Joachim Schmid's talk was fascinating to me. He explained that in the beginning of his artist book making, he did not know of them as artist books- as though it were a 'thing'. No one had introduced them to him in school.
He felt that they should be cheap and accessible- his books were made with simple means.
He had clippings from the daily paper. At that time, the paper was type set manually and it was interesting to him that a person could spot little mistakes- evidence of human error.
Schmid was not interested in his books being limited edition- the more his books could be seen or shared, the better.
Joachim: Low Budget Economy --> Independence
He collected pictures that he found in the street for over 30 years and compiled the photos into an artist book.
I found his presentation of the book very unusual. The pages were not bound but presented each page individually; no connection with one page to another page. His intention with this was to break up the linearity within the book form. The pages were housed in a box. Joachim did not want the organization of the pages to be duplicated. With each version of the book, the pages were in a different order.
Patrons at the museum, where the books were shown, could purchase pages, post card size, and create their own order of the pages- their very own book.
He noted his experience with museum curators and the process that is involved with documenting the condition of artwork upon it's arrival to the museum and before it is placed in an installation. This is for insurance purposes and policy, despite Joachim insisting they save their time with his materials (because they were found objects with plenty of distress and blemishes), the museum had to do so. Joachim noted that the scratches etc. added another layer of information to each photo. Also, he found the notations and evaluation of condition humorous and felt inclined to keep the report due to the amount of time that a person had spent on it.
Joachim shared that he believes Printed Matter (printedmatter.org) in NYC to be the best address for artist books. He talked about his experience with publishers and the speed bumps that one can encounter when looking to get published, get a project funded, or share their art.
The internet has been a game changer. This enables image or work sharing without cost of print and can reach a much wider audience.
There are tools and sites for book makers. An individual can have their own shop, share work easily, and distribution of materials is much different now than before the internet.
He mentioned ABC (Artist Book Cooperative), an informal organization that supports artists.
Also, that there are new avenues to printing that are not through a publisher. Self publishing can be through LuLu or Blurb.
Joachim walked us through his books--
Pictures Found in the Street
A conceptual issue, not print quality in Joachim's opinion.
He saved articles and clippings from the period of his photograph collections- creating an 'alternate history'.
Other People's Photograph's 2008-2011
A shift from found objects, literally from the street, to 'found' photographs and trends on internet photo storage websites. These are public and anyone can view the uploaded images.
By perusing online photo hosting sites, such as Flickr, he observed trends in photos that people were sharing. He began to catalog those trends and new patterns in image making that were occurring.
In my opinion, this is a fascinating catalog of human behavior.
Also, it is interesting, again, how the internet plays a large role. Schmid could see what individuals in Japan were having for lunch as he checked the sites in the morning- the time difference and relation to rate that you could instantly view these images as they were posted online.
Groupings/Book Themes:
Self: "selfies", self taken photos of oneself
Flashing: pictures with flashes in selfie- characteristically the same
Another Self: pictures of one's feet
Shadow: selfies of indivisual's own shadow
Buddies: selfies with another indivudal(s) included
Hotel rooms,
Airports,
You are Here: people have to assure themselves of where they are
Art: he observed and collected multiples of the same shot of the Mona Lisa. A trend in how individuals are documenting their experience- a "proving I was there" purpose. It was also noted, observation of individuals and their interaction with art. Silliness next to a sculpture or standing next to a famous artwork.
Schmid believed he discovered that photography culture has been redefined by siting these trends.
There were so many photographs shared of a cup of coffee. We all know what a cup of coffee is and what is the significance of sharing this? Letting everyone know that you are drinking coffee. It's this notion that humanity wants to share itself. People want a connection and to not feel alone.
The series of selfies and the popularity, raises a question: Are we living in Narcissism Culture?
In another series, "Black Books", Schmid included the captions as titles for photo collections.
"I was bored."- he noted the most popular shots with that caption was of shoes; converse sneakers being the most popular.
"I thought it looked cool."
"Awesome Errors, Dreadful Glitches": people upload errored photographs just the same.
"But is this Art?": people comparing their own photographs to the likes of Ansel Adams, for example.
"I don't know why I did this.": but the individual shared the photo anyway!
Schmid discussed people's relationship to their photographs and the documenting of EVERYTHING to their memory. He shared many postings of heart wrenching advertisements of lost cameras. Individuals confuse pictures with memories. There is a fear that if the photographs are lost, so too will be the memories of their experiences.
He also shared how the Flickr project was rather exhausting. Schmid spent 10+ hours a day looking through strangers' photographs.
In 20011/20112, he finished a collection, "Bilderbuch" (picture book). The first books we are given as children are picture books. Before learning to read text, we follow a story through imagery.
Photographs without a caption or text creates a different context- or lack of context, for the observer to formulate their own. Prompting the question, "What am I looking at?"
He showed an example of this: a snap shot of a barber's chair. The particular shot of the chair was not of an obvious context. The characteristics were dark and ominous. It looked as though it could have been an electric chair, based on the presentation. This prompts a different emotional response from the observer- to believe that this is an electric chair, carries different associations than a barber's chair.
Schmid discussed the presentation of his books, breaking the linear mold of traditional book structure. As I mentioned before, some books were contained in boxes and their pages kept loose. When his books were shown, Schmid did not want them displayed behind glass. They were to be touched, engaged in, and experienced in an interactive way. Soiling of pages etc. was par for the course. The various arrangement of photographs in his presentation allowed for the photos themselves to interact and talk to each other in a different way.
Sunday, May 11, 2014
Paper Lamp
This past fall, I constructed a lamp out of paper only (aside from electrical materials).
contsruction
illuminated in low lighting
illuminated in complete darkness
Saturday, May 10, 2014
#dangerousdust
Two anonymous Design students entertain themselves creating illustrative quotations in chalk.
Fantastic work!!
http://www.ccad.edu/blog/2013/12/who-is-dangerdust-an-exclusive/
http://www.viralnova.com/weekly-chalkboard-art/?utm_content=buffer0a6cd&utm_medium=social&utm_source=facebook.com&utm_campaign=buffer#XyAUToOopkj2aoog.01
Fantastic work!!
http://www.ccad.edu/blog/2013/12/who-is-dangerdust-an-exclusive/
http://www.viralnova.com/weekly-chalkboard-art/?utm_content=buffer0a6cd&utm_medium=social&utm_source=facebook.com&utm_campaign=buffer#XyAUToOopkj2aoog.01
Tuesday, April 8, 2014
Alphonse Mucha; Brief Introduction
Alphonse Mucha (July 24, 1860-July 14, 1939), a Czech Art Nouveau painter, illustrator, and designer was best known for his distinct style.
"Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewelry, carpets, wallpaper, and theatre sets in what was termed initially The Mucha Style but became known as Art Nouveau (French for "new art"). Mucha's works frequently featured beautiful young women in flowing, vaguely Neoclassical-looking robes, often surrounded by lush flowers which sometimes formed halos behind their heads. In contrast with contemporary poster makers he used pale pastel colors.........
The Art Nouveau style however, was one that Mucha attempted to disassociate himself from throughout his life; he always insisted that rather than maintaining any fashionable stylistic form, his paintings were entirely a product of himself and Czech art. He declared that art existed only to communicate a spiritual message, and nothing more; hence his frustration at the fame he gained by his commercial art, when he most wanted to concentrate on more artistic projects."
http://www.muchafoundation.org/gallery/browse-works
"Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewelry, carpets, wallpaper, and theatre sets in what was termed initially The Mucha Style but became known as Art Nouveau (French for "new art"). Mucha's works frequently featured beautiful young women in flowing, vaguely Neoclassical-looking robes, often surrounded by lush flowers which sometimes formed halos behind their heads. In contrast with contemporary poster makers he used pale pastel colors.........
The Art Nouveau style however, was one that Mucha attempted to disassociate himself from throughout his life; he always insisted that rather than maintaining any fashionable stylistic form, his paintings were entirely a product of himself and Czech art. He declared that art existed only to communicate a spiritual message, and nothing more; hence his frustration at the fame he gained by his commercial art, when he most wanted to concentrate on more artistic projects."
http://www.muchafoundation.org/gallery/browse-works
Sunday, April 6, 2014
Masters of Illusion; Video - notes
This video, narrated by James Burke, uses computer graphics to illustrate linear perspective and other practices used by master artists in the Renaissance period to create three-dimensional space. The Renaissance movement began in Italy and lasted from roughly 1400 to the mid-1500s.
Linear Perspective: Linear perspective is a way of creating a convincing, perfect illusion of space on a flat or two-dimensional surface.
One Point Perspective: Parallel lines appear to recede in the distance and converge at a single point, the vanishing point.
Linear perspective opened great potential for artists to create illusion and add depth to their works. This tool was not only used in drawings or paintings but sculpture in the period as well to convey a feeling of vast space.
Artists and their practices in this video include:
Filippo Brunelleschi's (re)discovery of linear perspective in about 1420.
This shifted focus to the individual, the viewer, and their observation of the artwork from a fixed viewpoint and differs greatly from the multiple viewpoints as seen in medieval art.
Masaccio was the first painter to incorporate Brunelleschi's discovery in his art; the Holy Trinity 1427, Fresco, Santa Maria Novella, Florence.
Piero della Francesaca, a mathematician and artist, introduced systematic perspective.
Albrecht Durer, a German artist, created one of the earliest known examples of multiple vanishing point perspective.
Leonardo DaVinci's fascination of how the eye perceives led him to a series of experiments with the goal to understand the physiology of the eye itself. He theorized that light enters the eye. In the Renaissance period, artists paid much attention to how light and shadow played a huge role in creating a sense of depth.
Raphael utilizes light and shadows in his paintings, with a more dramatic manner than Da Vinci's subtle style.
Da Vinci discovers the Perspective of Disappearance aka Atmospheric Perspective. Foreground colors are warmer tones while background colors are often grays, blues, or cooler tones and has less contrast as it recedes. This creates depth by emulating the 'fog' in the atmosphere.
Da Vinci drew first known anamorphic or stretched artwork.
Hans Holbein created works using this method.
Andrea Mantegna known for exploring perspective and a creative use of point of view. He considers the viewer and the angle at which the observer views the work.
In the High Renaissance, an explosion of creativity, Michelangelo and Raphael broke architectural boundaries with their large scale works.
Linear Perspective: Linear perspective is a way of creating a convincing, perfect illusion of space on a flat or two-dimensional surface.
One Point Perspective: Parallel lines appear to recede in the distance and converge at a single point, the vanishing point.
Linear perspective opened great potential for artists to create illusion and add depth to their works. This tool was not only used in drawings or paintings but sculpture in the period as well to convey a feeling of vast space.
Artists and their practices in this video include:
Filippo Brunelleschi's (re)discovery of linear perspective in about 1420.
