FLUX Research at The Danish Design School

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2 FLUX Research at The Danish Design School First published in Denmark in 2009 by The Danish Design School Press 2009 The Danish Design School Press Strandboulevarden 47 DK Copenhagen Ø Denmark All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. Edited by Anne-Louise Sommer, Maria Mackinney-Valentin, Marie Brobeck, Nina Lynge and Thomas Binder Language revision by Juliane Wammen The layout, design and cover is made as a project by two students majoring within visual communication at The Danish Design School. Catrine Ørgaard Olsson Kasper Friis Jørgensen With thanks to our Supervisor Anette Højlund Printed by: AKA-PRINT a/s ISBN Printed on Cyclus Offset 140g from Dalum. Based on 100% recycled fibres according to the RAL UZ 14 Blue Angel.

3 Indholdsfortegnelse Table of Contents Anne-Louise Sommer Forord Preface Forfatterpræsentationer Contributors Alessandro Canossa At væve oplevelser ind i virtuelle verdener: Spil-personaer og game metrics Weaving Experiences in Virtual Worlds: Play Personas and game metrics 24 Anette Højlund Den færdige tegning The completed drawing 34 Anne-Louise Sommer Den koreograferede natur Choreographed Nature 44 Cecilie Bendixen Tekstil som lyd og arkitektur et lille stykke praksisbaseret forskning Textile as Sound and Architecture An example of practice based research 56 Erik Hansen-Hansen Logotaskerne: De aseksuelle kønsforskelsmarkører? Logo Bags: The Asexual Gender Markers? 70 Eva Brandt, Maria Foverskov, Thomas Binder, Trine Paludan & Joachim Halse Det handler (ikke) kun om affald! It Is (Not) All About Waste! 76 Flemming Tvede Hansen Plask! Eksperimenter i mødet mellem ler og det digitale rum Splash! Experiments in the meeting between clay and digital space

4 88 Julie Sommerlund Mode: Æstetik og det sociale Fashion: Aesthetics and sociality 98 Maria Mackinney-Valentin Mens vi venter på kaninerne Waiting for Rabbits 108 Marie Riegels Melchior Dansk mode designforskning med nationalt fortegn Danish Fashion Design research in a national context 116 Mette Agger Eriksen Design-materialer designet for og af co-designere Design Materials Designed for and by Co-designer 126 Per Galle To bekendelser om designforskning Two Confessions on Design Research 134 Sofie Beier Praksisbaseret forskning i læselighed af skrifttyper Practice Based Research into Typeface Legibility 142 Stina Teilmann Much more than a highchair : Sagen om Tripp-Trapp stolen Much more than a highchair : A cultural-legal case study of the Tripp-Trapp chair 150 Thomas Binder, Eva Brandt & Joachim Halse Designlaboratorier Design Laboratories 158 Troels Degn Johansson Design faciliteret af kunst: Et tilbageblik på min forskning i kunst-i-design med Superflex Design Facilitated by Art: A Review of My Research into Art-in-Design with Superflex

5 Forord Preface 4 FLUX giver et blik ind i designforskningens verden, som den ser ud her og nu på Danmarks Designskole. FLUX afspejler en mangfoldighed af teoretiske tilgange, der spænder fra humaniora og samfundsvidenskab til ingeniørvidenskab, arkitektur - og selvfølgelig designfaglighed. Det, der binder os sammen, er ønsket om at gøre en forskel, mens vi sammen udforsker et videnskabeligt felt, der endnu er i sin vorden. Titlen FLUX har mange betydninger. Som et begreb favner FLUX så forskelligartede felter som teoretisk fysik, matematik, østlig mysticisme og den klassiske kinesiske lære I Ching. FLUX er global i sin essens og signalerer bevægelse, dynamiske forbindelser og vedvarende udvekslinger. FLUX kan ses som en konkretisering af vores Forskningsstrategi og Plan for så vidt den legemliggør vores forskningsudviklings overordnede mål. Her bliver mere abstrakte overvejelser omkring forskningsbegrebet og strategien konkrete og begribelige. Med Forskningsstrategi og -Plan ønsker vi at nuancere diskussionen om forskningsbegrebet uden at gå på kompromis med de uomgængelige krav til akademisk standart, som enhver form for forskning må honorere, men med det formål at skabe størst mulig synergi mellem forsknings- og praksisformer relaterende til designfeltet. Dette sker i erkendelse af, at al viden repræsenterer en fortolkningspraksis, der ikke kan tænkes uden om forskeren som subjekt i, og medskaber af, den vidensgenererende proces. Dette er et grundvilkår for al forskning. Forskning antager aldrig ét, eviggyldigt udtryk. Selv inden for mere afgrænsede og beslægtede fagfelter er forskningsdefinitioner FLUX offers a glimpse into the world of design research as it is conducted at the moment at The Danish Design School. FLUX reflects the multitude of different theoretical approaches represented at the Danish Design School; spanning from the humanities and social sciences to engineering, architecture and, of course, design. What unites us seems to be a profound desire to make a difference, as we jointly explore a