screens and systems will work in the kitchen

    We decide to work on this and start to wireframe the different screens. Tomorrow we will have to make a storyboard and film it in a kitchen. We got permission to film it in the university cafeteria.

  14. Working with text

    Yesterday we spent most of the day working with the texts in preparation for the seminar in the afternoon. I like how we have focused more on the texts this year. There seem to be a lot more discussion in the class this year, maybe because everyone is always working in the studio, but it may also be the seminars that force people to read the texts. Anyway, the fact that more people read the text I think has a kind of synergy, where everyone gets more out of the texts as we can discuss it more. Or it's just me reading better.

    The seminar

    As we in our group already had been discussing the questions for the seminar for a couple of hours, we had already answered most of the questions, but discussing it in class gave us some new perspectives. Having David there deepened my understanding a bit more and opened new discussions.

    We talked about how much data you need for your research and some people, me included, felt that there was not enough data to draw some conclusions. While I understand, and agree with, that qualitative research has different restrictions than quantitative studies, I just don't think some of the conclusions where justified in some cases. It's nitpicking but I still think some conclusions in the field study are weird. When 50% of group A says something, it's not ok to group them with group B that was testing a totally different prototype and conclude that prototype A had this quality just because group B thought prototype B had the same quality. You should just be honest and say that the interviews are inconsistent. I think that the way these people work may have more to say about it than the visual queues.

    Group work

    We have yet to pick a situation to work with. I had some ideas i will present to the group today.

    • A glanceable todo list. It could be something like making a second display view for Github where you see the issues you have taken for the day.
    • A time tracking app that lets you see if you are tracking billable hours and for what project
    • Notifications for your computer on a phone. Moving them from the main screen would also mean that you can easily turn them off by flipping the phone.
    • Some kind of running "coach"
    • A dystopian gig economy situation where you see how little you make and maybe also how you should act.

    My ideas seem to be rooted in my real world problems and not that exciting. We should do something crazier.

  15. First glance at TEI

    New week new course. Tangible and Embodied Interactions. I don't really know what that means, at least the embodied part. I think it has to do with a stronger relation to human physics rather than just cognition. We talk about the limitations of the human bodies and senses and will design with that in mind.

    The first week we will design and present a multi screen experience where glanceability is a key factor. Glanceability is the concept where you have a visual expression (maybe other senses too?) that is so abstract and/or simple that the user just has to glance at it for less than five seconds to get it. Doing this fast glance avoids kicking into a cognitive mode where you start to analyze the data. I guess this ties back to Thinking fast and slow that Sofie brought up last year.

    I can see how this could be useful while I run. I use my run tracking watch to get info while I run and I have often felt that the data is too raw. I get very stupid while running hard and trying to calculate the tempo needed to make my goal time can be hard at times. Even things like understanding what number is remaining time and what is my current tempo can be hard during intervals.

    Three texts to read

    We have three texts to read for today and they aren't the hardest reads. Designing and Evaluating Glanceable Peripheral Displays, Matthews, T. (2006, June), is a writeup of a pre study for a thesis. It has some usable insights when defining glanceable displays but is not very deep. It feels a bit odd to quote psychology research from the 50's, there has to been development since then, but I'm not knowledgeable enough to argue too much. It seems a bit odd though to cite a paper and then saying that the estimation is rough. Why not use any of the later research done. I guess it comes down to having cool references.

    Exploring the Design Space of Glanceable Feedback for Physical Activity Trackers, Gouveia, R., Pereira, F., Karapanos, E., Munson, S. A., & Hassenzahl, M. (2016, September), is a longer text. It's a study done through design and seems to be similar to what we are expected to hand in by the end of the course for our longer project. It breaks down glanceable feedback into six qualities to be able to discuss them but I think they are quite political when they do. Is the encouragement of checking your device more really something that we should strive for? I think a lot of people thought smart watches with notifications where going to make us check our devices less but I think this mindset might be a cause for the opposite to be true.

    They also try to get people to compete with other anonymous pre recorded user data. In doing this they find it to be disheartening for users. It's not hard to see that competing against someone that always achieves the goal you set up while you might not can be a downer. If they would have thought about it, they could have realized beforehand that they should compare against other people with the same goal that also failed at times.

    I think some of the shortcomings of the paper stems from that they did their research in part based on what was easily attainable. They seem to have some walking data but not the intent of the people behind the data. This is also true of the analysis, it feels shallow and very data oriented. They try to be a quantitative research paper without very much data. It can also be seen in their citations, when they cite a study of one subject. There are insights in here but it wasn't my favorite paper.

    The last paper Evaluating Peripheral Displays, Matthews, T., Hsieh, G., & Mankoff, J. (2009), builds on the first. This time the Matthews puts her theories to test and does two studies, one lab study and one fields study. The study also takes three other studies to try and find a more all encompassing definition of qualities to evaluate when talking about peripheral displays. They are using both quantitative and qualitative methods but it seems to lack a bit. It does not go very deep in interviews and does not have a lot of data. One of the studies only has two people each in two groups. It's hard to extrapolate the findings like they do when comparing the field study result. They group one from group A with group B, just to be able to say that three out of four say one thing. It seems a bit disingenuous to create ad hoc groups just because the data pool is so small.

    Even though I think the research lacks a bit in quality I think the paper can help us a lot in doing our own research later on in the course.

    In the end all texts give insights into how a design research project can be done. It feels like every text is there to help us in one part of the later larger project. The first is how we will write our intentions in order to get feedback from our supervisor before we do our research. The second text is an example of what we should hand in in the end of the course and the third helps us with our research

  16. Photo by Leone Venter on Unsplash

    Presenting

    We went through this module with great insecurity. It felt like we never had it under control until the last week. It was a good experience for me, to have to find my footing at times.

    The presentation went ok today. We had some critique about the visualization of the movement but I am pleased overall. These actions might not have been the best suited for machine learning but it is interesting to explore the limitations of the tech as well. It made us think more about the movement in the terms the two papers talked about. We also kept away from making a flashy demo and I think that was a plus for us. In module one we spent to much time on making graphics and that was not the case here.

    This course has been an interesting one. Working with the basic ideas of interaction and exploring it in different ways has really been educational and enjoyable. There has also been more focus on the texts and that has been really helpful for me. I'm not always the best one on reading text but in this course I have leveled up my reading discipline.

  17. Photo by Mark Eder on Unsplash

    The non action

    An ioio XPS inspired me to think about not doing things. It was a talk about colonialism in design and how not trying to solve something for someone can be more helpful. We as designers have to step back at times and acknowledge that we might not always know the best answer. At times the user knows best. I guess this is also the basis for user centric design as opposed for genius based design, and maybe the basis for IxD at MAU.