This shifted focus to the individual, the viewer, and their observation of the artwork from a fixed viewpoint and differs greatly from the multiple viewpoints as seen in medieval art.
Masaccio was the first painter to incorporate Brunelleschi's discovery in his art; the Holy Trinity 1427, Fresco, Santa Maria Novella, Florence.
Piero della Francesaca, a mathematician and artist, introduced systematic perspective.
Albrecht Durer, a German artist, created one of the earliest known examples of multiple vanishing point perspective.
Leonardo DaVinci's fascination of how the eye perceives led him to a series of experiments with the goal to understand the physiology of the eye itself. He theorized that light enters the eye. In the Renaissance period, artists paid much attention to how light and shadow played a huge role in creating a sense of depth.
Raphael utilizes light and shadows in his paintings, with a more dramatic manner than Da Vinci's subtle style.
Da Vinci discovers the Perspective of Disappearance aka Atmospheric Perspective. Foreground colors are warmer tones while background colors are often grays, blues, or cooler tones and has less contrast as it recedes. This creates depth by emulating the 'fog' in the atmosphere.
Da Vinci drew first known anamorphic or stretched artwork.
Hans Holbein created works using this method.
Andrea Mantegna known for exploring perspective and a creative use of point of view. He considers the viewer and the angle at which the observer views the work.
In the High Renaissance, an explosion of creativity, Michelangelo and Raphael broke architectural boundaries with their large scale works.
Susan Sontag; On Photography- notes
Photographs are a reflection of humankind. Documents of history, emotion, memories, perspectives, objects, and environments.
They are used to communicate and acquire information. This enables one to gain knowledge and knowledge is power. However, it is complicated because photography can alter reality and photographs themselves can be altered.
Photographs are fragile. Images in photographs can be preserved by physical duplication of the photograph, placed/printed in books, digitally copied, etc.
They are used to communicate and acquire information. This enables one to gain knowledge and knowledge is power. However, it is complicated because photography can alter reality and photographs themselves can be altered.
Photographs are fragile. Images in photographs can be preserved by physical duplication of the photograph, placed/printed in books, digitally copied, etc.
Photography Changes Everything; Marvin Heiferman- notes
Marvin Heiferman discusses the evolution of photography and sheds light on the various avenues it is utilized in our lives. Photography is, indeed, an art medium but it is also a tool used in a broad variety of instances. With advances in technology, means of photographing and photographs/images have become very accessible. Taking photographs and sharing images have become an integral part of the human experience. Taking photos is a manner of documenting our experience, a personal memory, and also communicating those experiences, or moments, visually. The development of the digital camera, personal computer, and internet has greatly affected this practice. Nowadays, people have a camera in their phone, which is essentially on their person always. The cell or smartphone has radically altered the manner in which we take, alter, and transmit images. Heiferman states,"photographs are being made in record numbers; an estimated 1.3 billion new photographic images are made daily- close to half a trillion every year- and they can span the world in seconds." Additionally, "As photography is being transformed, so too is the implicit (but often unexamined) contract between images, reality, and it's viewers."
Photography, though it captures time, freezes a single moment/slows time to a stand still, it is also active. Photographs not only show us but they engage us- inform, evoke emotion, and stimulate us intellectually. Heiferman discusses a proposed project to advocate for a more accurate assessment of photography's utility and power. In this project, participants from various and different backgrounds were surveyed and asked how photography has transformed their personal life or field of professional interest. As they received stories or testimonies, a workable organizational structure came to be. Six categories emerged:
Photography Changes What We Want: Images confirm what we have attained and set up goal posts for what we hope to achieve
Photography Changes What We See: Photography shows us what the human eye cannot see- distance, phenomena, events that lie beyond our sight, change that is too fast or slow.
Photography Changes Who We Are: How we present ourselves, how others perceive us, how we are depicted in our own photographs or others' shapes our self-image and stereotypes.
Photography Changes What We Do: Photography does more than document what we have already done; it influences much of what we decide to do. Photo images shape how we communicate, learn, and interact.
Photography Changes Where We Go: Photographs show us worlds beyond our immediate environment. We can see places that are physically out of geographical or historical bounds.
Photography Changes What We Remember: Photography is a medium to keep track of what has happened to us. Photographs are not simply vessels of memory but have the capacity to create, interfere with, and trouble the memories we hold as individuals and as a culture.
Photography is an ever changing medium as technology advances. Photography's meaning and significance will continually change; evolving as we change because of it.
Photography, though it captures time, freezes a single moment/slows time to a stand still, it is also active. Photographs not only show us but they engage us- inform, evoke emotion, and stimulate us intellectually. Heiferman discusses a proposed project to advocate for a more accurate assessment of photography's utility and power. In this project, participants from various and different backgrounds were surveyed and asked how photography has transformed their personal life or field of professional interest. As they received stories or testimonies, a workable organizational structure came to be. Six categories emerged:
Photography Changes What We Want: Images confirm what we have attained and set up goal posts for what we hope to achieve
Photography Changes What We See: Photography shows us what the human eye cannot see- distance, phenomena, events that lie beyond our sight, change that is too fast or slow.
Photography Changes Who We Are: How we present ourselves, how others perceive us, how we are depicted in our own photographs or others' shapes our self-image and stereotypes.
Photography Changes What We Do: Photography does more than document what we have already done; it influences much of what we decide to do. Photo images shape how we communicate, learn, and interact.
Photography Changes Where We Go: Photographs show us worlds beyond our immediate environment. We can see places that are physically out of geographical or historical bounds.
Photography Changes What We Remember: Photography is a medium to keep track of what has happened to us. Photographs are not simply vessels of memory but have the capacity to create, interfere with, and trouble the memories we hold as individuals and as a culture.
Photography is an ever changing medium as technology advances. Photography's meaning and significance will continually change; evolving as we change because of it.
Saturday, April 5, 2014
A Viewer's Guide to Looking at Photographs; James T. Brooke- notes
To understand a photograph one must take time to observe and analyse. It is recommended that the photograph be revisited for full appreciation. One must free their mind of prejudices of the subject matter, printing, color, lighting, and other aspects of the photograph. This is likely the most difficult.
Analysis is broken into four steps; Description, Formal Analysis, Interpretation, and Evaluation.
Description
Account for all physical, pictorial, historical, psychological, and miscellaneous aspects of what is shown. Do not over look the title is one is present. These are not value standards, rather, devises frequently used.
-the lines, planes, forms, volumes- in the abstract. Ignore subject matter.
-the tonal structure of the photo, as well as the location of dominant tones or colors and the relationship among tones.
-shape of the photo; square, rectangle, skinny, vertical, etc.
-textures
-picture-plane perspective (camera angle), distance of picture-plane from subjects
-motion (if any) of subjects
-mood and features contributing to mood; tense, mysterious, calm
-space and planes in which subjects are located; look for fluctuating space, disquieting space, reflections; note negative space
-lights and shadows; soft, pervading, dark, non-existent, as well as the direction and distance of light
-sharp, blurred, fogged, grainy quality
-reality or non-reality imparted by photo, including what is hidden or blurred
-exotic or common-place nature of subject
-time, place, locale- definite or indefinite
-if color, what harmonies used, the intensities displayed and effect of colors
-route eye travels through photo
Formal Analysis
The description should be wholly factual. This is an interpretive tying of facts, still, without prejudices.
-geometric shapes employed; in over all composition or parts? any forms repeated?
-what parallels or repetitions are present? physically or conceptually parallel or repeated?
-what variations on theme are present
-what is the overall composition of the photo
-is it balanced? what kind of balance employed? is it appropriate?
-is it too unified? what features are unifying?
Interpretation
Imagination and real thinking is now required. Any valid thoughts can be added. Ask 'why?' to anything you may think of.
-is the statement specific or universal
-are the objects pictured symbols?
-is the statement subtle, obvious, ambiguous?
-what feelings are involved? humor, tactile, mystery etc
-what are you reminded of visually, emotionally, intellectually?
-**what is the picture really about?
-is the photo important because of the treatment of the subject
-what is the photographer's relationship to the subject?
Evaluation
Only now can judgement be passed on the photograph.
-by what standards should the photo be evaluated?
-how deep is the feeling that has been triggered by the photo?
-how suitable/acceptable is the manner in which the statement is made?
-is the statement valid? do you agree?
-where does the photo fit between Most Trivial and Most Important?
-how original is the statement and the manner its made?
-will the photo live?
If the description of a photo is stated thoroughly, you can get by without the other three stages, as Description is the most important of the four stages. This is because the description of a photograph causes one to consciously or subconsciously come to conclusions.
Analysis is broken into four steps; Description, Formal Analysis, Interpretation, and Evaluation.
Description
Account for all physical, pictorial, historical, psychological, and miscellaneous aspects of what is shown. Do not over look the title is one is present. These are not value standards, rather, devises frequently used.
-the lines, planes, forms, volumes- in the abstract. Ignore subject matter.
-the tonal structure of the photo, as well as the location of dominant tones or colors and the relationship among tones.
-shape of the photo; square, rectangle, skinny, vertical, etc.
-textures
-picture-plane perspective (camera angle), distance of picture-plane from subjects
-motion (if any) of subjects
-mood and features contributing to mood; tense, mysterious, calm
-space and planes in which subjects are located; look for fluctuating space, disquieting space, reflections; note negative space
-lights and shadows; soft, pervading, dark, non-existent, as well as the direction and distance of light
-sharp, blurred, fogged, grainy quality
-reality or non-reality imparted by photo, including what is hidden or blurred
-exotic or common-place nature of subject
-time, place, locale- definite or indefinite
-if color, what harmonies used, the intensities displayed and effect of colors
-route eye travels through photo
Formal Analysis
The description should be wholly factual. This is an interpretive tying of facts, still, without prejudices.
-geometric shapes employed; in over all composition or parts? any forms repeated?
-what parallels or repetitions are present? physically or conceptually parallel or repeated?
-what variations on theme are present
-what is the overall composition of the photo
-is it balanced? what kind of balance employed? is it appropriate?
-is it too unified? what features are unifying?
Interpretation
Imagination and real thinking is now required. Any valid thoughts can be added. Ask 'why?' to anything you may think of.
-is the statement specific or universal
-are the objects pictured symbols?
-is the statement subtle, obvious, ambiguous?
-what feelings are involved? humor, tactile, mystery etc
-what are you reminded of visually, emotionally, intellectually?
-**what is the picture really about?
-is the photo important because of the treatment of the subject
-what is the photographer's relationship to the subject?
Evaluation
Only now can judgement be passed on the photograph.
-by what standards should the photo be evaluated?
-how deep is the feeling that has been triggered by the photo?
-how suitable/acceptable is the manner in which the statement is made?
-is the statement valid? do you agree?