scientific domain that is still in a formative state. The title FLUX has numerous connotations. As a concept, FLUX embraces the diverse fields of theoretical physics, mathematics, Eastern mysticism, and the ancient Chinese wisdom I Ching. It is global in its scope. It signifies movement, dynamic connections, and never-ending dialogue. FLUX can be regarded as an exemplification of our Research Strategy and Plan , in so far as it materializes the overriding aim of our research development. It makes the more abstract reflections on the concept of research and strategy tangible and comprehensible. The Research Strategy and Plan for aims at elucidating the discussion about the concept of research without compromising the inevitable demands on academic habitus with which every form of research has to comply. However, the purpose is to create the greatest possible synergy between forms of research and forms of practice related to the field of design. This takes place in recognition of the fact that all knowledge represents interpretation methods that cannot be dissociated from the researcher, as the researcher is both the subject behind and co-creator of the knowledge-generating process. This is fundamental to all research.

6 funderet på vidt forskellige traditioner og tilgange. Dette bliver ikke mindst åbenlyst i den praktiske udmøntning af forskningen hos den enkelte forsker i mødet med det konkrete materiale og genstandsfelt. Betragtes viden som noget relativt, rejser det også spørgsmålet: Hvad vil vi gerne vide noget om? Dette er ikke ukompliceret, hvis man anerkender det relationelle vidensbegreb og dermed anerkender, at viden ikke blot er noget i-sig-selv, men noget der er i kraft af relationer. For så vidt er viden både socialt og kulturelt skabt og betinget. Forholdet mellem viden, kultur og samfund lader sig ikke udmønte i klart adskillelige kategorier, de flyder sammen og er gensidigt betingende. Hvis man ydermere medtænker, at vidensformer institutionaliseres over tid, sker der en gradvis naturalisering af visse vidensformer, der privilegeres frem for andre. Helt konkret betyder dette, at der til enhver tid er en eller flere mulige rammesætninger, der begrænser vores forestilling om mulig viden og hvad denne kan være. Viden er fortolkning, og det er det, der gør viden både væsentlig og udfordrende. Viden er et blik på omverden, der i en gensidig bevægelse konstitueres af, og virker konstituerende på samme. Her igennem smelter viden og kravet om samfundsrelevans sammen i et forskningsbegreb, der ser vidensproduktionen som det, der hjælper til at forstå, tilbyder et blik på omverdenen og skaber sammenhæng og indsigt. Forskningen ved Danmarks Designskole antager mange former og rummer mange dimensioner, der alle kan føres tilbage til karakteren af de grundlæggende udfordringer og problemstillinger, som mødet mellem objekt/genstand og virkelighed rejser. Dette skaber et unikt mulighedsrum. FLUX er et eksempel på, at grundforskning, anvendt forskning og udviklingsarbejde griber ind i hinanden og bliver dermed et bi- Research can never be said to be constituted by one single universal expression. And even within more restricted and related fields of study, people will find that research definitions are founded upon completely different traditions and approaches. This becomes explicitly clear with the practical implementation of research for each researcher when confronted with specific domains of material and subject matter. If knowledge is considered to be a relative phenomenon, this also prompts the question: what would we like to know? This is not uncomplicated if we initially recognise a relational knowledge concept and thereby appreciate that knowledge is not merely something in itself but rather a phenomenon existing by virtue of relationships. In a sense, knowledge is both socially and culturally created and defined. The relationship between knowledge, culture and society does not allow itself to be implemented in various clearly defined categories - they merge into one another and are mutually determined. Furthermore, if we adhere to the notion that modes of knowledge are institutionalised over time, a gradual naturalisation takes place whereby certain modes of knowledge carry more privilege than others. Quite specifically, this means that there are always one or more possible framework settings limiting our idea of potential knowledge - and what it might be. Knowledge is interpretation, and this is what makes knowledge both essential and challenging. It is a glimpse of the world around us, which constitutes a reciprocal movement with the interchangeability of ostensible integrality. Thereby, knowledge and the demand for social relevance merge into a research concept which sees the production of knowledge as facilitating understanding, offering an appreciation of the surrounding world, and being creative of cohesion and insight.