    The absent action is our theme now. We will work with cancelling, regretting and uncertainty. They feel very related but stand apart a bit. The uncertainty opens up for cancelling but can also be a fulfilled action in the end. If you just take a simplistic view of it it's just a fulfilled action that is carried out slowly but I think there is a quality that is getting missed in that view. THere is something in the hesitation that is interesting.

    When you decide not to fulfill the move, we call this a cancelled move. Cancelling is easier to identify for the mover and the observer but it may be hard the machine view. If the object we are to pick up is the one sensing it will never see an action if it has no sense of the room.

    Regreting is similar to cancelling but you first fulfill and then return it. I think observing it is similar to a cancelled move where you have to have a context to understand it. You can see it as two fulfilled actions, picking up and putting down, but we argue that when you see it as a whole it is different.

    This is the space we chose to work within the last week and I think it is an interesting one. It is far from where we started and a stretch in the topic but Jens seems to be fine with it, even excited.

  18. Photo by Paolo Nicolello on Unsplash

    What have we done?!

    This week we started by planning what we need to do to get ready for fridays presentation. During this we started to doubt the effort that we have made in this module. We worked together in module one and there we made several prototypes for at least four concepts and in this module we have not the same amount of output.

    Going through what we have done, we realized that we actually have worked more than we remembered.

    Notes on what we have done so far
  19. Photo by Siora Photography on Unsplash

    Cancel that

    After some coaching we got an approval for our concept. If we don't get the computer to recognize our moves that can be ok, as the investigation is the important part. We should analyze how these kind of moves and record how it looks when you regret a move and when you don't. We also have to try the moves and see how they feel for the mover.

    We will move forward by prototyping these moves in different situations to se if we can identify the canceling and regret of movements. What does it look like when you are in the middle of a movement? Can the the machine recognize the hesitation? Can we isolate this cancelling movement? Movements that are stopped and regretted, can the machine recognize this?

    We started looking at some different situations where one person would do something and one person would suddenly tell them to stop. The first was writing on a whiteboard. In this case we found that the canceling was done very subtly in between drawing the individual lines making up the letters. Stopping the writing action was not noticeable, if you don't account for the words not being completed. There was no twitch or anything that we could see.

    The same was true for walking, we could not see the cancelling as a specific move. We concluded that this could be a consequence of theses actions really being an ongoing series of actions. When told to stop, people would stop before initiating the next "subaction".

    The cancelling is done before really initiating the throw

    When making more distinct actions we noticed more clear cancels. With the throwing we could see a difference when the mover knew the he would cancel. In this case he would cancel before getting into the swing. We also had some tests where you didn't know that you had to cancel. In this case we could see the swing being initialized and that the cancel could fail, in regards to holding on to the ball. Theses moves where more interesting from the mover perspective, with a heavy object being thrown, the cancellation can really be felt, it can even hurt. As the mover has to stop the swing or divert it, the energy has to be dispersed in another way, and this will be felt in the arm.

    You can see the "getting burned" reaction when cancelling

    Smaller actions like picking things up is different again. Here we get further into the action and when we cancel we can see a twitch almost like we are being burned. We can also see a lot of hesitation, probably because we know it is an experiment. We can also se that at times we actually take the object and then release it. We call this regretting a move as we think it differs from cancelling.

  20. Photo by Chris Barbalis on Unsplash

    Handling it

    We are handling real objects now in order to understand the movements. We may be able to translate this to our gesture interface later but we need to understand how to design meaningful gestures first.

    When we start to analyze object manipulation we find that there are many different ways of interaction, we can push, pick up, drag etc.

    Moving an object by picking it up

    Moving an object by pushing it around

    Moving an object by dragging it

    While testing the handling of objects we started to talk about social interactions when we handle objects. Things like giving and taking from other people can be an interesting angle. While testing this we started to play tricks on each other and saw how this changed the way we received the objects, you can see me taking it from under after Lin just dropped it once.

    We move the object back and forth between us

    While doing this prototyping we started to talk about hesitant actions and deciding not to do thing. We got back to the discussion we had earlier on, when Lin talked about hesitating to press play, and this time I understood her better. Just because the machine sees an interaction as a binary action, play or pause, it does not mean that the mover or observer sees the same. When you press play, your action starts earlier, the whole approach to the machine, reaching out and finally pressing play is part of the move.

    This whole move is disregarded by machines today, they just listen for button presses and similar. We found this interesting and started to investigate the canceling of actions.

  21. Photo by Rechanfle on Flickr

    Minority repeat

    We spent most of last week reading, tinkering with the ML libraries and walking around the studio. This wee we started working on something inspired by the movie Minority report, one of the better Philip K Dick adaptation (some are very bad). We didn't have a clear goal but after talking a lot last week we decided to just try something out.

    Just do it

    I'm trying out a Minority Report interaction

    We talked a lot about different gestures and what they could mean, and how you could complete certain actions. When we started to just prototype the movement we got new insights and ideas. While trying it out we decided that a general computer UI was not whet we wanted to do, we instead decided to focus on music. Music was our theme in module 1 and it seemed fitting to have it here too.

    We talked a lot about what different gestures could mean for our imaginary music player and once again got stuck a bit in the theory. After a while we just went to a white board and imagined that as our interface. When we started to gesturing and finding the actions we wanted, Lin brought up the idea of not being sure when you press play. I, stuck in a binary mind set, was skeptical of this but this lead us into to actions where you are not sure.

    Not so sure

    We started playing with skipping tracks in a more nuanced way. Maybe you can peek at the next track and slowly and gradually start to play it, or if you don't like it, just not skip to that track. This was interesting to me as I never saw these nuances before. In my mind the only nuanced action in music players are volume controls and scrubbing.

    Skipping tracks in a more nuanced way

    We got a bit stuck here, we had some easy gestures for some actions but others felt contrived and at times didn't even feel good. In our coaching with Clint he suggested we could try interacting with real objects to see how that manipulation is played out.

  22. Photo by McKenna Phillips on Unsplash

    What are gestures?

    We talk a lot about gestures, and in discussions we throw the word around without thinking of what it means, almost as carelessly as the use of "intuitive".

    But what is a gesture really? A gesture is many times really hard to define. How do you wave? There are a million different waves but we perceive them as the same.

    Is a gesture a symbolic move? Some definitions seem to say it is an expression. Then it seems to be a kind of language. It feels like it is a very nuanced language too, small differences in the movement can be the difference of a threat and an invite. It seems interesting today when we talk about gesture based interactions.

    When we design for gestures it is important to think about this. The mover perspective becomes very important here. A swipe in an app can become a peek if it is slow and I often pull to refresh when I just want to scroll to the top. There seems to be a lack of gesture interpretation and that can be grounded in how hard it is for the machine to understand the intent, and the intent is what differentiates the gesture from the move.