-where does the photo fit between Most Trivial and Most Important?
-how original is the statement and the manner its made?
-will the photo live?
If the description of a photo is stated thoroughly, you can get by without the other three stages, as Description is the most important of the four stages. This is because the description of a photograph causes one to consciously or subconsciously come to conclusions.
Spencer Art; Print Room Visit
Our class had the privilege of viewing some photographs in the Spencer Museum of Art's Print Room. These photographs were presented and a dialogue was facilitated by Assistant Curator, Kate Meyer.
We looked at the various methods in which these photos were taken. We discussed the style, purposes of the photos, and their subject matter and context as well. We also picked photographs or a series of photographs that best related to our Photography as Documentation project.
Observers will project associations to an image. Potentially, loaded associations though a simple visual subject. This can also be specific or non specific to the space in which the photo resides or is presented. Jeff Brouws' Twelve Drive-Ins I, utilizes a grid format for presenting his images of twelve different drive-ins. We discussed the subject and what sentiments or associations there are to drive-ins. Also, looking at the photographs, what the composition can say about time or the passing of time, or eras, even.
Mark Klett's Canyon del Muerto, Canyon de Chelly Nation Monument, Arizona 1978 in color as a dye transfer print, and as a gelatin silver print differ greatly in tone and observer's association of time. We see black and white and usually assume that the photograph is from a pre-color era. The color print of the same site, we assume is a (more) current photograph. Though, both images are the same age.
We discussed perspective and the eye's ability to see one view point at a time. Photography and collage work creates an image with multiple perspectives and view points that when assembled to a single image, that information can be visible to the naked eye. Gordon Matt-Clark's Splitting and Barbara Morgan's Use Litter Basket are examples of this type of fragmented style. Matt-Clark's, particularly, had an Escher quality; spontaneous perspectives, dizziness in an architectural space, almost like a twisted panorama which enables the eye to take in full range of vision that it could not otherwise in one literal moment.
Jerry Norman Uelsmann's Room #1 depicted three viewpoints simultaneously in one image, this is not in a fragmented style to the likes of Escher but the composition still presents more information in a single image than what is seen with a snaked eye's capability. In this photo, there is a clearer narrative.
Dr. Harold Eugene Edgerton and Eadweard Muybridge's stereoscopic photography work has provided groundbreaking information and understanding of movement. By rapid fire, use of flash, and precision, he was able to capture movement in such a way that had not been seen before. This new information and understanding of movement enabled artists, such as Degas, to depict movement in a more realistic manner. A specific example is Degas' horses. There is a distinct shift in the gate and how it became depicted more accurately in artworks than before.
We looked at Henry Wessel's untitled. This photo is striking and eerie and evokes a reaction. It is black and white and captures a moment when a group of birds are flying from a bush as a man is standing near by. This moment is captured, freezing the subjects in time. The birds are permanently suspended in air. We discussed the Hitchcock characteristics of this image, and again, noted what black and white versus color can do to the tone of an image.
I very much enjoy visits to the Print Room. Stimulating dialogues are always generated and I come away with a head full of thoughts and excitement. The visits are both educational and inspirational. I feel fortunate to have access to the Spencer Museum and it's Print Room. They are two of the many great resources that KU provides.
We looked at the various methods in which these photos were taken. We discussed the style, purposes of the photos, and their subject matter and context as well. We also picked photographs or a series of photographs that best related to our Photography as Documentation project.
Observers will project associations to an image. Potentially, loaded associations though a simple visual subject. This can also be specific or non specific to the space in which the photo resides or is presented. Jeff Brouws' Twelve Drive-Ins I, utilizes a grid format for presenting his images of twelve different drive-ins. We discussed the subject and what sentiments or associations there are to drive-ins. Also, looking at the photographs, what the composition can say about time or the passing of time, or eras, even.
Mark Klett's Canyon del Muerto, Canyon de Chelly Nation Monument, Arizona 1978 in color as a dye transfer print, and as a gelatin silver print differ greatly in tone and observer's association of time. We see black and white and usually assume that the photograph is from a pre-color era. The color print of the same site, we assume is a (more) current photograph. Though, both images are the same age.
We discussed perspective and the eye's ability to see one view point at a time. Photography and collage work creates an image with multiple perspectives and view points that when assembled to a single image, that information can be visible to the naked eye. Gordon Matt-Clark's Splitting and Barbara Morgan's Use Litter Basket are examples of this type of fragmented style. Matt-Clark's, particularly, had an Escher quality; spontaneous perspectives, dizziness in an architectural space, almost like a twisted panorama which enables the eye to take in full range of vision that it could not otherwise in one literal moment.
Jerry Norman Uelsmann's Room #1 depicted three viewpoints simultaneously in one image, this is not in a fragmented style to the likes of Escher but the composition still presents more information in a single image than what is seen with a snaked eye's capability. In this photo, there is a clearer narrative.
Dr. Harold Eugene Edgerton and Eadweard Muybridge's stereoscopic photography work has provided groundbreaking information and understanding of movement. By rapid fire, use of flash, and precision, he was able to capture movement in such a way that had not been seen before. This new information and understanding of movement enabled artists, such as Degas, to depict movement in a more realistic manner. A specific example is Degas' horses. There is a distinct shift in the gate and how it became depicted more accurately in artworks than before.
We looked at Henry Wessel's untitled. This photo is striking and eerie and evokes a reaction. It is black and white and captures a moment when a group of birds are flying from a bush as a man is standing near by. This moment is captured, freezing the subjects in time. The birds are permanently suspended in air. We discussed the Hitchcock characteristics of this image, and again, noted what black and white versus color can do to the tone of an image.
I very much enjoy visits to the Print Room. Stimulating dialogues are always generated and I come away with a head full of thoughts and excitement. The visits are both educational and inspirational. I feel fortunate to have access to the Spencer Museum and it's Print Room. They are two of the many great resources that KU provides.
Ways of Seeing; Psychological Aspects
John Berger discusses Art, it's value, context, meaning, and the ways reproduction abilities/technologies have affected those aspects, in the video Ways of Seeing; Psychological Aspects.
The habit and conventions used by master artists, convention of perspective, centers everything on the eye of the beholder. This is having the beholder in mind observing by being physically in the space because, of course, at the time of these works' production, this was the only way of seeing them.
The invention and advances in technology of the camera has changed not only what we see, but how we see it. This has changed what see of art that was created even before the camera- artworks of the Renaissance era, particularly.
Alters, places in churches, chapels- the paintings in these sites are specific to the space they are in. They are the memory of the place in which they reside. Everything around the image is part of its meaning and purpose. An extreme example, is the icon. The context is indicative of the space it resides.
Now, with reproduction capabilities and technology, these art works or details of them, can be viewed anywhere and everywhere- simultaneously- but with different surroundings and contexts. This greatly effects the way in which these images are perceived and observed. Now the images come to you, you do not need to go to them. As John Berger states in the video, "the days of pilgrimage are over."
Paintings have become transmittable- information of a sort.
Berger looks to a DaVinci drawing. He discusses the preservation and attitude towards this work because of its market value. The drawing's market value depends upon it's authenticity. Reproductions are sold by these museums that house the original artwork and great measures are taken to stake claim on original works by master artists.
What meaning does the same image represent when hung or pinned to a wall? How are these meanings or sentiments different from DaVinci's when he produced it?
How has art lost and how has it gained from reproduction being possible?
A gain is that the images created can now reach a much wider audience than ever before. Images of the works are transmittable, changed, transformed, manipulated.
When reproduced, the artworks become a form of information- which has to compete with it's environment, however. Also, the reproduction makes the original's meaning ambiguous.
If the reproductions can be used by anyone for any purpose, it should make it easier to connect our experience with art with other experiences. We can illustrate our words easier. Reproductions can be used for describing or recreating an experience. Scholars give much critical analysis as well as mystification to master artworks. This can create a barrier between the work and the common observer.
We look for contexts and additional information often when we experience art. This affects our understanding and does interpreting for us, leaving out possible associations or ideas that we could conclude ourselves. Berger illustrates many examples of presented context dictating an observer's impression of a given artwork.
He suggests we take some lead from children. Look to how children interpret images. Observe pictures like words rather than holy relics
Berger acknowledges, he too, uses these reproductive and technological means to communicate his ideas, questions, and images. However, he asks the viewer to consider his presentation but be skeptical, as it is not a dialogue, rather, a presentation of information, audio, and visuals.
http://www.ubu.com/film/berger_seeing1.html
The habit and conventions used by master artists, convention of perspective, centers everything on the eye of the beholder. This is having the beholder in mind observing by being physically in the space because, of course, at the time of these works' production, this was the only way of seeing them.
The invention and advances in technology of the camera has changed not only what we see, but how we see it. This has changed what see of art that was created even before the camera- artworks of the Renaissance era, particularly.
Alters, places in churches, chapels- the paintings in these sites are specific to the space they are in. They are the memory of the place in which they reside. Everything around the image is part of its meaning and purpose. An extreme example, is the icon. The context is indicative of the space it resides.
Now, with reproduction capabilities and technology, these art works or details of them, can be viewed anywhere and everywhere- simultaneously- but with different surroundings and contexts. This greatly effects the way in which these images are perceived and observed. Now the images come to you, you do not need to go to them. As John Berger states in the video, "the days of pilgrimage are over."
Paintings have become transmittable- information of a sort.
Berger looks to a DaVinci drawing. He discusses the preservation and attitude towards this work because of its market value. The drawing's market value depends upon it's authenticity. Reproductions are sold by these museums that house the original artwork and great measures are taken to stake claim on original works by master artists.
What meaning does the same image represent when hung or pinned to a wall? How are these meanings or sentiments different from DaVinci's when he produced it?
How has art lost and how has it gained from reproduction being possible?
A gain is that the images created can now reach a much wider audience than ever before. Images of the works are transmittable, changed, transformed, manipulated.
When reproduced, the artworks become a form of information- which has to compete with it's environment, however. Also, the reproduction makes the original's meaning ambiguous.
If the reproductions can be used by anyone for any purpose, it should make it easier to connect our experience with art with other experiences. We can illustrate our words easier. Reproductions can be used for describing or recreating an experience. Scholars give much critical analysis as well as mystification to master artworks. This can create a barrier between the work and the common observer.
We look for contexts and additional information often when we experience art. This affects our understanding and does interpreting for us, leaving out possible associations or ideas that we could conclude ourselves. Berger illustrates many examples of presented context dictating an observer's impression of a given artwork.
