participation in interaction design: actors and artefacts in interaction

1. participation in interaction design: actors and artefacts in interaction pelle ehn school of arts and communication (k3) malmö university, sweden

2. background: from work-oriented design to digital bauhaus to interaction design • actors and artefacts in interaction design • design judgment: instrumental control, ethics and aesthetics • participation: language games of design and use • mixed artefacts: architecture and narrative • third culture and theory for design: participation and community in designing interaction design • interaction design: a case for reflection overview

3. background: from work-oriented design to digital bauhaus to interaction design • actors and artefacts in interaction design • judgment: instrumental control, ethics and aesthetics • participation: language games of design and use • mixed artefacts: architecture and narrative • third culture and theory for design: participation and community in designing interaction design • interaction design: a case for reflection

4. work-oriented design

5. norwegian metal workers union project

6. participatory design

7. from bauhaus to our house (k3) -a digital bauhaus ?

8. k3 – a digital bauhaus ? the aesthetic and social synthesis

9. “What is needed is not the modern praise of new technology, but a critical and creative aesthetic-technical production orientation that unites modern information and communication technology with design, art, culture and society, and at the same time places the development of the new mediating technologies in their real every day context of changes in lifestyle, work and leisure. • What is needed is humanistic and user-oriented education and research that will develop both a critical stance to information and communication technology, and at the same time competence to design, compose, and tell stories using the new mediating technologies.” manifesto for a digital bauhaus - k3 1998

10. background: from work-oriented design to digital bauhaus to interaction design • actors and artefacts in interaction design • design judgment: instrumental control, ethics and aesthetics • participation: language games of design and use • mixed artefacts: architecture and narrative • third culture and theory for design: participation and community in designing interaction design • interaction design: a case for reflection

11. a design oriented focus on human interaction and communication mediated by artefacts • the identity and actuality is emphasised by the convergence of digital artefacts with • physical space and the objects surrounding us (ubiquitous computing) • convergence between different media (multimedia, new media) interaction design

12. the traditional design fields: • product design • graphic design • socially oriented computer studies - human-computer interaction - computer supported cooperative work • participatory design • architecture, art, sociology and media studies emergence of interaction design community

13. Interaction design is not computer science, • not even HCI, even if it deals with humans, computers and interaction. • nor is interaction design graphic design, even if it is both visual and communicative • neither is interaction design other computer studies like CSCW or PD • nor other design disciplines like product design, architecture or media studies, even if all of these disciplines and practices and many others in the background are giving shape to interaction design. • interaction design is neither art nor technology in isolation, but maybe a social and aesthetic synthesis. • interaction design practice is not statements about facts, not even propositions of what ought to be, but may it could be design as an anxious act of political love, as a rethinking of the Aristotelian intellectual virtues of techne and phronesis, and the reunion of art, technology and politics in the era of ubiquitous computing. we are designing interaction design !

14. ‘Real artefacts are always part of institutions, trembling in their mixed status as mediators, mobilizing faraway lands and people, ready to become people or things, not knowing if they are composed of one or many, of a black box counting for one or of a labyrinth concealing multitudes’. (Bruno Latour in Pandora’s Hope,1999) • participation and community (actors and artefacts) in interaction design • as practice • as discipline • theory for interaction design as practice we are designing interaction design !

15. not so much in terms of ‘scientific theories’ for prediction of results of an activity independent of context and situation • but rather support for reflections about conditions for changed human activity • practical instruments to support the designer as a reflective practitioner to improve his or her design ability to make ethic and aesthetic judgments that are appropriate in their context design theory for interaction design

16. introduction: foundations of interaction design, participation and community • background: from work-oriented design to digital bauhaus to interaction design • actors and artefacts in participation • judgment: instrumental control, ethics and aesthetics • participation: language games of design and use • mixed artefacts: architecture and narrative • third culture and theory for design: participation and community in designing interaction design • interaction design: a case for reflection

17. Who is the interaction designer ?

18. what is the designer ?