    One of the worst features in Instagram is how you have to know the amount of pictures in a post when you swipe to the next one. If you make the same swipe when you are at the last photo you are taken to the next screen. There has to be a better way to do this and I think it is a very engineery problem, a problem that is the result of engineers making the design decision. THere has to be a better way to interpret the touches, that take context into account.

  23. Photo by Jake Hills on Unsplash

    M3: Try walking in my shoes

    The last module in this course is about machine learning and gestures. We will use a phone to record movement and try to teach the machine to recognize what we do.

    An interesting part of ML is the difference from "normal programming". Where traditional programming is logical and has if/else statements, modern AI has more of a fuzzy logic, making judgments and discriminations based on earlier experience. This can make programming easier but can also lead to very unpredictable results where the logic becomes more of a black box that is hard to understand.

    When the logic comes from training there is a risk of unknown bias to creep in. When we define a human in a program we might think of things to identify them by, like legs arms and such. There is already a risk here, where we have to account for people without arms and legs and so forth. With ML this is even harder as we might forget to teach it a lot of stuff. This was the case when google launched filters for Hangouts, they taught the system on google engineer as these were easy to come by humans. This meant that it did not get trained on black people, as Silicon Valley is very white.

    Another thing to think about is what a gesture really is. A swipe on a phone is really easy to identify as a human, but if you try to describe it it gets harder. How long is it? How fast? It's interesting how all the simple things become complex when you really look at them.

    Assignment: Machine Learning

    Brief: Explore and design movement, gestures and bodily interactions with sensors and ML

    Materials: TensorFlow and sensors in a smartphone

    Team: Lin and me

    We started by toying around with the code Jens gave us. It's an extension of the Node JSON bridge by Clint that we used in Programming 2. We started by trying to record some easy gestures like circles and lines. It worked ok, but the length of th moves have to be the same and that might not be so good.

    We started thinking of some movements to analyze and as we both like working out we started to think in those terms. Maybe trying to see if you make your reps the right way or counting reps. When we talked to Jens he didn't like the idea. He wanted us to go deeper, analyze what the movements really are. The texts talk about this too, how the moves can be viewed in different ways.

    When designing movement The Mover is the first person perspective, an important experience as this is what the "end user" will experience. If the move feels weird it should probably be designed in another way. This is something that is often forgotten when designing for example mobile apps, the hamburger menu in the top left corner is a terrible position for the user but it looks good when designing the app on a large screen.

    The Observer is the view another person would have, this can be important to see the social implications of a move. A silly example could be when children spin around, they enjoy the movement but adults see all the dangers to the room and china.

    The final perspective is The Machine is a bit different than the observer as it has no understanding for cultural context. It can only see what we have given it sensors to see and many kinaesthetics known to the mover are lost. The machine can not see how hard you push and we have to account for this when we want the machine to understand the movement.

    In the end we want to find a mapping between what the mover feels and what the machine senses.

    To dig deeper we started investigating walks. We can identify people we know by their walk far away and yet it is hard to explain what it is about it that is special.

    We tried to record ourselves walking back and forth and train the machine to recognize us. In the end we wanted to be able to copy each others walking styles with the help of the machine. To get a sense of how it is to walk like another person. We failed miserably. It could never identify our walking style and always thought it was Lin.

  24. M2: Show & tell

    Our show and tell went better than expected. Jens tried our prototype and was surprised by how it really felt like his own heartbeat. This echoes what we felt earlier on in the module.

    Clint had some constructive and nice feedback too. He wondered if we had thought of music in our beat, like having a stronger beat ever second or fourth. I don't know how that escaped our mind but that would probably have been a nice thing to try to get away from the heart. Jens thought it might be hard to escape the heart as it felt so natural.

    The take away of m2

    Now when we are done I can see more clearly what Clint wanted us to explore in this module. THe title was Coping with Servos but I don't think we where supposed to work with coping. It may be a miscommunication but the focus here was nuanced expression. This was what threw us of track a few times as we where trying to get to the coping and thus invented situations to cope in.

    The nuanced expression is a must have in coping and that is why we started there. It was a challenging module and our emotions where on a rollercoaster ride but I think we got close in the end. Looking back I can mostly see the positive parts of the module but I know I was very frustrated at times.

    We had a lot of discussions in the class about the text and the usefulness of what we where doing and that was interesting. It's nice to discuss the texts and try your arguments to get a better understanding of the concepts we are introduced to.

    Coping is something I have not thought of much in the digital world but I hope I will think of it in the future.

  25. You shot me down, bang, bang

    Coaching didn't go as planned. Clint didn't see any nuance in the what we where planning and he didn't think it was good to focus so much on a situation.

    We had a discussion about the difference between nuance and steps and that maybe if you get very many steps you get nuance.

    I find it hard to talk about coping when you don't have a situation.

    We dropped the GUI and focus on the trying to make the heartbeat more interesting.

  26. Another week another concept

    While Josefine was in Stockholm I have been implementing some kind of attack in our prototype. It's the time it takes to change the beat. It makes for a smoother experience where you feel the build up to a higher puls. A bit like a real heart in that it takes time to change heartbeat.

    We also got some kind of sustain working where you could change the space between beats without changing the number of beats per minute. This could be useful to make it less heartlike.

    Under the sea

    We start thinking of coral reefs and how we can have multiple Gluewies together to form a larger whole, where the individual movement becomes less prominent. We will try to get this into some kind of emailing situation.

    In this situation there is no wrong order, you will succeed whatever order you do it in but there might be an optimal order where you minimize the risk of mistakes. While you write the email and have no subject the expression will reflect this and it will look like there is some friction in "the machine", just as you can feel when you work a machine in the wrong way.

  27. Nuance and Gluewie

    We try to get some more nuance into our project by adding some concepts from syths. Attack, Decay, Sustain and Release (ADSR) is a breakdown of what happens when you press a synth key. The attack is the time it takes to get to max volume, decay is what gets you from there to the sustained tone wile holding the key and the release is how the tone fades away.

    A sketch showing the concept of ADSR

    I start trying to implement some of this while Josefine tries to find new ways to express the beat. She constructs Gluewie, the gluestick/feather thingy that rolls against your skin and tickles you with feathers. It's not the greatest success.

    Gluewie, a character made of a gluestick and a feather

    Stealing as prototyping

    We also steal a prototype from Patrik And Kornelia to test a constricting expression. This was one of my first thoughts to go with early on in the project but it felt like it could be a bit to much just for laughs. The prototype works good but is not better than what we have so we stick to our direction.