He suggests we take some lead from children. Look to how children interpret images. Observe pictures like words rather than holy relics
Berger acknowledges, he too, uses these reproductive and technological means to communicate his ideas, questions, and images. However, he asks the viewer to consider his presentation but be skeptical, as it is not a dialogue, rather, a presentation of information, audio, and visuals.
http://www.ubu.com/film/berger_seeing1.html
Tuesday, April 1, 2014
Errol Morris; Photographs and Their Connection to the Physical World, Video
"What we have forgotten is that photographs are connected to a physical world..... I've tried to recover that connection between a photograph and the world." - Errol Morris
Errol Morris discusses photography and the matter of whether or not photographs are posed. There are differing opinions on this topic. Some individuals believe that photographs tell the truth, while others believe there are no photographs that aren't posed (in some manner or another).
This reminds me of my grandfather (whose hobby was photography) telling me, "Pictures don't lie."
However, recently in a Hallmark lecture, given by KU photography professor Daniel Coburn, Coburn addressed this very topic and shared an essay in which he states his opinion that photographs do indeed lie. He showed examples of his work, which seem very candid and images appear to be spontaneously captured, but revealed that an extremely high percentage were 'staged'.
Morris' view on the topic is that photographs are neither true nor false. Truths and falsities are to be left to language; how we use words in respect to the world. He adds, however, he believes all photographs are posed. A photograph can be posed because it always is excluding something.
Morris explains how photographs show a two dimensional reality and that what is excluded from the photograph decontextualizes the scene. The only way to know what the actual reality of the photograph is to perform a true investigation by which the photograph was taken and learn what was excluded.
Photographs can evoke strong emotions and many associations or connotations are attached to images by the viewer. This occurs without context or an explanation. There is an automatic response. Is it the correct response? Would the response change when more information is given? Photographs throughout history have become iconic without the truth of the scene investigated. The image, out of it's original context, can become a symbol regardless. We create contexts for the photographs.
I feel a great example of this is a photograph by Alfred Eisenstaedt, V-J Day in Times Square; also known as The Kiss. This photograph was published in Life magazine in 1945.
At the time, Eisenstaedt was unable to get the names of the man and woman pictured, leaving them unidentified. Several men and women have since claimed to be in the photo. Mostly, the image is viewed as an expression of joy, celebration, romantic spontaneity. However, the two were strangers. It was not a consensual kiss. In many opinions, sexual contact without consent is considered sexual assault. This changes the context of the image. At first glance, a viewer's immediate associations could be romantic. Then, once given the context that the act captured in the photograph was actually something as serious as sexual assault, the viewer would certainly see the image differently. As Morris stated, photographs must be investigated to learn the truth of what we are actually looking at. This can be very difficult. The Kiss is an example, as the investigation and attempt to discover truths about the photograph have been a challenge. Many have claimed to be in the photo and recalled the scene with varying perspectives. Who do you believe?
Morris encourages individuals to explore, scrutinize, and inquire about information of
images shared through photography. He proposes the question, "Aren't you curious about the photograph and what is really going on there?"
Errol Morris discusses photography and the matter of whether or not photographs are posed. There are differing opinions on this topic. Some individuals believe that photographs tell the truth, while others believe there are no photographs that aren't posed (in some manner or another).
This reminds me of my grandfather (whose hobby was photography) telling me, "Pictures don't lie."
However, recently in a Hallmark lecture, given by KU photography professor Daniel Coburn, Coburn addressed this very topic and shared an essay in which he states his opinion that photographs do indeed lie. He showed examples of his work, which seem very candid and images appear to be spontaneously captured, but revealed that an extremely high percentage were 'staged'.
Morris' view on the topic is that photographs are neither true nor false. Truths and falsities are to be left to language; how we use words in respect to the world. He adds, however, he believes all photographs are posed. A photograph can be posed because it always is excluding something.
Morris explains how photographs show a two dimensional reality and that what is excluded from the photograph decontextualizes the scene. The only way to know what the actual reality of the photograph is to perform a true investigation by which the photograph was taken and learn what was excluded.
Photographs can evoke strong emotions and many associations or connotations are attached to images by the viewer. This occurs without context or an explanation. There is an automatic response. Is it the correct response? Would the response change when more information is given? Photographs throughout history have become iconic without the truth of the scene investigated. The image, out of it's original context, can become a symbol regardless. We create contexts for the photographs.
I feel a great example of this is a photograph by Alfred Eisenstaedt, V-J Day in Times Square; also known as The Kiss. This photograph was published in Life magazine in 1945.
Morris encourages individuals to explore, scrutinize, and inquire about information of
images shared through photography. He proposes the question, "Aren't you curious about the photograph and what is really going on there?"
Photography as Documentation; David Hockney
During this Photo Media project we looked to the photo collage work of David Hockney. In the early eighties, the artist explored capturing spaces with multiple photos grouped together to form a larger image.
The eyes can only view one perspective at a time. With this method of photo collage, Hockney can capture multiple perspectives and combine them. This practice enables the viewer to see more at once than what could be seen with the naked eye.
This collage is my favorite; Prehistoric Museum Near Palm Springs, 1982. I like the tone and very much get feeling that I am in the space and it is believable that I could be the person taking the photo. That the shadow casted could be my own.
The eyes can only view one perspective at a time. With this method of photo collage, Hockney can capture multiple perspectives and combine them. This practice enables the viewer to see more at once than what could be seen with the naked eye.
A great example is David Hockney's Telephone Pole, 1982. This collage in particular, illustrates capturing multiple perspectives within one composition.
Another example of Hockney's photo work that allows the viewer to engross themselves into an entire space is Merced River, Yosemite Valley, Sept. 1982. This scene is created, details are featured, and characteristics are included that could not in a simple panoramic shot.
I find some similarity between this composition and my own for this project. Not only because my photographs are black and white, but also the directional perspective it shares. There is more detail and 'weight' at the bottom of the collage and elements at the top are depicted as further away.
Thursday, March 27, 2014
Photography as Documentation; Portraits- supplemental
http://www.artctrldel.com/component/easyblog/entry/portraits-of-soldiers-before-during-and-after-war?Itemid=117
In this project, we look at space, time, and movement in photography; observing the ability to depict or illustrate those elements through various methods of photographs and presentation.
While working on this photo media project, I stumbled upon this article featuring an artist who took before, during, and after war/action photographs of soldiers.
I felt that this photo project spoke to the concepts that we are considering. The images are taken over a period of time and show changes in one's appearance. This project illustrates how life experiences physically change a person's appearance.
In this project, we look at space, time, and movement in photography; observing the ability to depict or illustrate those elements through various methods of photographs and presentation.
While working on this photo media project, I stumbled upon this article featuring an artist who took before, during, and after war/action photographs of soldiers.
I felt that this photo project spoke to the concepts that we are considering. The images are taken over a period of time and show changes in one's appearance. This project illustrates how life experiences physically change a person's appearance.
Tuesday, March 25, 2014
Wayfinding Humor; Louis CK
This reminds me of my previous wayfinding project;
Comedian Louis CK pointing out how unclear the parking in NYC can be. It was the subject in a TED Talk video we watched in class.
"-Is it after midnight right now, or is it before?
-It's before midnight right now.
-Yeah, but it's also after."
Monday, March 24, 2014
Photography as Documentation; mapping time and space- creative inspiration: Christoph Rehage -supplemental
This story and video/photographic illustration seemed fitting to share during this Photo-media project.
I have witnessed other 'projects' of "a photo a day" -be the purpose personal reflection, illustration of change, growth, documentation, or other reasons. An example: A photo a day taken by a father of his daughter for the first decade of her life. To watch the progression, put in a slideshow format, is moving, of course. A project like that certainly illustrates time and the physical changes/maturing as his daughter grows.
This man's efforts far exceed any other project that I have seen. It is the fact that he not only documented his change in appearance, but additionally, his ever changing environment as he traveled. I enjoy the motion, the expression, humor, and the interactions that were so well captured along his journey.
*It is very much worth noting this short film's quality of editing.
"Christoph Rehage, who was 26-years-old at the time, took off from Beijing on Nov. 9, 2007. For 11 months, Rehage walked and snapped a photo of himself on each day of his journey. As time progresses, not only does Rehage's background change from urban landscapes to lush, green farmlands, but Rehage's appearance changes dramatically as well. He starts off beardless and clean cut, but by the time he ends up in his last stop in a city called Ürümqi, not far from the Gobi desert, Rehage is hardly recognizable. Watch Rehage's self-documented transformation in his short film The Longest Way."
http://www.complex.com/art-design/2014/03/this-guy-walked-nearly-3000-miles-through-china-and-took-a-selfie-a-day?utm_campaign=complexmag+socialflow+03+2014&utm_source=facebook&utm_medium=social
I have witnessed other 'projects' of "a photo a day" -be the purpose personal reflection, illustration of change, growth, documentation, or other reasons. An example: A photo a day taken by a father of his daughter for the first decade of her life. To watch the progression, put in a slideshow format, is moving, of course. A project like that certainly illustrates time and the physical changes/maturing as his daughter grows.
This man's efforts far exceed any other project that I have seen. It is the fact that he not only documented his change in appearance, but additionally, his ever changing environment as he traveled. I enjoy the motion, the expression, humor, and the interactions that were so well captured along his journey.
*It is very much worth noting this short film's quality of editing.
"Christoph Rehage, who was 26-years-old at the time, took off from Beijing on Nov. 9, 2007. For 11 months, Rehage walked and snapped a photo of himself on each day of his journey. As time progresses, not only does Rehage's background change from urban landscapes to lush, green farmlands, but Rehage's appearance changes dramatically as well. He starts off beardless and clean cut, but by the time he ends up in his last stop in a city called Ürümqi, not far from the Gobi desert, Rehage is hardly recognizable. Watch Rehage's self-documented transformation in his short film The Longest Way."
http://www.complex.com/art-design/2014/03/this-guy-walked-nearly-3000-miles-through-china-and-took-a-selfie-a-day?utm_campaign=complexmag+socialflow+03+2014&utm_source=facebook&utm_medium=social
Monday, February 10, 2014
Perception, Visual Organization, Aesthetics
From AIGA, What Designers Need to Know
Designers think about visual forms and how they are put together to convey meaning. This is visual language. Points, lines, planes, volumes, spaces, textures, and colors are used to create symmetry, proportion, rhythm and are basic components of a designer's visual vocabulary.
Form and structure analyzes positive and negative forms.
Form analysis examines 2D and 3D forms and how to create a feeling of space.
Structure and system consider various ways for order in a space.
Visual Phenomena explores intuitive response from the audience to form, color, texture.
Composition and visual framing involves deciding what to include in an image and the interaction between those elements.
Visual abstraction identifies key features of an object and simplifies them.
Unity of form relationships among design elements: proportion, scale, symmetry, contrast.
___________________
These definitions and elements are applicable and to be considered in this wayfinding project. Spacial relations, proportions of signage and their aesthetic affect an observer and their experience in a space. For example, composition and visual framing pertains to the layout and design of signage. Visual abstraction takes place when icons are created and used in a design to give information in a quick and efficient manner.
