DMDN371

Interaction involves two participants: the user and the design form. The interaction is aimed at supporting the user to accomplish the goals set by a specific application domain. In this case the domain would refer to a design form (chosen by YOU), the goals set for the user are designed and developed based on theor needs. Each goal is initiated by a task, e.g. to delete a document, this could be the goal for the user. Then the task indicates what the user has to perform in order to reach the goal. For this to be accomplished the user has to perform actions, so called intentions.

Definition of Interaction Design is:

“designing interactive products to
support people in their everyday and
working lives.”
(Preece et al., 2002).

Norman Model

The first model to be discussed is also the most used model for interaction, which is the execution-evaluation cycle developed by Norman (Norman, 1988). In this model the user formulates a plan of action, which is executed by the system. The outcomes of the execution are the outcomes to be evaluated by the user in order to be in a position to react upon them. This cycle is divided into 7 stages:
Establishing a goal
Forming the intention
Specifying the action sequences
Executing the action
Perceiving the system state
Interpreting the system state
Evaluating the system state with respect to the goals and intentions

Each stage is an activity undertaken by a user, however the locus of control changes mid-cycle. The first half of the cycle is a preliminary action of the user, which consists of stages 1, 2 and 3, called the task language. The fourth stage is the changing stage from preliminary user actions to preliminary system actions. Stage 5, 6, and 7 are driven by primarily the system, which is called the core language. If both half cycles correspond to each other the interaction can be called effective.

The model is useful for all the assets related to the user, the model does not focus on the system. Its primary focus is on the user, the necessity of this primary focus is to be questioned as the system is of great influence on both the user and the interaction itself.

Nielsen model:

As indicated earlier the study of interaction defines the language of both the user, which is called the task language and the system, which is called the core language. In this model both input and output are introduced to support the model, these two components also refer to a language, which is called the interface. The interface divides the user from the design, in which the input and output are mechanisms for the interaction between the user and the design. The design presents information, which is to be perceived as the output, which is observed by the user. The reaction of the user on the output creates the new-reaction of the user for the input. The input then is the indication for the system to start its performance.

These relations between the components, articulation-performance-presentation-observation, are under great influence by both the human capacity as well as the design.  Factors of influence which constrain the relations between the components:
The first two steps can be perceived as the interaction/input part of the interaction circle.
Articulation: The user needs to perform tasks to give the input, or rephrased the user has to articulate their needs for performing an input. The quality of articulation depends on the design of the interface supporting the tasks to be performed by the user. Summarised by Nielsen [1993] stated ‘Know your’ user in his book on web-usability.
Performance: After the user has been able to articulate their needs into input, the input has to be performed, in order to be received and processed by the design. Therefore not only the psychology of the user has be addressed there is also a clear need for translating these tasks into comprehensive performances for the design. In a developing working situation this could mean an intensive cooperation between different designers.
The last two steps can be perceived as the evaluative/output steps of the interaction cycle.
Presentation: After the system has processed the input, the output is being presented to the outer world. The results of the input, the output, are being presented, in order to be observed by the user. Observation: Last but not least the output presented has to be evaluated, observed, by the user so the user can begin their own input on the results. For a proper observation the results have to be designed to conform with the standards and expectation of the user within the context of the design they have engaged with.

Also we need to understand that Interaction Design is on ALL user levels.

Sheets of Lecture 4 here

Background on Cybernetics out of PhD Thesis of Aukje Thomassen (2003)

Great paper on the future of Interaction Design

Interesting blog on Interaction Design

Phase 2: How to know what to use and how it’s originated?
Phase Two is divided into two assignments.  The first assignment is a tutor –supported group design research projects for a specific context. Each group will investigate practical, theoretical, empirical, historical and forma design issues and present the outcomes both visually and verbally as well as to consolidate the group’s research process in a working essay.
The second assignment will require each student to visualize a chosen hypothesis.

Using theory is not about creating the best punch; it’s about understanding how all the ingredients make the best design. In this phase the student will learn and LIVE theory through exploration and design adaptation of theories. Theories discussed are used widely in the current design field.  These include Ludology Theory, Interaction Design Theory, Virtual (Network) Theory, Phenomenology, and Theory of Things to name a few.

Each theory lecture will be supported by MOR (Methods of Research), an overview of methods of research that support theory-based design:
How to write abstract and a working paper
Field Research
Semiotic Analysis
Projective Techniques
De-Mystification of Writing
Repertoire Analysis (analysis of design-forms)

Tuesday 5th of August:

Friday tutorial starts at 9.30 in 204

Lecture on Tuesday 12th of August is a workshop by Prof. Kun-Pyo Lee

Sheets of the lecture can be found here

Tuesday 12 August 2008
Venue: Quality Hotel, Cuba Room, 223 Cuba Street, Wellington

09:30 – 09:50    Registration and Coffee
10:00 – 10:50    Seminar 1: Development of a Design Paradigm
10:50 – 11:10    Coffee Break
11:10 – 12:00    Seminar 2: Design Projects and Case-studies
12:00 – 12:15     Discussion

Monday 28th of July:

Lectures in Wellington on Design

Readings:

Check this paper on Design 3.0

Friday 25th of July Tutorial will involve:

- reading this paper
- check these you-tubes:
http://www.youtube.com/watch?v=6gmP4nk0EOE
http://www.youtube.com/watch?v=rj4V2BcA40U

In the kick-off lecture of P2 we discussed the construct of the next phase, we saw one example on theory through design. The guestlectures were given by Timothy Greig of the library and Luke Feast on design writing.