    Coaching

    Clint asks if we are to restricted by heartbeat and if it is really nuanced or is it just on/off. I disagree as I think the beat is not in itself a complete heartbeat, the heartbeat is the strength, the distance between beats and more. We might want to work more on this though, to get more dimensions in there.

    During the coaching we talk about how Gluewie is almost like a coral reef or jellyfish when he moves. This is intriguing and Josefine and I start thinking of concepts like that. We decide to diverge our thinking next week and come up with different ways of expressing the flow in a more visual form.

  28. Beat it

    Placement matters

    After yesterday's ideation we realized we wanted to make something that is attached to the body instead of something you just see or hold.
    With the software we could regulate speed and strength of the beat. We tried to attach the servo to four different spots while trying it with or without hearing it (muting the sound with headphones).

    testing the beat on my wrist
    testing the beat on my wrist
    • Palm: Feels weird, like you are trapping or crushing a small animal.
    • Wrist: I felt a bit like it was something medical. in the way when you try to do stuff.
    • Antecubital: Very similar to the wrist. A bit less in the way than when on the wrist.
    • Elbow: This may be the best placement. It feels less invasive than the wrist or antecubital.
    sketch of the spots we tested the servo on

    All placements other than having it in the palm felt really similar. We both had a hard time distinguishing the machine beat from our own heart beat. When it was weak I didn't notice it much but when we dialed up the strength and speed it felt like your heart was pounding, like you are running or scared.

    Feedforward

    sketch of the GUI we used to test

    We built a simple GUI to test if we can communicate a sense of how "dangerous" the action is. It's some kind of feed forward but very abstract, you will just get a feeling for how nervous you should be when performing the action. When you hover the save button the beat slows down and becomes less strong and when you hover delete it becomes stronger and faster.

    The "save" feedforward wasn't that obvious but the "delete" felt quite dangerous, like something bad would happen. We also tried it on a class mate and her reactions where very different when she saw the GUI or just felt the beat. When she had not seen the GUI she could feel the changes but didn't put much meaning into them. When she could see the GUI and move the mouse she felt it more strongly and associated it to danger like Josefine and me.

    Take aways

    I think we learned a lot today. The beat may have some kind of quality that makes us associate it with our own body and not think of it as an external artefact. This was a really strange and strong insight. The placement also means a lot, maybe because some spots would be associated with medicine and the cable running from your wrist feels like some kind of intravenous tube?

    We still lack some nuance in our prototypes. The beat can be adjusted finely but we have no way for the user to do this. Maybe we need a more complex GUI and task for the user to do.

  29. New week new direction

    After a good end to last week we start up again and try to go in a different direction.

    Josefine talks about feedforward and palm reading, I'm sceptical.

    The sound of the servo laying and beating on a table is not pleasant. Very tiring in the long run.

    We talk more about the heartbeat and how it could be used. Feedback seems limited, should we do feed forward? Maybe with a GUI.

  30. Friday wine and workshop

    Some kind of flow

    Today was a productive day. In the morning I was programming the servo movement so we could make a rod move up and down to show some kind of flow. Josefine built a prototype of some kind of shape changing thing to show the motion.

    We take Clint's wine example to heart and the creativity starts flowing.

    As the day progressed we worked more and more together on the physical objects. The iterations got sturdier and sturdier as the first one was too flimsy. In the end we got it to work but we didn't like the result very much. The movement was long and slow and looks like some kind of breath. It didn't give the impression we where looking for. Just having the servo laying on the table with the arm moving in much smaller angles made for a more interesting movement. It felt like some kind of heartbeat. Putting your hand over it fells like crushing a small animal. Unsettling.

  31. Coaching gets us started

    Coaching

    We get our first coaching and we find that we might be on a stray path. Robots and gaming might not be the best way forward. Clint wants us to think about where we have been coping and what lenses apply in those instances.

    He suggested that we should think about our own examples of coping and where they are in the “spectrum” of lenses. We are still very confused about what to do. We go back to the text and discuss it with fellow students.

    Clint talk a lot about a glass of wine and how that appears different to different people. We should somehow focus on the novice to mastery journey.

    Post coaching

    Josefine talks about how working in a restaurant has a lot to do with coping. Your actions have social manipulability as you communicate with your speed and apparent busyness that you don't have time to carry out more food and how planning the carrying of dishes is important. What is done in the doing.

    I had a weird social interaction with someone with noise canceling headphones last semester. Does that have anything to do with social manipulability?

    We end the day with a little sketching and plan to meet up in the workshop to build something in the morning.

  32. Feedback in games

    We get into how feedback is in games. In Zelda, breath of the wild the player has to be vigilant of remaining energy while running. If you empty the energy stor e you will be punished by having to walk for a while. The feedback for this is a circle on the screen and we talked about how this could be implemented as a continuous and nuanced feedback and how there are very many missed opportunities. The Nintendo Switch, and some earlier consoles by the company, tries to push for new interactions and feedback but it seems to be hard to convince game makers to use these. I remember how many reviews of the Switch focused on the console as an artefact and these feedbacks where key. The click when docking the joycons is even part of Switch logo.

    Gaming is a genre where it seems to be easier than most to introduce new concepts in interface and interactivity. The VR "revolution" has focused on gaming in both iterations (90s and 20-teens). The same seems true for haptic feedback, even though Apple has been focusing on this lately. The Apple haptic feedback seems to be more about how you can make thing thinner if they don't have to move but you then have to create an artificial feedback to make up for the lost feedback.

    Update: The Playstation 5 has been announced and they seem to move towards more nuanced feedback and feedforward with "adaptive triggers" and "haptic feedback far more capable than the rumble moto" Wired interview with Sony

  33. Draw robot draw

    Drawing on previous experience

    As we dive into the coping we talk about where we experienced coping in digital products. The only experience I can think of where nuance is present is when using a wacom pen and tablet. You can feel how the pressure of the pen against the tablet changes the brush on the screen. The pen has been designed with meta manipulability in mind as you can easily switch tool in the app by just flipping the pen around. You go from drawing to erasing with ease and don't have to think about it. It's also an example of how the users skill changes the use of the artefact, a beginner does not yet have great control of the brush size but the more you use it the better you get at fine grained control.

    Drawing with robots
    Omnia per Omnia by Sougwen Chung

    A tool that moves with you

    The drawing discussion led us into tools and drawing, could we make some kind of tool with a servo? Maybe a robot. Josefine found an interesting art project tat was using robots to draw and we decided to do something in that direction.

    We finish the day on a high. Robots and painting seem fun.

  34. Coping with servos

    We start this module by reading Designing for coping by Clint Heyer. He introduces four lenses we can use to identify different kinds of coping mechanisms we have with and through our artifacts.

    • Malleability is the properties we change outside of our intended action, like setting thing up for our activity. They are more or less permanent, like changing tyres on our car, once we have done it it stays like that until we change it again.