Designers think about visual forms and how they are put together to convey meaning. This is visual language. Points, lines, planes, volumes, spaces, textures, and colors are used to create symmetry, proportion, rhythm and are basic components of a designer's visual vocabulary.
Form and structure analyzes positive and negative forms.
Form analysis examines 2D and 3D forms and how to create a feeling of space.
Structure and system consider various ways for order in a space.
Visual Phenomena explores intuitive response from the audience to form, color, texture.
Composition and visual framing involves deciding what to include in an image and the interaction between those elements.
Visual abstraction identifies key features of an object and simplifies them.
Unity of form relationships among design elements: proportion, scale, symmetry, contrast.
___________________
These definitions and elements are applicable and to be considered in this wayfinding project. Spacial relations, proportions of signage and their aesthetic affect an observer and their experience in a space. For example, composition and visual framing pertains to the layout and design of signage. Visual abstraction takes place when icons are created and used in a design to give information in a quick and efficient manner.
COCA Building Wayfinding; Graphic Wayfinding/Kitty Hong
Graphic information is the most direct way for people to find their location. Typical wayfinding graphic information includes systems made up of text, pictograms, maps, photographs, diagrams, and models. Visitors use these as a guide as they navigate a site,building, or space.
These elements must be clear and consistent. It is important to make directions clear, use fonts that are easy to read, use pictograms that are easily recognizable and not too abstract or complicated, pay close attention to format, and use common rather than obscure or technical terms. Efficiency is priority! Users want to learn the required information to get from A to B and quickly.
Orientation is devices are aids for people to have a mental map of their location in relation to their destination. Examples of orientation devices are maps, site plans, floor plans,and building and/or floor directories.Typically, this is the first information a user takes in for decision making in a setting they are unfamiliar with and an important tool for choosing the most efficient route. Important elements to include in any orientation devices are a 'you are here' symbol to provide orientation, key landmarks, labels that correspond with directional signage, placement of any maps or directories in an area that is easy to read from various vantage points, avoid all uppercase text to increase legibility, include key markers, and display hours of service of tenants available to provide additional assistance.
Directional Information gives individuals guidance along their route to a destination. This is after the person has familiarized themselves with the over all space. Most commonly used signs include arrows etc. Key things to emphasize directional information with are signage and architectural indicators such as wall graphics or landscaping leading to a destination. Again, usage of easy-to-learn pictograms to accompany text is helpful and bypasses any language barriers. Plain text and consistency are also important to avoid confusion.
Destination Information is provided at the point of destination. This usually includes signage, floor numbers, room identifiers and other related marker. Outdoor signage should identify all buildings by name and be legible from roadways and pathways. Any identification strategy should be intuitive, simple, and detectable.
Situation and Object Identification informs visitors about situations like local hazards, changes in status, or notable objects such as fire extinguishers. Emergency information signage should be dynamic and visible. LED display is a good method of informing visitors with current information and updating changes. Audible alarms and use of a public address system should be implemented as well. Standard colors, shapes, and symbols commonly associated with warning, hazard, etc. are easily recognizable.
These elements must be clear and consistent. It is important to make directions clear, use fonts that are easy to read, use pictograms that are easily recognizable and not too abstract or complicated, pay close attention to format, and use common rather than obscure or technical terms. Efficiency is priority! Users want to learn the required information to get from A to B and quickly.
Orientation is devices are aids for people to have a mental map of their location in relation to their destination. Examples of orientation devices are maps, site plans, floor plans,and building and/or floor directories.Typically, this is the first information a user takes in for decision making in a setting they are unfamiliar with and an important tool for choosing the most efficient route. Important elements to include in any orientation devices are a 'you are here' symbol to provide orientation, key landmarks, labels that correspond with directional signage, placement of any maps or directories in an area that is easy to read from various vantage points, avoid all uppercase text to increase legibility, include key markers, and display hours of service of tenants available to provide additional assistance.
Directional Information gives individuals guidance along their route to a destination. This is after the person has familiarized themselves with the over all space. Most commonly used signs include arrows etc. Key things to emphasize directional information with are signage and architectural indicators such as wall graphics or landscaping leading to a destination. Again, usage of easy-to-learn pictograms to accompany text is helpful and bypasses any language barriers. Plain text and consistency are also important to avoid confusion.
Destination Information is provided at the point of destination. This usually includes signage, floor numbers, room identifiers and other related marker. Outdoor signage should identify all buildings by name and be legible from roadways and pathways. Any identification strategy should be intuitive, simple, and detectable.
Situation and Object Identification informs visitors about situations like local hazards, changes in status, or notable objects such as fire extinguishers. Emergency information signage should be dynamic and visible. LED display is a good method of informing visitors with current information and updating changes. Audible alarms and use of a public address system should be implemented as well. Standard colors, shapes, and symbols commonly associated with warning, hazard, etc. are easily recognizable.
Ethnography>>> Design: An Ethnography Primer; Cheskin- AIGI
Ethnography is a tool for better design.
To truly understand their audience, designers must understand the relationship between the end user and the product. They need direct knowledge of the problem to develop the best solution. Ethnography enables designers to develop innovative solutions because it reveals a deep understanding of people and how they navigate the world.
Ethnography is a researched based method of observation in a setting that is natural to the subject- rather than an informal setting. People and culture are incredibly complex. This type of research aids designers in making sense of these complexities- looking beyond preconceived ideas with an empathetic eye. It allows patterns of behavior to be recognized and this is vital information to designers.
The ethnography process is a very rigorous analysis of systematically acquired data. Real and visually compelling video, photos, observational notes, audio recordings and other related data will be collected without being staged.
Ethnography research enables one to discover the need people have for meaning in their life, understand cultural norms, make powerful and effective communication to their audience, and create for the global market place based on real observations, as people do not always do as the say. These observed behaviors can provide clues to where problems exist and make hidden issues more obvious to guide designers to solutions.
Steps in the ethnographic process include defining the problem, finding the people, planning an approach, collecting data, analysis and interpretation (opportunities for insight), and sharing the compelling research and results to the team, as well as the whole organization. Ethnography research is so in depth that sharing the insights can be helpful in many other areas outside of design.
To truly understand their audience, designers must understand the relationship between the end user and the product. They need direct knowledge of the problem to develop the best solution. Ethnography enables designers to develop innovative solutions because it reveals a deep understanding of people and how they navigate the world.
Ethnography is a researched based method of observation in a setting that is natural to the subject- rather than an informal setting. People and culture are incredibly complex. This type of research aids designers in making sense of these complexities- looking beyond preconceived ideas with an empathetic eye. It allows patterns of behavior to be recognized and this is vital information to designers.
The ethnography process is a very rigorous analysis of systematically acquired data. Real and visually compelling video, photos, observational notes, audio recordings and other related data will be collected without being staged.
Ethnography research enables one to discover the need people have for meaning in their life, understand cultural norms, make powerful and effective communication to their audience, and create for the global market place based on real observations, as people do not always do as the say. These observed behaviors can provide clues to where problems exist and make hidden issues more obvious to guide designers to solutions.
Steps in the ethnographic process include defining the problem, finding the people, planning an approach, collecting data, analysis and interpretation (opportunities for insight), and sharing the compelling research and results to the team, as well as the whole organization. Ethnography research is so in depth that sharing the insights can be helpful in many other areas outside of design.
Design Moves, Sharon Helmer Poggenpohl
Sharon Helmer Poggenpohl discusses changes in her design practice due to an introduction to a different design strategy by Chan Screven. This change from where design practices have been- performed in an office or studio, removed from the end users- to a new setting- hands on and directly involved in the user's environment and with the users themselves. Designing interactively with users sets the stage for more innovative designs. She addresses changing the design of design.
Design envisions the future. Anticipating needs or problems is what a designer does. This shapes the future. What innovations are created can make a major impact (on our society, environment, planet) in the future.Prototypes reveal process in a tangible way to non-designers.Prototyping is crucial. It enables testing of an idea, checking for possible improvements, and allows an opportunity for a dialogue between designers and the end user. The dialogue is facilitated by generating prototypes; a focus, point of reference,is given to receive feedback and generate new ideas or make decisions about the artifact/solution. Refinements can be made.
To summarize design’s hidden moves, design envisions the future by:
• making abstract ideas tangible;
• engaging the user to help create a more fitting solution;
• focusing stakeholders on the idea as it develops;
• supporting negotiation among stakeholders as it reveals values and
implications of the design;
• supporting agency or decision-making.
Designers do not need to 'to science' in order to perform ethnography. They do need to know and understand the context in which their design is purposed. It is important that designers see and learn from authentic interactions with prototypes. Design nature is open minded, opportunistic, creative, and reflective- not formulated.
"This changes the design process from being immersive and abstract, largely
under the designer’s control, done in relative isolation to being more reflexive
and tangible, subject to user participation. The iterative shift, from attending
solely to the object of design followed by interaction between the user and the
designed object, heightens the designer’s sense of context, their ability to
interrogate the developing design and to question their process and knowledge
more honestly."
Design envisions the future. Anticipating needs or problems is what a designer does. This shapes the future. What innovations are created can make a major impact (on our society, environment, planet) in the future.Prototypes reveal process in a tangible way to non-designers.Prototyping is crucial. It enables testing of an idea, checking for possible improvements, and allows an opportunity for a dialogue between designers and the end user. The dialogue is facilitated by generating prototypes; a focus, point of reference,is given to receive feedback and generate new ideas or make decisions about the artifact/solution. Refinements can be made.
To summarize design’s hidden moves, design envisions the future by:
• making abstract ideas tangible;
• engaging the user to help create a more fitting solution;
• focusing stakeholders on the idea as it develops;
• supporting negotiation among stakeholders as it reveals values and
implications of the design;
• supporting agency or decision-making.
Designers do not need to 'to science' in order to perform ethnography. They do need to know and understand the context in which their design is purposed. It is important that designers see and learn from authentic interactions with prototypes. Design nature is open minded, opportunistic, creative, and reflective- not formulated.
"This changes the design process from being immersive and abstract, largely
under the designer’s control, done in relative isolation to being more reflexive
and tangible, subject to user participation. The iterative shift, from attending
solely to the object of design followed by interaction between the user and the
designed object, heightens the designer’s sense of context, their ability to
interrogate the developing design and to question their process and knowledge
more honestly."
Tim Brown- Think Big, TED Talks
Tim Brown discusses technology and it's impact on Design and suggests a shift, by implementing Design Thinking. Brown addresses how Design used to be "big" and recently it has become "small"; in that, when we think of Design, we think of product design. This is largely due to the popular press. Design has become represented by objects. He states that Design has become a tool for consumerism and the products repeated become obsolete. These products can be attractive, more marketable, or perhaps more useful but what is the importance? What is the significance? We have narrowed our thinking of Design and need to broaden that mindset to have a bigger, more positive impact on our world.