20. design and knowledge interests

26. ability

27. presence

29. background: from work-oriented design to digital bauhaus to interaction design • actors and artefacts in participation • judgment: instrumental control, ethics and aesthetics • participation: language games of design and use • mixed artefacts: architecture and narrative • third culture and theory for design: participation and community in designing interaction design • interaction design: a case for reflection

30. design practice: participation as epistemological category

31. By understanding design as a process of creating new language-games that have family resemblance with the language games of both users and designers we have an orientation for really doing design as skill based participation, a designary way of doing that may help us to transcend some of the limits of formalization. the design language-game

32. users designers specification design by specification

33. participation design by participation

34. design-by-doing:mock-ups and prototyping

35. design as playing

36. Both art and design at last seem like meeting, across the Cartesian split of mind from body, to enable us to find a new genius collaboration not in the making ofproducts and systems and bureaucracies but in composing of contextsthat include everyone, designers too.To be a part.To find how to make all we do and thinkrelate to all we sense and know,(not merely to attend to fragmentsof ourselves and our situations).It was a question of where to put your feet.It became a matter of choosing the danceNow its becomingNo full stop chris jones

37. background: from work-oriented design to digital bauhaus to interaction design • actors and artefacts in participation • judgment: instrumental control, ethics and aesthetics • participation: language games of design and use • mixed artefacts: architecture and narrative • third culture and theory for design: participation and community in designing interaction design • interaction design: a case for reflection

38. the computer as design material

39. interactive artefacts: designing temporal structures and spatial configurations

40. the design materials are both spatial and temporal • with computational technology we can build temporal structures and behavior • to design these temporal structures into interactive artefacts almost any material can be of use in the spatial configuration mixed artefacts:narrative and architecture

41. background: from work-oriented design to digital bauhaus to interaction design • actors and artefacts in participation • judgment: instrumental control, ethics and aesthetics • participation: language games of design and use • mixed artefacts: architecture and narrative • third culture and theory for design: participation and community in designing interaction design • interaction design: a case for reflection

42. a design oriented focus on human interaction and communication mediated by artefacts • the identity and actuality is emphasised by the convergence of digital artefacts with • physical space and the objects surrounding us (ubiquitous computing) • convergence between different media (multimedia, new media) participation in building interaction design

43. not so much in terms of ‘scientific theories’ for prediction of results of an activity independent of context and situation • but rather support for reflections about conditions for changed human activity • practical instruments to support the designer as a reflective practitioner to improve his or her design ability to make ethic and aesthetic judgments that are appropriate in their context design theory for interaction design

44. the program in general is oriented towards coaching, learning by doing and reflection-on-action, • focus is on a design oriented synthesis of constructive action and critical reflection and on synthesis of art and technology, • students have a commitment to design studies but very varied background e.g. computer science, engineering, architecture, product design, interaction design, music, literature, • research work is carried out in a production-oriented studio-based interdisciplinary and cross art environment, • the thesis may take the form of a portfolio of works and a reflective summary, • form is allowed to follow content, hence the form of the thesis may be an interactive multimedia production or a installation. interaction design phd program at k3

45. canonical texts ? • beyond “bringing design to software” • “searching voices - towards a canon for interaction design • the language of new media (manovich) • where the action is - the foundations of embodied interaction (dourish) • herzian tails - electronic products, aesthetic experience and critical design (dunne) • latour and haraway • repertoire of exemplary artefacts ? • examples but limited language for critique • design history of www: genre and style (engholm) dilemmas in interaction design education

46. as a practice in between a scientific technological practice and a design-oriented artistic practice the relation between text and artefact in the thesis work becomes potentially contradictory. • is an artefact new knowledge? • are texts the ultimate form for thesis arguments? • which are the demands on artefacts if they should be valuable arguments in their own right? artefacts as arguments: beyond illustrations?

48. professional wisdom and artistry: tacit knowledge, repertoire of exemplars, reflection-in-action, dialogue with the situation, reflection-on-action • espoused theories versus theories-in-action • beyond technical rationality • back to phronesis the interactiondesigner as reflective practitioner (donald schön)

49. habermas or foucault • control or struggle • democratic utopism or concrete power analysis • universality or context • principles or cases • constitution or strategy a collective design dilemma: democratic utopism or concrete power analysis

50. wisdom and artistry • art and politics are one • speculative propositions: • neither statements of fact • nor prescriptions of what ought to be, • but, anxious acts of political love phronesis: an anxious act of political love