    • Meta Manipulability happens inside our activity but is not really a part of it, it is more about facilitating our activity by adjusting tools and the like. Handing over a tool in the wrong way does not stop the activity but it can break a flow. When you are drawing you constantly adjust your position and the paper to keep make it less physically demanding to draw.

    • Direct Manipulability could be described as the coupling between the action and the way I use the object. It can be the feedback I get from my engine revving or the thicker line I get when I press harder with my pen.

    • Social Manipulability is what your actions express in a social context the act of writing a document on a computer has a lot of social expressions, like how hard you type, if you move away from others to do it or if you just start writing in the middle of a meeting. All these qualities are lost in your document as the only thing that is left is text.

    These four concept are reduced or even often lost in digital products. We have no richness in our impression and expression, text is text, the computer is a black box and you are left with really poor abilities to interact with our artifacts. We seldom get the a fraction of the nuance we get from mechanical products. Even if you don't know what way to screw in a screw, you can feel the when it is tightening or loosening. The same is not true for most digital stuff, I can't feel when I am nearing the edge of the screen with my mouse.

    One of the few places I have found a richer input is in my wacom tablet. I can feel how hard I press and that translates to the screen, and I am always aware of where my pen will land on the screen when I put it to the tablet, the direct manipulability. Rearranging the tablet to give me a better position is meta manipulability. Theses qualities make my work easier, I guess this is what Clint talks about when he talks about coping.

    The text is a hard read and I'm pretty sure I have misunderstood at least some parts of it but I like how it makes me think about aspects of artefacts that I have not been thinking of before.

    Assignment: Coping/Servo

    Brief: Design a fluid, nuanced interaction with servos

    Materials: Servos and the text "Designing for Coping"

    Team: Josefine and me

    We kick this off by examining the text, discussing it with each other and with our class mates.

  35. M1 Takeaway

    When we started this module we where experimenting rather blindly with the camera and different computer vision libraries. We just did what we felt like doing that day, without really thinking of a vision or how the interaction should be like. We had our focus on the input, probably because that's where we had some concrete limitations with computer vision.

    In this stage we missed to think about the whole. Theme

    We started this module with a text about faceless interaction

  36. Building tension

    After a coaching session with Jens we might have found a theme. We talked about how we could build something that is not obviously of any use and that could be interesting and have meaningful interactions. We found that when we talk about what we want to build, a magical focus or the the stone from 2001, we are talking not just about relations but some kind of tension that build in relation to the people and the artefact or point in space. Instead of playing a sound depending on where you are in the room and in relation to other we should focus on how to build tension.

    What is tension

    We have different associations with this but I come back to the rubber band. How does that sound? We could have some kind of tone that changes. Now we just need to learn how to generate tones and apply effects in the browser.

  37. Helping Friends

    Today I held a little workshop in the Studio to help class mates that struggle with the programming part of the project. In a couple of hours we went through a lot of questions and threw some ideas around.

    Temporal Chromatic Experiments

    In this first session we focused on the Diff example by Clint but expanded it by changing colors of objects. Then someone asked if it was possible to delay parts of the image to have some kind of ghost effect. I had no idea but started coding while explaining what I was doing and came up with a functional sketch of this.

    Mind Lasers

    We moved on to test some TensorFlow things. With the Coco SSD we experimented with trying to find the heads of people. It's not perfect but it works ok.

    In helping Josefine with a question about drawing lines I suddenly connected the dots, both literally and metaphorically. Lin and I had been talking about relationships between people and and it seemed like a daunting task to calculate all this. Now I see how easy it could be.

    I never thought I would think it's this much fun to hold a lecture/workshop. I always resisted the idea of teaching others. I am reconsidering. I get so much back. It is so inspiring to see what everyone else is thinking of and struggling with and I get so many ideas about what I want to do next.

  38. Aesthetics of interaction

    In Aesthetics of Interaction – A Literature Synthesis by Lenz, Diefenbach and Hassenzahl they analyze 19 papers describing the aesthetics of interaction to find a common ground and language to be able to critique interactions in a less subjective manner. They find common attributes that can be used to describe broader needs or categories that describe how the interaction feels like security, autonomy and so forth.

    I like how texts like these can show things that seem so obvious when you read them. Finding a new language around these things really make me think in different manners and reveal patterns that I didn't see before.

    Having theses attributes gives us the opportunity to design something different and consciously try to make our interactions break with our established thought and patterns. Is faster always better? Should we really have so many notifications or should I as a designer try to alleviate the information overload and the constant call for attention. Computers and by extension smartphones are built as tools but when we use them as social devices we might need to design them with different attributes.

    I listened to Kara Swisher interview the psychologist Jennifer Eberhardt about bias in tech on Recode Decode the other day. An interesting bit was when Eberhardt talked about a social network for neighborhoods that slowed down it's UI to make people think more when they wanted to report a suspicious person. By doing this they avoided a lot of racism.

  39. Coaching & relationships

    Our latest sketches may be fun but it's more about having control and being a user. That's something we want to get away from in this module. We tried to introduce more people but we only got more chaos.

    When talking to Clint we found that maybe we want to work with relationships between people rather than just where they are in space and their relationship to the camera. His feedback was also to make the project a bit more interesting by having it react to people instead of just being controlled. We should move away from music and maybe find a sample we can play. We talk about some kind of noise that can be affected by different people. After the coaching talk it feels like we have more direction and can keep moving after standing still for a bit.

    Lin and I talk a lot about programming and how simple math can be used to great effect in our prototypes. Things seem more complicated than they are. We can take some shortcuts to fool people it is more complicated than it really is. She will keep doing some smaller projects while I focus on finding out more about sounds in the browser.

  40. Field work

    I am struggling to find an interesting faceless interaction field. I tend to want to find a situation and a function but our assignment is specifically to ignore why and where.

    One problem is that we don't really have a question that we want to answer. We are talking about relationships between people and maybe objects too but we not anything deeper than that. In our last coaching talk, this was the main thing Clint thought we have to work on. The problem is that I don't know how. It seems we are stuck in some kind of rut, manufacturing "slick" demos without really exploring what we are supposed to do.

    We worked a bit separately today so I would give Lin a chance to program without me just taking over all the time. While I was working alone I started exploring something that would pick up on where in a room a person would be and control the sound volume and speed that way. I don't know what to do with this. I still don't know what this has to do with faceless interactions and fields. It feels like something I did because it was a logical step to take based on the last sketches.

  41. Tinkering

    Text Tracker

    text tracker

    We started experimenting with what kind of interactions we could get out of a camera. An obvious one was taking facial tracking and making some kind of weak faceless interaction. The result is a text that you can control with tilting and moving your face to tilt, scroll and zoom the text.