You can find:

the sheets of lecture 3 here

the sheets of library lecture here

If you click on the ‘i’, or return to the set itself, then you read the transcript of the talk underneath.

the sheets of design writing lecture here

Also some examples of theory and design within 10 days

The next phase includes each week a new theory and it’s design application:

Creativity as the centre of design ideation has been considered by a lot of different authors, designers and even managers. Important for a designer is to understand the value and organization of creativity. In this course we will experience creativity through designing. By applying models by Wallace (1926), de Bono (1985) and the composition model.My personal assignment to all of you is to create awareness of your own creative process. Knowledge and awareness on this matter will help you sharpen your design skills and hopefully in the end accelerate as a designer

The learning objectives of this course are to provide a fundamental understanding of the different aspects of knowledge that design through theory can generate in both a theoretical and practical way. Through developing a solid research based foundation for creative practice, students will develop a critical perspective through an analytical reflection. 

This brings forth a broad conceptual, formal and technical overview which includes a critical engagement with the main intellectual paradigms in the field of study.  LIVE theory will enable the students to gain familiarity with key thinkers and to provide a critical and reflective  stance that triggers an understanding of the intellectual debate in academic (and more broadly theoretical) circles by underpinning the creative work and provide context in which the design form is embedded. 

Part of the course is practice-based which involves a deeper comprehension and in-depth understanding of the role and status of research in relation to the context of theory and design. Students will develop the ability to bring research and design processes into resolution in an appropriate way and exercise a high degree of independent thought and learner autonomy in the implementation of individual research. Therefore students will use and learn supportive design research methods.  

Assignments include producing a substantial piece of writing to underpin and contextualize the self-directed project from a theoretical perspective in support of the creative practice as demonstrated in the project work.  Students will learn the significance of a hypothesis development which creates the ability to evolve a sufficient variety of intellectual perspectives to be able not only to analyze a situation or problem creatively but also to critical question the underlying assumptions of any proposition or assignment. 

The course will teach you to promote how LIVE theory frames, develops and presents new design concepts for a rapidly changing environment. 

Charles Eames speaks of Core Skills of Design in Designing Interactions (2007):

1. To synthesize a solution from all of the relevant constraints, understanding everything will make a difference to the result

2. To frame, or reframe, the problem and objective

3. To create and envision alternatives

4. To select from those alternatives, knowing intuitively how to choose the best approach

5. To visualize and protoype the intended solution

In Phase One, the students will explore and discuss different aspects of Theory Constructs

such as:

How is theory constructed?

How is research constructed?

How is design constructed?

How are these interrelated?

A crucial part of design is creativity. One could say creativity is the fuel for design.  Even though the common concept is that theory, research and creativity do not blend well in this phase, creativity will be demystified by discussing the following:

What is creativity?

How does creativity relate to theory and design?

How to create awareness on creativity

Find here the assignment: http://www.mediazone.co.nz/371/assignment-1.pdf 

Find here the sheets of lecture 1: http://www.mediazone.co.nz/371/371-lecture01.pdf

Find here the sheets of lecture 2:   http://www.mediazone.co.nz/371/371-lecture02.pdf

Find here the creative writing model as a download

Theorizing and theory-building have generally been seen as the business of academics in ivory towers, yet all individuals make choices and decisions based on assumptions or theories about the world. In addition to which it should be acknowledged that we live in a designed world. We are surrounded by design. As designers our awareness of this from designing things extends to how a design  ‘fits’ in the world, in a context, in the usage, in the expectations of the user, and also, within a set of values.  In sum, designers need theory.  It organizes design as well as the initial ideas. Theory will provide patterns that ‘otherwise’ might have been overlooked. It is not a guarantee of the design quality, but it will help designers discover pitfalls and uncover issues and concerns unnoted without such patterns and organization.

The purpose of this course is for each student to understand the value and application of theory within design. The course will focus upon what the principles of theory are, how they are related to design, why design needs theory, how theory can be applied to design, how theory grows out of design and finally, how to initiate design projects framed within theoretical context. This will illustrate the consequences of well-conducted design research. The ultimate purpose of LIVE Theory is to generate a substantial knowledge base, both general and specialized for particular design disciplines, through which high quality designs may be produced.

Please provide me with your blogs for Phase 2 by mail: aukje.thomassen@vuw.ac.nz

BLOGS:

Craig Johnson

Jason Frost 

Emile Mutch

Jeff Cochrane

Jeremy Caird

Magnus Huber

Meng How TRAN

Ashlee Jones

Jennifer Hagedorn

Sophie Gregory

Jerard Tinnin

Stevie Wikingi

Pip Tanner

Tania Hockings

Beth Te Aho

Lisa Howell, Jerard Tinnin and Mark

Pip, Kelly, Sean and Jian