Design thinking begins with what Roger Martin calls Integrative Thinking- an ability to exploit opposing ideas and opposing constraints to create new solutions in design while balancing desirability, technical feasibility, and viability.
Industrial society matured and Design became a profession; it became focused on aesthetics, image, and fashion.
Design is becoming big again, due to reemergence of Design Thinking- solving problems to create world changing innovations.
Design is human centered. It's centered around what humans need, or might need. More than simply good ergonomics, Design is knowing the culture, context, economics of end users. It's about understanding. Instead of depending on technology to lead, designers are starting with people and culture to lead the way in their designs.
It is important to exercise learning by making; rather than thinking of what to build, building in order to think.
Prototypes speed up process of designing. Efficiency leads to innovation. The more prototypes generated and quickly, the sooner innovation will occur.
Prototyping mentality, leads to breakthroughs- particularly, lowering costs of production and materials.
Instead of looking at the prime objective as consumption, Design Thinking should shift focus to participation; an active engagement of everyone in meaningful, profitable, productive experiences.
Participatory systems, in which many more forms of value beyond cash are created and measured, will be a major theme not only for design but our economy as well, as we move forward.
Design may have its greatest impact when it is taken out of the hands of (exclusively) designers and given to everyone.
We need new alternatives and new ideas to keep up with society's massive changes and evolution. 'Old ways' are becoming obsolete. Design Thinking will help us to create new choices, as it gives us a new way of tackling problems. Rather than making choices out of what we already know with a convergent approach, we will be able to create choices (new solutions, alternatives) with a divergent approach.
This begins with asking questions and the right ones. For example, "How might we improve...?" Then, implement such things as social marketing campaigns, models, PROTOTYPING, interaction and active participation with the user whose needs is the focus.
Focusing on systems, we will make a larger impact with Design, than thinking 'small' with individual objects in a domain that is secluded from the end users.
Friday, February 7, 2014
Wayfinging: 5 Elements Identification & Diagram
In the scenario of the Tunnel, this diagram identifies the five elements of way finding.
The districts are indicated in yellow; these are the larger areas between paths.
Paths are indicated in red; these are the walk ways within the tunnel. Edges are the walls and barriers.
Nodes are indicated in blue; this is the instance in which paths intersect.
A landmark is also an element which aids in navigation of a space. In this particular instance, landmarks are not present, as the tunnel is very plain and contains little. Signage and the benches within the nodes could be considered landmarks. Hypothetically, if the tunnel contained sculpture or artworks (such as a mural), those would be considered landmarks.
A hypothetical example of verbal directions using a landmark as a point of reference:
"After entering at the Union entrance of the tunnel, continue through the passage(path) until you reach the seating area(node) where the big jay hawk sculpture(landmark) is. Then the Spencer Museum(district) entrance is immediately to your left."
Wednesday, February 5, 2014
What is Ethnography? Two West Discovery + Design
Two West; What is Ethnography -Notes
Ethnography is more than methodology. It is an approach to understanding. It is the seeking to make sense of the human condition and the search for meaning. It is the study of people in a holistic and inductive way, rather than repeating surface level observations and asking questions. Ethnographers look beyond the obvious and find deeper meaning, as well as, craft massive amounts of data into compelling stories and insights.
Things to look for
Norms
-cultural norms guide good marketing, design, and development
-uncovering how people internalize cultural norms gives insight as to what 'makes sense' and allows design brands to resonate rather than confuse or offend
Process
-cultural roles, beliefs about what is correct, and order of events shape the interaction with a place, tool, or brand; this is important information for ethnographers
-uncovering these processes allows design and message in the correct time and form
Meaning
-people need to make sense of the world they are in, their environment
-meanings are assigned, rituals, morality, cosmology, and even simple daily tasks such as hygiene or social mores.
What People Say Vs What People Do
-it isn't enough to simply ask questions- what people say and what they actual do/their behavior is not always the same
-observe non verbal cues, interaction with the environment and other people
How Do They Solve Problems
-people can adapt things to solve problems in unusual ways
How Do They Organize Things
-look in cupboards, car, purses, back packs, bathroom cabinets- these can be indicators as to how the individual organizes their world
What Roles Do People Assume
-how does behavior change in a given context?
-what is socially acceptable in one situation and not another?
-people tend to change or adapt to different roles as their situation or contextual environment changes
What Kind of Stuff Do They Have with Them
-a person's attire, accessories (or lack of)... what they feel is important to carry with them
how does the setting affect or change this?
Steps In Ethnographic Process
1. Define the Problem
identify the issue
clearly articulate the overarching goal
2. Rethink the Problem
once the problem is defined, rethink it
the point may not be the problem itself and think of all possibilities
3. Define the Contexts
what is the setting
example: to study beer drinking- articulate all possible places and contexts in which beer is purchased and consumed
4. Define the Sample
demographic samples are not enough; cultural, social, profession and environmental systems must be assessed
5. Make a Game Plan
create a guide to navigate the data collected and method for data management
not only include the questions asked, but also opportunities for observation, mapping, and participation
6.Enter the Field
this is the heart of the process
takes time- deeper meanings and practices are not obvious or easily spotted
it is important to capture as much as possible, the more data collected the better
bare in mind, the smallest piece of data may have the greatest impact
7. Analyze and Interpret
analysis is the most difficult part of the process- but most rewarding
putting pieces together
analysis should always work within the framework grounded in social sciences; results will include modes of behavior, models of practice, experience frameworks, design principles, and cultural patterns
analyzed data should provide meaningful and rich stories full of 'aha' findings
8. Share the Insights
findings should be shared with stakeholders AND accross the organization because of the depth of information
insights can influence a wide range of people- these stories can engage, inspire, and change the way people think about a problem
9. Define Opportunities
process goes beyond finding compelling and rich data, it then needs to be applied by sharing information, as well as crafting action plans, product ideas, etc
Ethnography is more than methodology. It is an approach to understanding. It is the seeking to make sense of the human condition and the search for meaning. It is the study of people in a holistic and inductive way, rather than repeating surface level observations and asking questions. Ethnographers look beyond the obvious and find deeper meaning, as well as, craft massive amounts of data into compelling stories and insights.
Things to look for
Norms
-cultural norms guide good marketing, design, and development
-uncovering how people internalize cultural norms gives insight as to what 'makes sense' and allows design brands to resonate rather than confuse or offend
Process
-cultural roles, beliefs about what is correct, and order of events shape the interaction with a place, tool, or brand; this is important information for ethnographers
-uncovering these processes allows design and message in the correct time and form
Meaning
-people need to make sense of the world they are in, their environment
-meanings are assigned, rituals, morality, cosmology, and even simple daily tasks such as hygiene or social mores.
What People Say Vs What People Do
-it isn't enough to simply ask questions- what people say and what they actual do/their behavior is not always the same
-observe non verbal cues, interaction with the environment and other people
How Do They Solve Problems
-people can adapt things to solve problems in unusual ways
How Do They Organize Things
-look in cupboards, car, purses, back packs, bathroom cabinets- these can be indicators as to how the individual organizes their world
What Roles Do People Assume
-how does behavior change in a given context?
-what is socially acceptable in one situation and not another?
-people tend to change or adapt to different roles as their situation or contextual environment changes
What Kind of Stuff Do They Have with Them
-a person's attire, accessories (or lack of)... what they feel is important to carry with them
how does the setting affect or change this?
Steps In Ethnographic Process
1. Define the Problem
identify the issue
clearly articulate the overarching goal
2. Rethink the Problem
once the problem is defined, rethink it
the point may not be the problem itself and think of all possibilities
3. Define the Contexts
what is the setting
example: to study beer drinking- articulate all possible places and contexts in which beer is purchased and consumed
4. Define the Sample
demographic samples are not enough; cultural, social, profession and environmental systems must be assessed
5. Make a Game Plan
create a guide to navigate the data collected and method for data management
not only include the questions asked, but also opportunities for observation, mapping, and participation
6.Enter the Field
this is the heart of the process
takes time- deeper meanings and practices are not obvious or easily spotted
it is important to capture as much as possible, the more data collected the better
bare in mind, the smallest piece of data may have the greatest impact
7. Analyze and Interpret
analysis is the most difficult part of the process- but most rewarding
putting pieces together
analysis should always work within the framework grounded in social sciences; results will include modes of behavior, models of practice, experience frameworks, design principles, and cultural patterns
analyzed data should provide meaningful and rich stories full of 'aha' findings
8. Share the Insights
findings should be shared with stakeholders AND accross the organization because of the depth of information
insights can influence a wide range of people- these stories can engage, inspire, and change the way people think about a problem
9. Define Opportunities
process goes beyond finding compelling and rich data, it then needs to be applied by sharing information, as well as crafting action plans, product ideas, etc
Designing Interactions, Bill Verplank
Designing Interactions, Bill Verplank- Notes
Bill Verplank's ideas of interaction design have evolved over the years. He has a PhD from MIT in man-machine systems, applying information and control theort to measuring human operator workload in control tasks.
He summarizes interaction design by answering three questions; how you act, how you feel, & how you understand.
Paradigms serve as explanation for the way people think about interaction design and it's history.
How do you do?
How do humans affect the world?
Handles- user has hands on/continuous control
Buttons-delegating control to machine
How do you feel?
Fuzzy, cool/Distinct, hot
Cool media draw a person in.
Hot media is immutable, or cannot be touched or changed.
What are the sensory qualities of the media?
How do you know?
Maps give knowledge needed for designing complex systems.
Path offers understanding.
It is the designers responsibility to help people understand- a tool for this is a map.
Design Interaction Paradigms:
Tool
Doug Englebart (inventor of computer mouse) thought of the computer as a tool. We use it with direct manipulation
Media
How is this medium compelling? An expression?
Life
Artificial Intelligence... computer virus, computer evolution, artificial life computer programming is capable of evolving over time.
Vehicle
Infrastructure; rules to the road as all computers have underlying infrastructure- there are limitations and opportunities for design.
Fashion
Computers are products. Many products are fashion products. People want the "right" products, as they are defined by their possessions, culturally speaking. Aesthetics can dominate this- as people move from a style interaction to another.
Design Interaction; The Process:
1. Motivation- errors or ideas
understanding the problems, ideals, ideas
2. Meaning- metaphors and scenerios
-for understanding
-a clear metaphor is a strange idea that connects two things
3.Modes- models and tasks
-create conceptual model that users will understand- a clear picture
-mode depends on what the task is and goal
-conceptual cognitive science of understanding what is to be done and the information needed to do it
4. Mapping- displays and controls
-interaction designer designs some kid of display and controls
-display is representation of things that can be manipulated
-map controls to display
-mappings, in computers, can be very complicated; remap instantaneously, giving powerful modes that can select or delete everything
Bill Verplank's ideas of interaction design have evolved over the years. He has a PhD from MIT in man-machine systems, applying information and control theort to measuring human operator workload in control tasks.