    Text Tracker Demo

    I found the face-tracking to be a intuitive and fun but we came very close to a normal interface. It is so direct and the feedback so clear. We are very much focusing on one user manipulating the graphics on the screen and this was not the purpose of the assignment.

    Trying to get away from the "face" of the Text Tracker we decided to testing out sounds.

    Music on Speed

    music on speed

    Trying to get away from the directness of the previous example we tried to work with more general movement (number of pixels that have changed between frames) hoping that control scheme would make it less obvious and opening it up to multiple people at the same time. One aspect I think is important in Faceless Interaction Fields is to try to get away from the user. The way we try to do it is to have multiple users and having the interaction be a collaboration between all of them.

    Music on Speed Demo

    I think we got closer to facelessness here. You could argue we don't have a user as the program just cares about movement in the room. I think we may have polished the wave a bit too much. It was just there to visualize the movement before we tried to get sound working but it takes away a bit from the whole experience as it draws your attention to the screen and thus also making you think about the computer as an observer of sorts instead of treating the room as a "sensor".

    Using music is also problematic as the interaction feedback becomes so prominent. We will have to go into something more abstract that draws less attention.

    Next step

    We are still stuck working with a computer and a screen. We have to move on and make it less obvious where and what the interaction is.

  42. Interactivity - M1 kickoff

    The semester starts with a lecture on Faceless Interaction — A Conceptual Examination of the Notion of Interface: Past, Present, and Future by Janlert & Stolterman. They argue that we are to locked into what they describe as four different thought styles about interfaces and have not really defined what interfaces are. The authors want us to think further and less technically about interactions and interfaces. As interactions become more complex we might need to create new types of interfaces or leave the traditional interface behind and behave more like people do, interactions that are more based on culture and context than on control panels.

    What they propose is a new faceless interaction thought style, where we don't direct our attention to a specific surface. It is more about fluid interactions in an open world where we think of interactions more like waves than points. Waves are less defined and can differ in strength, so thinking in this wave makes more continuous and less on or off.

    The authors imagine three different directions for faceless interactions:

    • things: Artefacts that interacted with based on physicality like picking up a speaker to make it play or flipping your phone to mute it.

    • being: Systems that you relate to like having conversation with it like smart speakers and digital assistants

    • field: A more abstract interaction where you don't have a clear target to interact with or maybe not even a user. Ambient computing and prediction could fit in here.

    It's an interesting and thought provoking text but I think it lacks a bit in it's grounding. The authors ask us to just trust them as they don't give us a lot of evidence to base the assumptions on. I really think there are things to work with here and it gives me a better language and understanding of interaction as a medium but I wish they would explain a bit more how they came to these conclusions.

    Assignment: Fields/Computer Vision

    Brief: Tinker with computer vision and how that could be used with the fields direction of faceless interactions. Formulate a very modest initial question, sketch, reflect, repeat.

    Materials: Computer vision.

    Team: Lin and me

    We started by examining the computer vision demos Clint gave us and explored some more libraries. TensorFlow by google seems to have some nice functions to find people and stuff.

    The assignment seems very vague and we are struggling a bit to come up with stuff we want to tinker with but reading more about it and discussing it with other people should make it a bit more clear.

  43. First day filming

    I got stuck in the workshop trying to make the animations work as the rest of the group was starting filming the opening sequence and some shots of the device when it was not transforming.

    My problems where that the friction between the bars was very high and they got struck when I tried to push them with a couple of different stuff. I made a roller thingy to get a wave-like motion and fork to push some bars half ways and some the whole way. The fork worked ok, but the roller was worse.

    Animation fork
    The Animation Fork - A fork to push the bars to make them move magically

    Another group was on sound. They made an intro to express the anxiety that could ensue if you don't use our product. It's cool to see how just a couple of samples and an eerie background can do.

    I wish I was a bit more involved in this as it is something I have very little experience with. The way we divided the work was more based on what skills we have and not on what we don't have. We jokingly focus on making the best video, but in reality I think we do sacrifice learning for a higher finish.

  44. Laser Focus

    Our first day in the workshop starts with some sketching and we start designing our first artefact.
    I was mostly in charge of manufacturing as I had the most experience in the workshop. There was some minor arguments about color but in the end we went with gold. I proved a somewhat bad choice as that spray paint took a lot longer to dry and we had some problems with the bars sticking when we tried to move them to fake the shape shifting.

    The first iteration
    Math gone wrong - Only 6.25 days fit. Back to the drawing board

    Another group was on sound. They made an intro to express the anxiety that could ensue if you don't use our product. It's cool to see how just a couple of samples and an eerie background can do.

    I wish I was a bit more involved in this as it is something I have very little experience with. The way we divided the work was more based on what skills we have and not on what we don't have. We jokingly focus on making the best video, but in reality I think we do sacrifice learning for a higher finish.

  45. The story so far

    We have decided to make a device that visualizes the next seven days in your menstrual cycle. We want a device that is desireable to have in your house as decoration, and it should be abstract but informative for the woman and possible partner.
    We landed on a some kind of physical bar chart that shows the next week.

    We toyed with the idea of making several parts to our concept. An app, a thermometer and a shape changing artefact. We scrapped this as we realize we are not making a real product anyway. If we are faking the shape changing part we can as well fake the functionality.

    Storyboarding

    So what story do we want to tell? We want to show three different use cases, using it as contraception, wanting to get pregnant and to know when to expect your menstruation. We want as little acting as possible as we are not actors. We will have to show a quite abstract and complex concept in a clear fashion, that will be hard. Will people be able to follow and understand? We have an idea of something slick and cool, lets see how it pans out.

  46. What is prototyping, and why?

    Clint sessions part 2

    I was away during this day but I have read the texts that where the base of this lecture and will reflect on them here

    Space exploration

    The Anatomy of Prototypes: Prototypes as filters, Prototypes as Manifestations of Design Ideas, by Lim, Stolterman and Tenenberg, discuss the use of prototypes in the design process and formulates a new framework for thinking about prototypes. They argue that the old way of thinking Lo-Fi or Hi-Fi is flawed as it does not really take into account what the prototype is for.

    The authors talk about how externalizing your ideas by sketching and prototyping help you traverse your design space and find new solutions and problems in the process. In their study of prototyping they build a framework to define the anatomy of a prototype. This anatomy makes it easier to discuss and evaluate the purpose of the prototype and what meaningful knowledge it brings.

    The fundamental principle

    Prototyping is an activity. A prototype is not a product but a tool to explore a possible design and it should manifest the qualities you are interested in researching without distorting the concept as a whole.

    Economy

    You should strive to make a prototype that is simple and efficient. The simplest you can to just measure the things you want to measure.