7 drag til kortlægningen af designforskningen for øjeblikket. Hermed inviteres du til at kigge med. Research at the Danish Design School takes on many forms and contains many dimensions that may all lead back to the fundamental challenges and issues raised when object/ subject and reality confront each other. This creates a unique range of possibilities. FLUX embodies the ways in which basic research, applied research, and development interact and intertwine thereby forming a significant contribution to the mapping of contemporary design research. We hereby invite you to join us. 6 Anne-Louise Sommer, Forskningsleder og lektor Forskningsstrategi og Plan kan downloades på Anne-Louise Sommer, Head of Research, Associate Professor. Download The Research Strategy and Plan for at Forskning

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9 Forfatterpræsentationer Alessandro Canossa MA i Science of Communication fra Torino Universitet, Italien (1999). Påbegyndte i 2006 et ph.d. projekt om virtuelle spilverdener i samarbejde med IO Interactive (Hitman, Kane & Lynch) og Danmarks Designskole. I slutningen af 1990erne var han ansat som Art Director hos reklamebureauet (RT Reklame, Republica) og derefter i forskellige stillinger (fra 3D kunstner til spildesigner) inden for spiludvikling hos (ITE, NDS, LEGO, Tabula Rasa games). Siden 2003 har han undervist på halv tid ved Interactive Media & Marketing Academy (Nakskov), The Animation Workshop (Viborg), Danske Filmskole, Københavns Universitet, IT Universitetet, Danmarks Designskole og Danish Academy for Digital Interactive Entertainment. I vinteren 2008 gæsteforsker ved the Creativity and Cognition Studios, University of Technology, Sydney. Anette Højlund er uddannet billedkunstner og har desuden studeret idéhistorie og litteraturvidenskab. Siden 2000 har hun været ansat som lærer i billedkommunikation ved Danmarks Designskole. I 2007 påbegyndte hun en ph.d.-uddannelse sideløbende med undervisningen. Inden hun blev ansat på Danmarks Designskole har hun ved siden af sin kunstneriske karriere undervist på kunst- og designskoler, kurateret en del udstillinger, heraf flere i samarbejde med kunstnere og kuratorer fra Japan, hvor hun har opholdt sig i en periode. 8 Anne-Louise Sommer mag. art. i litteraturvidenskab, Københavns Universitet (1987), har været ansat ved flere danske universiteter og forskningscentre siden slutningen af 1980 erne. Senest ved Institut for Æstetiske Studier, Århus Universitet, hvor hun var lektor fra Fra 2004 har hun været ansat som lektor ved Danmarks Designskole, hvor hun også har været forskningsleder siden Hendes forskning fokuserer på 1) Arkitektur & Design (modernitet, urbanisering, industrialisering og forbrugskultur) 2) Danish Modern: dansk møbeldesign og indretning (design, ideologi og identitet) og 3) projektet Den koreograferede natur. Hun har publiceret adskillige bøger og artikler om disse emner. Cecilie Bendixen arkitekt MAA, Kunstakademiets Arkitektskole (2005). Fra 2007 ph.d.-studerende ved Danmarks Designskole og Kvadrat A/S. Fra 2005 til 2007 ansat som teltarkitekt i teltvirksomheden PLOEK. Modtog i 2003 arbejdslegat til Nordisk Kunstnercenter Dalsåsen i Norge. I 2006 udpeget som årets kunstner i Fredericia. Har løbende udstillet tekstile strukturer, bl.a. på Vejen Kunstmuseum og Charlottenborgs Forårsudstilling. Erik Hansen-Hansen cand. IT, Ph.d. Design, Forskningsadjunkt ved Danmarks Designskole. Forskningsområde er den nutidige globale luksusmode. Arbejder lige nu med et forskningsprojekt der omhandler flagship stores og logo tasker i forhold til de globale modebyer Paris, Tokyo, Milano, New York og London; samt de nye tilsynekommende modebyer som Moskva, Shanghai, Hong Kong, Beijing og Los Angeles. Teoretisk er projektet inspireret af