He summarizes interaction design by answering three questions; how you act, how you feel, & how you understand.
Paradigms serve as explanation for the way people think about interaction design and it's history.
How do you do?
How do humans affect the world?
Handles- user has hands on/continuous control
Buttons-delegating control to machine
How do you feel?
Fuzzy, cool/Distinct, hot
Cool media draw a person in.
Hot media is immutable, or cannot be touched or changed.
What are the sensory qualities of the media?
How do you know?
Maps give knowledge needed for designing complex systems.
Path offers understanding.
It is the designers responsibility to help people understand- a tool for this is a map.
Design Interaction Paradigms:
Tool
Doug Englebart (inventor of computer mouse) thought of the computer as a tool. We use it with direct manipulation
Media
How is this medium compelling? An expression?
Life
Artificial Intelligence... computer virus, computer evolution, artificial life computer programming is capable of evolving over time.
Vehicle
Infrastructure; rules to the road as all computers have underlying infrastructure- there are limitations and opportunities for design.
Fashion
Computers are products. Many products are fashion products. People want the "right" products, as they are defined by their possessions, culturally speaking. Aesthetics can dominate this- as people move from a style interaction to another.
Design Interaction; The Process:
1. Motivation- errors or ideas
understanding the problems, ideals, ideas
2. Meaning- metaphors and scenerios
-for understanding
-a clear metaphor is a strange idea that connects two things
3.Modes- models and tasks
-create conceptual model that users will understand- a clear picture
-mode depends on what the task is and goal
-conceptual cognitive science of understanding what is to be done and the information needed to do it
4. Mapping- displays and controls
-interaction designer designs some kid of display and controls
-display is representation of things that can be manipulated
-map controls to display
-mappings, in computers, can be very complicated; remap instantaneously, giving powerful modes that can select or delete everything
Interaction Design Sketchbook, Bill Verplank
Interaction Design Sketchbook, Bill Verplank- Notes
Frameworks for designing interactive products and systems.
1. SKETCHING – beyond craft to design – the importance of alternatives.
2. INTERACTION – do? feel? know? Products, computers and networks.
3. DESIGN – motivation, meaning, modes, mappings.
4. PARADIGMS – brain, tool, media, life, vehicle, clothes.
Sketching-
Design is what people do.
Sketching is almost always the first step in design.
Computers have changed this as they are a tool to copy, modify, mimic and adapt, and evolve from 'working code' to the iteration of a system- making faster results, directly with materials. This makes for a craft tradition.
Learning is by doing.
It is also by anticipation and reflection.
Interaction Design is design for people- human use.
Sketches are an essential designer’s tool for capturing preliminary observations and ideas.
If they are fluent and flexible they support creativity. Sketches can be concrete or abstract,
representational or symbolic, loose or tight, improvisational or rehearsed.
Brainstorming is such a mode where the goals are
fluency and flexibility – quantity and variety. If an idea is criticized before being
expressed it dies prematurely. Design as opposed to craft has this quality of separate
phases or modes. For example, an Express mode, producing many choices can be
followed by a Test phase, followed by a Cycle phase where the next strategy is chosen.
The basic design process is seen as cyclic or iterative, with distinct phases or modes;
Express mode- producing many choices >> Test phase >> Cycle phase- the next strategy is chosen
There is danger in iteration if alternatives are not considered.
One design at a time can inhibit the opportunity to discover/generate alternatives, prototypes, and design test. Multiple considerations and comparisons are suggested.
Avoid a fixed orbit- market, with values, and a paradigm. 'Transfer orbit' gets us out of a small orbit into a larger one.
Frameworks for designing interactive products and systems.
1. SKETCHING – beyond craft to design – the importance of alternatives.
2. INTERACTION – do? feel? know? Products, computers and networks.
3. DESIGN – motivation, meaning, modes, mappings.
4. PARADIGMS – brain, tool, media, life, vehicle, clothes.
Sketching-
Design is what people do.
Sketching is almost always the first step in design.
Computers have changed this as they are a tool to copy, modify, mimic and adapt, and evolve from 'working code' to the iteration of a system- making faster results, directly with materials. This makes for a craft tradition.
Learning is by doing.
It is also by anticipation and reflection.
Interaction Design is design for people- human use.
Sketches are an essential designer’s tool for capturing preliminary observations and ideas.
If they are fluent and flexible they support creativity. Sketches can be concrete or abstract,
representational or symbolic, loose or tight, improvisational or rehearsed.
Seeing feeds drawing, drawing improves seeing.
fluency and flexibility – quantity and variety. If an idea is criticized before being
expressed it dies prematurely. Design as opposed to craft has this quality of separate
phases or modes. For example, an Express mode, producing many choices can be
followed by a Test phase, followed by a Cycle phase where the next strategy is chosen.
The basic design process is seen as cyclic or iterative, with distinct phases or modes;
Express mode- producing many choices >> Test phase >> Cycle phase- the next strategy is chosen
There is danger in iteration if alternatives are not considered.
One design at a time can inhibit the opportunity to discover/generate alternatives, prototypes, and design test. Multiple considerations and comparisons are suggested.
Avoid a fixed orbit- market, with values, and a paradigm. 'Transfer orbit' gets us out of a small orbit into a larger one.
Interaction-
Interaction Design & Industrial Design
modes and mappings: the plasticity of computers
Industrial design:
- profession grown up in 20th century
-response to the design freedom provided by modern materials & manufacturing process (plastics)
-Plastics: product of any shape, color, pattern; mimic wood or metal, appear sleek/substantial,reveal/hide.
Interaction design:
-profession that will mature in 21st century
- how to design for people? physical & emotional needs, increasing intellect.
-computers: make any product for nearly any behavior
Interaction designers: 3 questions;
How do you do?
How do you feel?
How do you know?
*the longer the delay between doing and feeling, the more dependent on having good knowledge.
handles/buttons- buttons for precision, handles for expression
The choice of senses (hearing, seeing, touching, etc) determines what we feel about the world.
“The medium is the message.”
hot media: too 'hot' to touch; definitive and ready to complete, discourage debate
cool media: invite completion and participation
Designers continually faced with choice of suggestion/clarity, metaphor/model, poetry/law
New challenge for Interactive Design is the complexity of behavior with ubiquitous computers.
-theory of how people know is useful
-conscious consideration of expectations for the user is essential
- easiest interaction needs one step at a time- path knowledge
-in some cases immediate performance is crucial (emergency situations); step by step instruction is required
-some instances map knowledge is suitable; best urban planning supports efficient paths & mental maps- Kevin Lunch, city planner, called this quality "imaginability"
> Lynch: classify Landmark, District, Edge, Path, Node; imageable cities include relationships between districts that can be seen & landmarks at nodes which can be used for navigation.
broad range of interaction designs; examples: word processor, watches, web browsers, radio
Paths- sequences of actions or commands
Districts- modes or choices
Edges- if they are visible, the a chance for constructing a complete map while various paths are followed can occur
Memorable graphic devices at places in the interface aid users in constructing coherent mental models from which news tasks and uses can be inferred
Good interactions are the appropriate styles of doing, feeling and knowing plus the freedom to
move from one to the other.
Design-
Framework for successful interaction design & checking to see if concerns are addressed involves balancing a variety of concerns by utilizing a range of methods or representations. Use framework to check the balance of approaches from invention to implementation & overviews to details; as well as communicating a finished design, however, quick sketches in early stages of design can be preferred.
motivations, meanings, modes, mappings >> observation, invention, engineering, appearance
resulting in displays & controls and the behaviors that connect them (mappings).
- to create coherent implementation: both a task
analysis of the step-by-step interactions as well as an over-all conceptual model that
organizes the behavior (modes) both for implementers and for users is necessary.
-invention of an interactive scenario involves: one compelling scenario, unifying metaphor, as well as consideration of a wide variety of scenarios & a wide exploration of alternative & mixed metaphors.
-Idea, metaphor, model, display, error, scenario, task control
Paradigms-
Human & computer interaction: a competition between 3 paradigms: brains, tools, media
Everything that comes between an individual's environment and themselves presents an interaction design problem; "extensions"
electronics>> our senses (media)
clothing>>skin (fashion)/ architecture>skin
cars>> vehicles, infrastructure
What happens when clothing has computers in it? What happens when we think of computers as clothing?
Human-Computer Interaction ---> competition between 3 paradigms: brain, tools, media
Computers are electronic brains; artificial intelligence
- next challenges with this: affect (emotional computers), consciousness (self- aware computers), soul (spiritual computers)
Names: agent, recognition
Goal: intelligence and autonomy
Style: dialog and language, recognition, multi-modal
Result: better models for people (linguistics, cognitive science)
Failure: promises (anthropomorphism and animism)
To develop these machines will only create a mirror of ourselves- this may not help humans to gain a better understanding of the world and how we may fix it.
Computers are tools; executing tasks
In reaction to the idea of A.I., Doug Englebart created a group dedicated to what he calls “augmented intelligence”. Englebart set in motion a style of human-computer interaction >>>that has become the norm: direct manipulation.
Names: tool, task, use, HCI
Goal: empowerment, usability
Style: graphical user interfaces, direct manipulation, point and click
Result: personal computers, word processing and desktop publishing, the web
Failure: no fun, “user friendly”
Computers are Media; communication and expression
Computers used for entertainment, communication- computers have invaded every avenue, i e: telephones, televisions, advertising, education
Names: multi-media, the web, “being digital”
Goal: engaging, compelling, attention, expression
Style: flash, magic
Result: interactive TV
Failure: digital divide
Computers are Life
Names: Artificial Life, Chaos,
Heroes: R.Brooks, C.Sims
Goal: play god, evolution
Style: evolution, simple rules / complex behavior
Result: pretty pictures, Rorschach
Failure: no generalizations, no understanding
Computers are Vehicles; metaphorically
Vehicles of thought and expression & infrastructure
Roadways differ upon task being executed.. example: text edit in Word, sent to printer, shared file with someone
Names: standards, infrastructure, super-highway
Heroes: ARPA, Berners-Lee
Goal: inter-operability, freedom/ownership/, compatibility
Style: open, dominance
Result: PC, Ethernet, Kanji/English
Failure: digital television, Microsoft
Computers are Fashion
Heroes: Jobs
Names: wearables
Goal: belonging, recognition
Style: style
Result: pleasure
Failure: waste
****Don't take paradigms too seriously. Beware & ignore fanatics. Invent your own "interaction design".
Live and thrive with the reality of multi-disciplinary teamwork. With metaphors, keep this is mind: representation for manipulation. Computers are simulators. Computers represent things both imaginary and real. Representations are not arbitrary and the best representations are compact, extensible, efficient, and widely available. Representation's goal is some form of manipulation or translation.