    Anatomy

    The anatomy model consists of two main parts:

    Filters

    What do you want to explore with your prototype. If you just want to get a sense of how the artefact feel when handling you might want to focus on appearance, but if you want to get to know if the GUI interactions you may need interactivity and more functionality.

    • Appearance: The physical properties of the design. Colors, size, weight and more.
    • Data: How accurate is the data in the prototype? Do you have real or filtered data? Do labels real?
    • Functionality: Are all the functions implemented or just some or even any?
    • Interactivity: Is feedback real? Can you interact with the prototype or is it just a block of wood?
    • Spatial Structure: This may be app layout or relation to different parts of the prototype.

    Manifestation

    THe manifestation is more about the look and fell of the prototype. These qualities can impact the data you get out of prototyping, often in ways you might not know beforehand.

    • Materials: What materials are used? This will have an impact on the look and feel of the prototype.
    • Resolution: How polished is the manifestation? This is what people talk about when they discuss fidelity in prototypes.
    • Scope: How much is implemented in the prototype? Closely tied to filters.

    Is it relevant?

    I think the empirical studies this is based on are a bit low quality. 8 subjects in a study makes it hard to draw any reasonably grounded conclusion but it speaks to my gut feeling. I don't think is the best way to grade a papers contribution to the field but I don't have the experience to do a thorough analysis of merits and faults in their thinking. The researchers seem to add a lot to de vocabulary about prototypes and give us new tools to analyze and discuss prototypes.

    The take away for me here is "find the manifestation that, in its most economic form, will filter the qualities in which the designer is interested, without distorting the understanding of the whole", this is in my opinion an elegant way of phrasing a quite complex problem. A key insight is that different manifestations can give different evaluations where the audience perceive different aspects. LoFi vs HiFi can give different insights and are not necessarily different quality.

    The text as a whole was very interesting and gave me new insights but it was also very repetitive and complicated. It could really use some editing.


    The Houde & Hill triangle
    The Houde & Hill model: Role - Look & Feel - Implementation

    Prototype Prototype Prototype

    In what do Prototypes Prototype, Houde and Hill introduce a model for talking about what a prototype does as opposed to the more traditional discussion about what it looks like. Their stance is that every artefact a designer uses is a prototype.
    They introduce the notion that prototypes can be "ready made" objects and all artefacts that answer design questions are prototypes. A brick can be a prototype if you want to test the weight and size of a product.

    A balanced triangle

    Houde & Hill introduce a model for planning and evaluating prototypes, a triangle that is not resting on any corner or side to show that none of the qualities discussed is the base or the point. The model has three corners: Role, Look & feel and Implementation and when you combine them you get integration.

    • Role: Artefacts high up in this dimension explore what role the product would have in a users life. It is about how you would use the product and could be as crude as a hand drawn story board or a highly polished video prototype.
    • Look & Feel: These prototypes are meant to evaluate how the artefact look and feel when used. We can disregard user value and functionality and focus on delivering a prototype that explain the aesthetic values of the design. It can be a very polished slide show or just an object trying out size and weight.
    • Implementation: This kind of prototype is a functional product but without the right UI. It could be a smartphone voice assistant that is not in a smartphone but otherwise work as intended or algorithms that solve a problem.
    • Integration: Artefact that prototype all aspects are integrated prototypes. They are more or less complete and can show problems and opportunities in the package.

    A seminal piece

    As a seminal paper on prototyping it feels more like a think piece than research. It raises interesting questions about the importance of a correct vocabulary to discuss prototyping. It also broadens the term prototype and shows the importance of making different artefacts to test different aspects. The thought on audience is also interesting and I feel I have made mistakes in that regard multiple times. I have not understood my audience and therefore showed the wrong prototype.

    To sum it up

    Both texts give me a new language for describing my prototyping. They also gave me insights into the importance of iterating and making quick prototypes. I have a tendency to overwork my prototypes as if they where products. This could also be in part attributed to a lack of opportunity to work in an iterative way during our courses. We often have to show results after just a few days and that is not enough to make many prototypes.

  47. Video prototyping group project

    Assignment: Shapeshifters

    Brief: Make a video prototype of a shape changing object. Tell the story of how it is used and what user value can come out of it.
    We have 3 weeks to do it.

    Materials: Video

    Team: Malin, Zakiya, Cathrine, Simon and me

    We started our work with some ideation sessions. In Methods 1, we learned some techniques that we found really helpful. Just sitting and writing random ideas for five minutes helps create lot of new ideas. Some will be very bad but a few will be something you can work with. We went on with some more sessions where we riffed on each others ideas.

    Ideation
    Organizing our chaotic minds

    My favourite idea was a scarf/gps that shows the way by pointing in the right direction or the telepathic tape roll "TeleTape". These devices might not have been the most serious so they where abandoned along the way.

    After a while we had some ideas we could discuss and we chose some kind of device that would visualize your menstrual cycle similarly to the app Natural Cycles.

    Now we just have to decide what kind of device this should be. I just saw the Typified Weather Poster and really like the idea of the changing colors in a physical object. Like toy cars or t-shirts when I was a child. Maybe this could be implemented in some way.

  48. Video prototyping intro

    We started our video prototyping with a lecture about narrative and how to get your story through to the viewer. We discussed how the correct framing and cutting can make a scene more interesting and what the story arc does to engage the audience.

    I have not had much experience making "movies", especially since I left art. Storytelling has not been a big part of my work so it was great to get more insight int that. I will think more about it in my work in the future.

    Movies as prototypes

    The concept of video prototyping was new to me. Not that I have not seen any but I have not identified them as prototypes. Now it makes perfect sense to me, communicating a design that may be impossible to implement right now may very well only be possible in a movie.

    I can also see how I can use it in my work. Communicating an application flow or device use can be very useful when the real experience is hard to reproduce or when you present it to stake holders that aren't users.

    Workshop: Netflix gesture UI

    Brief: Explore free space gestures for controlling the following Netflix functions: play/pause, skip episode, volume up/down/mute.
    We have one and a half hour to capture a design proposal on video.

    Materials: video

    Team: Zakiya, Simon and me

    We made a video of me in a couch controlling the screen by waving my hands. It's a rough prototype with bad acting and timing but we learned quite a lot from making it. Just getting our hand dirty was very useful.

    [insert video]

  49. Prepare for failure

    Workshop: Timing the library

    Brief: Make a menial task with a library theme more fun or competetive with a timer. Time 3h.

    Materials: Arduino and what we find in the workshop.

    Team: Kornelia, Josephine, Max (from PD) and me

    Great expectations

    Our initial idea was to make some kind of essay writing simulator, but we quickly scrapped that idea as it seemed like a game that would be hard to implement in any meaningful way. We moved on to some sort of book sorting challenge. The idea was to have a book shelf that could sense if all books where where in the right order and if not would collapse to spill all the books on the floor.

