northumbria peer review june 2011
DESCRIPTION
Beginning presentation from my PhD in design (I'm seven months in so there are still a lot of TBCs!)TRANSCRIPT
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The Aesthetics of TouchVicky Teinaki
Full time doctoral student, year 1
Northumbria University School of Design Peer Review
2nd June 2011
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Previously….
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Singing Stones Bachelor of Product Design Final Year Thesis ProjectBronze Award BEST Awards
Aiming to fi nd an intuitive way for people to create music, Singing Stones combine Hungarian composer Zoltaire Kodaly’s moveable-do scale and colour-sound synaesthesia in an electronic product for one or many players.� e product was presented both as a non-functioning hard model and an interactive Flash demo (see interactive section).
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Singing Stones 2005Final Year Bachelor of Product Design Unitec New Zealand
Finalist—Student Product
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The Hothouse Graphic Design/Flash Animation
An ongoing project over three months, the process began with making diagrams suitable for presentations and culminated in a library of symbols and Flash presentation.
NZ Mouldmakers Report Graphic DesignThe Hothouse 2006-8Design ResearcherThe Hothouse/Unitec New Zealand
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Tactile Technologies 2008Master of DesignUnitec New Zealand
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Interaction Designer 2008-10Design, IA, front-end developmentLocus Research
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Writing/editing in the interaction design community
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Common threads
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Common threads
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An Aesthetics of Touch
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OutputsA framework for designers to use to critique touch.
An Aesthetics of TouchThe Qualities of Haptics for Experience Design
This research will help support designers to critique the qualities of touch in the service of designing for experience, by compiling a vocabulary for haptic aesthetic qualities.
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0 2 1 2 2 2 3 2 0 7 1 7 2 70 4 1 4 2 4 3 4 3 70 9 1 9 2 90 5 1 5 2 5 3 5 3 81 0 2 0 3 00 1 1 1 2 1 3 1 0 6 1 6 2 6 3 6 3 90 3 1 3 2 3 3 30 8 1 8 2 8
PhD Timeline — Vicky Teinaki
Stagegates
Literature Review
Parallel Fields
Existing Languages
Use of Touch in Design
Pilot Studies
Revea/expert interviews
Design Probes/Languages
Identify /pilot methodologies
Collate proposed
vocabulary
Writeup of methodology
Data collection
Workshops with designers
Situate in design process
Valorising proposed frameworks
Writeup
here there be dragons
IPA Year 2 Writeup Viva
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Why?Why?
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”We know more than we can tell“ —Polanyi (1947)
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”We know more than we can tell“ —Polanyi (1947)
”Criticism improves our perception“ —Barzell (2011)
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Vicky TeinakiThe Vocabulary of Touch | Yr1 PhD University of Northumbria
04 February 2011
Durable, stable Trustworthy
SCOPE
Skill, tacit knowledge
Phenomenology Embodiment
Product Semantics
DESIGN & EMOTION
HAPTICS
COMMUNICATION
Vocabulary Design Methods
Consumer Psychology
Experience prototyping etc.
Sensory languages
Framework (?)
Materiality
Phenomena
Immaterial (gesture,
movement)
Play/funStorytelling
Meaning
Product Personality
Emotional Dimensions (Dagman, 2010)
Somaesthetics
Kansei EngineeringDiamond model (Qiren)
Onion model Iceberg model (Qiren)
User Experience
Interaction DesignAesthetics of
interaction
Making an explicit haptic language available for design communication (rather than tacit + inpenetrable/indefensible) …
… understanding that this will not be prescriptive
Soft(n)Schiphorst (2007)
Materials Library(2010)
Affective LoopSundstrom (2010)
Interface AestheticsBertelsen et al (2004)
HAPTICHara et al (2007)
HAPTICHara et al (2007)
McCarty & Wallace(2006)
Sensual Evaluation Instrument (2010)
Museumopathy Chaterjee (2010)
Language for Touch Motamedi (2008)
Language for Touch Motamedi (2008)
Aroma WheelNoble (1981)
Flabour Wheels (e.g. coffee, food)
Critter Regier (2005)
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Wine Language of taste/smell
Also Music (language of sound), perfume (language of smell)
Graphic Design Language of vision
Experience Design Language of touch?
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The “fixed vocabulary issue”
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Kansei Engineering = quantifying the sensesProduct language is often prescriptive/top downOthers focus on material selection (e.g. Karana et al)
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Personal/Reminiscence
Impersonal/Educational
Nostalgia
Meaning Making
Tactile to access truths ascertainable only through touch and to verify what is seen (Clasen)
Visual as a means of aesthetic appreciations (Clasen)
Museological to experience the rare and the museum-worthy (Clasen)
Learning as a scientific method (Clasen)
Imaginative/Creative to facilitate an intimate and imaginative experience (Clasen)
Chatterjee et.al. (2009) on aspects of museumopathy
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The Language of Taste/SmellWine Tasting
Lehrer’s Wine and Conversation (1989) suggests that metaphors can jump genres, and that expert words help amateurs.
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Next Steps
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Video interviews of experts/designers — semantic analysisAlso pilot with selected students from RevealVideo interviews of experts/designers — semantic analysisAlso pilot with selected students from Reveal
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There are methods of coding/understanding touchadapted from Lederman and Klatsky (1985)
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Probes of touch critiqueSuggestions include sentences, visuals, objects.