Piaget described three stages of learning. We are born with ENACTIVE or kinesthetic
knowledge; we know how to grasp and suck. At a certain age we pay more attention to
how things look; our ICONIC thinking is mistaken for example by a tall glass as “more”.
Only at a certain age do we understand conservation; then we are ready for SYMBOLIC
thinking.
Computer-as-person motivates dialog where the goal is autonomy and intelligence.
Computer-as-tool motivates direct manipulation where the goals are efficiency and
empowerment. Computer-as-media motivates expression, engagement and immersion. In
the expressive realm, beyond media are all the notions associated with fashion with
wearables as the most obvious implementation. Underneath tools are all the vehicles that
depend on infrastructure. Extending the autonomy realm are self-evolving computers that
are thought of as forms of life.
Interaction Design & Industrial Design
modes and mappings: the plasticity of computers
Industrial design:
- profession grown up in 20th century
-response to the design freedom provided by modern materials & manufacturing process (plastics)
-Plastics: product of any shape, color, pattern; mimic wood or metal, appear sleek/substantial,reveal/hide.
Interaction design:
-profession that will mature in 21st century
- how to design for people? physical & emotional needs, increasing intellect.
-computers: make any product for nearly any behavior
Interaction designers: 3 questions;
How do you do?
How do you feel?
How do you know?
*the longer the delay between doing and feeling, the more dependent on having good knowledge.
handles/buttons- buttons for precision, handles for expression
The choice of senses (hearing, seeing, touching, etc) determines what we feel about the world.
“The medium is the message.”
hot media: too 'hot' to touch; definitive and ready to complete, discourage debate
cool media: invite completion and participation
Designers continually faced with choice of suggestion/clarity, metaphor/model, poetry/law
New challenge for Interactive Design is the complexity of behavior with ubiquitous computers.
-theory of how people know is useful
-conscious consideration of expectations for the user is essential
- easiest interaction needs one step at a time- path knowledge
-in some cases immediate performance is crucial (emergency situations); step by step instruction is required
-some instances map knowledge is suitable; best urban planning supports efficient paths & mental maps- Kevin Lunch, city planner, called this quality "imaginability"
> Lynch: classify Landmark, District, Edge, Path, Node; imageable cities include relationships between districts that can be seen & landmarks at nodes which can be used for navigation.
broad range of interaction designs; examples: word processor, watches, web browsers, radio
Paths- sequences of actions or commands
Districts- modes or choices
Edges- if they are visible, the a chance for constructing a complete map while various paths are followed can occur
Memorable graphic devices at places in the interface aid users in constructing coherent mental models from which news tasks and uses can be inferred
Good interactions are the appropriate styles of doing, feeling and knowing plus the freedom to
move from one to the other.
Design-
Framework for successful interaction design & checking to see if concerns are addressed involves balancing a variety of concerns by utilizing a range of methods or representations. Use framework to check the balance of approaches from invention to implementation & overviews to details; as well as communicating a finished design, however, quick sketches in early stages of design can be preferred.
motivations, meanings, modes, mappings >> observation, invention, engineering, appearance
resulting in displays & controls and the behaviors that connect them (mappings).
- to create coherent implementation: both a task
analysis of the step-by-step interactions as well as an over-all conceptual model that
organizes the behavior (modes) both for implementers and for users is necessary.
-invention of an interactive scenario involves: one compelling scenario, unifying metaphor, as well as consideration of a wide variety of scenarios & a wide exploration of alternative & mixed metaphors.
-Idea, metaphor, model, display, error, scenario, task control
Paradigms-
Human & computer interaction: a competition between 3 paradigms: brains, tools, media
Everything that comes between an individual's environment and themselves presents an interaction design problem; "extensions"
electronics>> our senses (media)
clothing>>skin (fashion)/ architecture>skin
cars>> vehicles, infrastructure
What happens when clothing has computers in it? What happens when we think of computers as clothing?
Human-Computer Interaction ---> competition between 3 paradigms: brain, tools, media
Computers are electronic brains; artificial intelligence
- next challenges with this: affect (emotional computers), consciousness (self- aware computers), soul (spiritual computers)
Names: agent, recognition
Goal: intelligence and autonomy
Style: dialog and language, recognition, multi-modal
Result: better models for people (linguistics, cognitive science)
Failure: promises (anthropomorphism and animism)
To develop these machines will only create a mirror of ourselves- this may not help humans to gain a better understanding of the world and how we may fix it.
Computers are tools; executing tasks
In reaction to the idea of A.I., Doug Englebart created a group dedicated to what he calls “augmented intelligence”. Englebart set in motion a style of human-computer interaction >>>that has become the norm: direct manipulation.
Names: tool, task, use, HCI
Goal: empowerment, usability
Style: graphical user interfaces, direct manipulation, point and click
Result: personal computers, word processing and desktop publishing, the web
Failure: no fun, “user friendly”
Computers are Media; communication and expression
Computers used for entertainment, communication- computers have invaded every avenue, i e: telephones, televisions, advertising, education
Names: multi-media, the web, “being digital”
Goal: engaging, compelling, attention, expression
Style: flash, magic
Result: interactive TV
Failure: digital divide
Computers are Life
Names: Artificial Life, Chaos,
Heroes: R.Brooks, C.Sims
Goal: play god, evolution
Style: evolution, simple rules / complex behavior
Result: pretty pictures, Rorschach
Failure: no generalizations, no understanding
Computers are Vehicles; metaphorically
Vehicles of thought and expression & infrastructure
Roadways differ upon task being executed.. example: text edit in Word, sent to printer, shared file with someone
Names: standards, infrastructure, super-highway
Heroes: ARPA, Berners-Lee
Goal: inter-operability, freedom/ownership/, compatibility
Style: open, dominance
Result: PC, Ethernet, Kanji/English
Failure: digital television, Microsoft
Computers are Fashion
Heroes: Jobs
Names: wearables
Goal: belonging, recognition
Style: style
Result: pleasure
Failure: waste
****Don't take paradigms too seriously. Beware & ignore fanatics. Invent your own "interaction design".
Live and thrive with the reality of multi-disciplinary teamwork. With metaphors, keep this is mind: representation for manipulation. Computers are simulators. Computers represent things both imaginary and real. Representations are not arbitrary and the best representations are compact, extensible, efficient, and widely available. Representation's goal is some form of manipulation or translation.
Piaget described three stages of learning. We are born with ENACTIVE or kinesthetic
knowledge; we know how to grasp and suck. At a certain age we pay more attention to
how things look; our ICONIC thinking is mistaken for example by a tall glass as “more”.
Only at a certain age do we understand conservation; then we are ready for SYMBOLIC
thinking.
Computer-as-person motivates dialog where the goal is autonomy and intelligence.
Computer-as-tool motivates direct manipulation where the goals are efficiency and
empowerment. Computer-as-media motivates expression, engagement and immersion. In
the expressive realm, beyond media are all the notions associated with fashion with
wearables as the most obvious implementation. Underneath tools are all the vehicles that
depend on infrastructure. Extending the autonomy realm are self-evolving computers that
are thought of as forms of life.
Wednesday, January 29, 2014
Signage & Lighting, Way finding examples for Tunnel
I gravitate to circular signage for this particular space. I feel it somewhat is reminiscent of the nodes/seating areas. This sign and its mounting would be ideal as you can see it from either direction as you pass through.
Pathways can be guided by lighting. Color coded walk ways would give the user an easy way to follow the correct path to their destination. Lighting and color coding can be combined to not only give the user direction as to where to go, but also, improve the user experience with better aesthetic that additional lighting (in a creative method) would add.
This is an example of a more artful approach to providing additional lighting in the tunnel.
The organic shapes in this design could be developed/manipulated to provide direction to the tunnel user with out using the obvious arrow graphic.
LED rope lights are easy to manipulate and shape, can be found in a wide range of colors and would provide additional light. This method of lighting is more aesthetically pleasing than a flood or spot light. It is an opportunity for expression, while serving a practical purpose.
Steps of Designing & AEIOU: Way finding
1. Determine the situation
2. Define the unit of analysis
3. Create a representation of the situation
4. Final solution
5.Identify these aspects- AEIOU:
Activity: What is the destination?
Environment: Where is your space?
Individual: Who will be the user?
Object: What is in the space?
Understanding: Will users be able to understand, learn, read your way finding?
~~~~~~
Tunnel AEIOU
Activity:
-walking to class, a meeting, work
-meal at the Kansas Union
-leaving campus
-passing through
-hanging out
-singing
Environment:
Tunnel is a walk way between Red Lot 91 & the Kansas Union. Mississippi St. & Spencer Art Museum are exit points between these.
*adjectives of space- plain, cold, dark, empty
Individuals:
-students
-faculty
-employees
-visitors
Objects:
-railings
-stairs/steps
-benches
-doors
-pillars
-signs
-lights
Understanding:
Way finding should be easy to follow/navigate so that the user can reach their destination efficiently.
*proposed solutions: color coding pathways and entrances, lighting, visible and legible signage
2. Define the unit of analysis
3. Create a representation of the situation
4. Final solution
5.Identify these aspects- AEIOU:
Activity: What is the destination?
Environment: Where is your space?
Individual: Who will be the user?
Object: What is in the space?
Understanding: Will users be able to understand, learn, read your way finding?
~~~~~~
Tunnel AEIOU
Activity:
-walking to class, a meeting, work
-meal at the Kansas Union
-leaving campus
-passing through
-hanging out
-singing
Environment:
Tunnel is a walk way between Red Lot 91 & the Kansas Union. Mississippi St. & Spencer Art Museum are exit points between these.
*adjectives of space- plain, cold, dark, empty
Individuals:
-students
-faculty
-employees
-visitors
Objects:
-railings
-stairs/steps
-benches
-doors
-pillars
-signs
-lights
Understanding:
Way finding should be easy to follow/navigate so that the user can reach their destination efficiently.
*proposed solutions: color coding pathways and entrances, lighting, visible and legible signage
Monday, January 27, 2014
Tunnel Way-finding Mock Ups
TUNNEL MAP
******REVISED VERSION of this mock up:
WAY FINDING KEYS
(circles with text to be painted to the right of each exit door way; large scale- corresponding color stripe to run along the wall from each exit to lead tunnel user to each destination. color key to be posted at each exit)
SAMPLE 1
SAMPLE 2
MURAL CONCEPTS
(for the node located near lot Red 91)
(for node located at the Spencer & Mississippi St. exits)
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