netværks- og kompleksitetsteori, mobilistisk sociologi, modefilosofi og evolutionær psykologi. Eva Brandt er uddannet civilingeniør fra Danmarks Tekniske Universitet og har en erhvervsph.d. fra Danfoss. Efterfølgende har hun været ansat som lektor ved Interaktiv Institutet i Malmö og siden 2005 har hun været ansat som lektor på Danmarks Designskole, hvor hun forsker i brugerorienteret design og interaktionsdesign. Flemming Tvede Hansen er uddannet på Danmarks Designskole ( ) med speciale inden for keramik og glas og efterfølgende uddannet indenfor for multimedie design ( ) på Multimedieinstituttet (MMI) under Arkitektskolen i København. Er i øjeblikket ph.d.-stipendiat ved Danmarks Designskole med projektet Eksperimenterende brug af det digitale medie i det keramiske fagområde. Projektet handler om eksperimenterende brug af de muligheder, der opstår i mødet mellem moderne teknologi og traditionelle teknikker og fysiske materialer. Siden 1995 har han haft eget værksted og deltaget aktivt i det kunstneriske udstillingsmiljø både i Danmark og internationalt, samt udført designopgaver for blandt andre Bosch & Fjord og Hindsgaul Mannequins A/S. Som ph.d.-studerende har han haft tilknytning til det engelske kunst- og forskningsmiljø, især til forskerklyngen Autonomatic, Falmouth College University.

10 Joachim Halse med en kombineret uddannelse i antropologi på Københavns Universitet og interaktionsdesign på IT Universitetet har han skrevet ph.d.-afhandling om, hvordan åbne etnografiske hverdagsundersøgelser kan kombineres med designmæssige greb på nye muligheder. Er ansat som forskningsadjunkt på Danmarks Designskole, hvor han arbejder med at inddrage borgere i at løse problemerne med de stigende affaldsmængder i samfundet, og mere generelt med at skabe en design antropologisk innovations model (DAIM projektet). Han er medlem af Danish Association for Science and Technology Studies (DASTS), Designantropologi. Julie Sommerlund er uddannet cand.mag. i Moderne Kultur og Kulturformidling fra Københavns Universitet og har en ph.d.-grad fra Copenhagen Business School. Hun har arbejdet 2 år på Danmarks Designskole, og var før da ansat som adjunkt ved Copenhagen Business School. Udover at fungere som lektor ved Danmarks Designskole, er hun også uddannelsesleder. Hun er en aktiv del af det nationale og internationale forskningsmiljø som kaldes STS (Science and Technology Studies) eller ANT (Aktør-Netværks Teori). Især bidrager hun til den del af miljøet, som er ved at flytte traditionen fra at se på teknologiske og videnskabelige genstande, til at se på kulturelle og æstetiske fænomener. Hun er medstifter og bestyrelsesmedlem af foreningen DASTS (Danish Association of Science and Technology Studies). Maria Foverskov har en baggrund indenfor analysebranchen og en uddannelse som industriel designer fra Danmarks Designskole. Studieforløbet har været udforskende indenfor proces, metode og materiale, samt markeret sig ved bl.a. udvekslingsophold ved Design Academy Eindhoven i Holland og praktik og efterfølgende job hos konsulentbureauet ReD Associates. I øjeblikket er hun ansat som forskningsassistent på DAIM projektet (Design Antropologisk Innovations Model) ved Danmarks Designskole. I sit virke har hun fokus på konteksten og brugen, hvori produkternes værdi primært opstår i samspillet med brugerne. Hendes arbejde med DAIM projektet handler i den nærmeste fremtid om, hvordan de kommende brugere kan inviteres med tidligere i processen ved en interventionistisk tilgang, for en fælles dialog og udvikling af mulige fremtider af affaldshåndtering. Maria Mackinney-Valentin cand.mag. i engelsk fra Københavns Universitet, Universiteit van Amsterdam og Columbia University. Blev i 2006 ansat som ph.d.