    The idea was our first problem, it was too complex for such a short project and on top of that we set a very high bar on the finish. I think we could feel a bit of a different culture between the Product Design program and our own. I think we at IxD see our prototypes as more of a tool to test an idea and the PD students, I think, see it more as a finished product.

    I think I often fall into this "trap", to make a polished prototype to impress others instead of really prototyping my questions and it was easy to get drawn into this thinking when a team member pulls this way.

    Books

    Josephine showing the books

    To speed up the making of the books we tried to cut cardboard in the laser cutter, this worked really good and we where able to create 16 books in a short time. Start up was a bit slow, mostly because we have not had any introduction to the machine and that the students in charge of helping did not know about some quirks with dotted lines. It took some time to sort out why the cutter wouldn't accept the files and it was frustrating to have to work through another person and to try to convince them that they should try my solution.

    In the end I think we saved some time using the laser cutter and got a very clean result. Cutting everything by hand would be very time consuming.

    Building the case

    Max was the one working more on the book case. We designed it broadly together, establishing requirements and talking about solutions.

    Sad Max - Beyond thunderdome
    Sad Max - We are starting to realize we won't make it
    The assembled book case

    Connecting it together

    The books where cut from cardboard and glued together. Josephine found great book covers to use where the users could "easily" find the authors name to sort them in the right order.

    Pattern of copper tape connects the books
    Pattern of copper tape connects the books
    Pattern of copper tape connects the books
    The tape connecting the front and back of the books

    In the end we struggled to get the connection between more than about four books. This is something we easily could have found if we just started with a simpler prototype.

    The take away

    We set our aim to high. We should have started making a small prototype and iterate to make it more complex and polished. But it was a good experience figuring this out and we found that failing is fun

  50. Cardboard Keyboard

    Showing it with code

    We first got a historic recap of how Processing came to be, a history of IDEs and a glance of what generative art could be.

    Intro to Arduino

    The MAU Arduino kit
    The MAU Arduino kit

    We went on with an intro to Arduino and buttons and such. We had a nice little library called EduIntro. That helped a lot as we didn't have to debounce the presses and would get stateful switch buttons for free. We where then set free to make a small project together with a student from Product Design.

    As I had a bit more experience than most with arduino I could start playing with it a bit and showing my team mates how to do more stuff. I made a small Morse code LED blinker. It can at the moment just say "SOS", but do you really need more.

    During the Processing part of the seminar I made some different small programs like an "analog" watch face and some other small things.

    Workshop: Multiplayering a Singleplayer game

    Brief: Take a singleplayer game and make a multiplayer input device for it. You got 4 hours (this became maybe 6 hours in the end).

    Materials: cardboard, Arduino, copper tape, tape, glue and wire.

    Team: Katten, Lottie and me

    We started by deciding on a game. Katten likes the game Snake and we started brainstorming on how we could make that a multiplayer experience. We had some idea about letting the players crawl on the floor to connect point to steer left and right. The idea seemed more fun for a single player and was abandoned.

    First sketch of the instrument

    After that we started thinking of a music game instead. We decided to go with a Guitar Hero clone called Bemuse. It's not the nicest game but we just needed something to control.

    Lottie working on the drum
    Lottie shows some serious cardboard skills. It's quite clear the Product Designers have us beat when it comes to building physical stuff.

    We found some plastic tubes and insulation lying around. It fit perfectly as we could route the cables through the tube and with Katten's soldering skills we could make them really robust.

    Katten makes drum sticks

    We went a bit overboard with the copper tape. As it was a fast project we didn't stop and think of more effective ways of doing it. One thing we noticed was that players would not always get that they had to connect the vertical copper strips to the horizontal ground strip using the hand held pad. This would probably have been easier if we skipped the ground strip and just would have grounded the pads.

    Drum and keyboard
    Drum and keyboard getting done.
    Drum and keyboard
    Connecting the whole thing to the code.

    Starting to connect the whole thing together I realized I had not thought about this so much during the design of the instrument. This is very unusual for me as I often think in code very early in the process. It felt like a new and fun process to first build everything and then connect it together. The program ended up being a very simple thing using the EduIntro and Keyboard libraries.

    #include <EduIntro.h>
    #include <Keyboard.h>

    // reconfigure these pins to be the ones where
    // you plug your wires
    byte tonePins[] = {D8, D7, D6, D5, D4, D3, D2};
    byte drumPin = D10;
    byte crashPin = D11;

    // which are the keys you will be using ... ?
    byte key[] = {'s', 'd', 'f', 32, 'j', 'k', 'l'};
    int toneCount = 7;

    Button tones[] = {
    Button(tonePins[0]),
    Button(tonePins[1]),
    Button(tonePins[2]),
    Button(tonePins[3]),
    Button(tonePins[4]),
    Button(tonePins[5]),
    Button(tonePins[6])
    };

    Button drum(drumPin);
    Button crash(crashPin);

    void setup()
    {
    // initialize the keyboard controller
    Keyboard.begin();

    }

    void loop()
    {
    if(drum.pressed()) {
    for (int i = 0; i < toneCount; i ++) {
    if (tones[i].pressed() || tones[i].held()) {
    Keyboard.press(key[i]);
    }
    }
    }
    if(drum.released()) {
    for (int i = 0; i < toneCount; i ++) {
    Keyboard.release(key[i]);
    }
    }
    if(crash.pressed()) {
    Keyboard.press(KEY_RETURN);
    }
    if(crash.released()) {
    Keyboard.release(KEY_RETURN);
    }
    }
    Drum and keyboard
    The final version fully assembled.

    The take away

    We where very pleased with our results but there are a lot to improve. People had some problems connecting the copper pads with the handles. This could be improved by making them into keys instead. This would also let the players press more buttons at once and would probably help with the spacial orientation of the hands.

  51. Let's get physical

    Todays lecture was mostly a recap of what we learned in methods 1 but also expanded on how to use prototyping in the design process. Clint talked about what prototypes prototype and what we learn from different approaches.

    • Situation: By prototyping you can get an understanding for the situation you design for. What are the real problems? You empathize with the audience and get insight into their use.
    • Material: If you are not an expert in the material you have to try it out to get a feel for it, and even for experienced designers the material could be used in a new way. You will also see how the design could be limited by the materials and construction.
    • Concept: By trying out the design and the concept we get an embodied experience. Without experiencing the design you only have your imagination to spot potential weaknesses and strengths, and you will often be wrong in your assumptions.

    Key takeaways where to understand that prototyping is not about building nice objects, it's a part of the process to explore and experience our design.

See all tags.