-stipendiat på Danmarks Designskole med projektet On the Nature of Trends, der undersøger hvorfor og hvordan trends i moden skifter. Hun har en baggrund i journalistik som både skribent og redaktør i danske og udenlandske publikationer. Som forsker er hun medlem af forskningsplatformen, MOKO (Mode Konsortiet). Marie Riegels Melchior cand. mag. i Europæisk Etnologi, Københavns Universitet. I Polaire Weisman Fund Fellow ved The Costume Institute, The Metropolitan Museum of Art i New York. Herefter tilknyttet Institut for Arkæologi og Etnologi, Københavns Universitet, som underviser i materielle kulturstudier, mode og museumsformidling. I perioden ph.d.-stipendiat ved Danmarks Designskole og Kunstindustrimuseet. Har i 2008 indleveret ph.d.-afhandlingen Dansk på mode! En undersøgelse af design, identitet og historie i dansk modeindustri. Indgår i nordisk forskningsnetværk vedrørende studier i mode, tøj og tekstil samt i forskningsnetværk vedrørende poststrukturelle materialitetsstudier inden for kulturforskningen. Mette Agger Eriksen er uddannet arkitekt fra Arkitektskolen i Aarhus, med specialisering indenfor industriel design og kommunikationsdesign. Hun er ph.d.-studerende i Interaktionsdesign ved Kunst, Kultur og Kommunikation [K3] på Malmö Högskola i Sverige, men er via delfinansiering fra Dansk Center for Designforskning placeret på Danmarks Designskole, hvor hun er med i forskningsgruppen omkring DAIM-projektet. Først som studentermedhjælp, siden som forskningsassistent og de seneste år som ph.d.-studerende har hun været med i tre store europæiske IT forskningsprojekter, blandt andet indenfor rammeprogrammet Disappearing computer [WorkSpace, Atelier and PalCom]. Alle tre projekter har været tværfaglige og har haft en stor grad af bruger-involvering, hvilket også er centrale elementer i hendes afhandling. Hun er via sin svenske forbindelse med i netværket omkring den svenske design forskerskole [CR-D], og i Danmark deltager hun i et lille tværfagligt netværk kaldet Krydsfeltet.

11 Per Galle er oprindelig uddannet arkitekt, men tog sin ph.d. grad i datalogi. Han har været ansat som lektor ved Danmarks Designskole siden Inden da har han arbejdet med computermodellering af byggeri, og med teorier om designkognition på DTU. Hans aktuelle forskningsinteresser omfatter designfilosofi, designfaglig videnskabsteori, og forholdet mellem teori og praksis. Han er formand for CEPHAD, Centre for Philosophy and Design. Sofie Beier tog sin afgang fra linjen for Visuel Kommunikation på Danmarks Designskole i år 2000 og har efterfølgende arbejdet med grafisk design som en del af tegnestue fællesskabet Gul Stue i København. Hun er i øjeblikket ansat som underviser på Danmarks Designskole og i den afsluttende fase med at færdiggøre en ph.d. i skrifttypers læselighed på Royal College of Art i London. I forbindelse med ph.d.-studiet har hun været bosat i London i perioden I sin forskning, samarbejder hun med Microsoft Advanced Reading Technologies, en arbejdsgruppe baseret i Seattle, med specialisering i at bedre skærm læsning. 10 Stina Teilmann er ph.d. og cand.mag. i litteraturvidenskab. Hendes ph.d.-afhandling var en undersøgelse af fransk og britisk ophavsrets historie, af udviklingen af droit moral og af harmoniseringen af kontinentalret og Common Law i nutidig europæisk lovgivning om ophavsret. Hun er forskningsadjunkt på Danmarks Designskole finansieret af Carlsbergfondet efter tidligere at have været ansat i et IPR-firma som patentadministrator og hendes forskning fokuserer på forholdet mellem Danish Modern og designjura, både nationalt og internationalt. Fra var hun styregruppemedlem af the Arts and Humanities Research Council Copyright Research Network (Birkbeck Law School, London). Hun er endvidere medlem af NordForsk-Netværket Ret og Litteratur i Norden samt af SHARP: The Society for the History of Authorship, Reading and Publishing (Johns Hopkins University, Baltimore). Thomas Binder er uddannet civilingeniør fra DTU (1987) og ansat som seniorforsker ved Danmarks Designskole. Han er involveret i åbne designsamarbejder og deltagerorienteret design i sammenhæng med produktdesign, arbejdspladsudvikling og interaktionsdesign. Aktuelt er han involveret i deltagerorienterede tilgange til brugerdreven innovation og betydningen af designeksperimenter i designforskning. Han har været arrangør af Participatory Design Conference 2002 og Nordic Design Research Conference Trine Paludan er uddannet antropolog fra Københavns Universitet med speciale i uddannelse, Islam og udvikling af landområder i Vestafrika. Hun har en ph.d. grad fra Copenhagen Business School, hvor hun forskede i identitetsskabelse i senmoderne industri-organisationer. De senere år har hun arbejdet med brugerdreven innovation, samt med antropologi og design. På Danmarks Designskole arbejder hun som konsulent på DAIM projektet (Design Antropologisk Innovations Model). Troels Degn Johansson er cand.mag. i film- og medievidenskab og psykoanalytiske studier fra henholdsvis Københavns Universitet og University of Kent at Canterbury og skrev sin ph.d.-afhandling om web-baseret visualisering af foranderlige landskaber og byrum ved Forskningscenter for Skov & Landskab, som nu er en del af Københavns Universitet. Han har været ansat som lektor på Danmarks Designskole siden Hans primære forskningsfelt er digital æstetik, billedlig repræsentation og samspillet mellem kunst og design. Han er tilknyttet et antal anerkendte internationale og danske forskernetværk inden for designforskning, semiotik, æstetik, kunstteori, avantgardestudier, visuel kultur, humangeografi og designpædagogik.

12 Contributors Alessandro Canossa MA in Science of Communication, University of Turin (1999). In September 2006 he started a Ph.D. project about virtual game worlds in cooperation with IO Interactive (Hitman, Kane & Lynch) and The Danish Design School. He appeared as Art Director on the decadent stage of advertisement in the late nineties (RT Reklame, Republica), and finally found his vocation-obsession in game development (ITE, NDS, LEGO, Tabula Rasa games) covering a multitude of roles, from 3D Artist to Game Designer. From 2003 he has been teaching part time at Interactive Media & Marketing Academy (Nakskov), The Animation Workshop (Viborg), Danske Filmskole, Copenhagen University, IT University, Danish Design School and Danish Academy for Digital Interactive Entertainment. In the winter of 2008 he was visiting researcher at the Creativity and Cognition Studios, University of Technology, Sydney. Anette Højlund is educated in the visual arts, and in addition to that she has studied history of ideas and comparative literature. Since 2000, she has been employed at The Danish Design School. In 2007 she started a Ph.D. parallel to teaching. Before being employed at The Danish Design School she has been teaching at design- and art schools beside her career as an artist. Furthermore she has curated a number of exhibitions, among these some in cooperation with curators and artists from Japan, where she has been living for a while. Anne-Louise Sommer MA by research in comparative literature, University of Copenhagen (1987), has held positions (lecturing and research) at several Danish universities (Institute of Aesthetic Studies and Department of Art History) and research centres since late 1980es. Since 2004 she has been an associate professor in design theory and design history at The Danish Design School, and from 2008 she has been Head of Research. Her research focuses on 1) Design & Architecture (Modernity, urbanization, industrialization and consumer culture), 2) Danish modern: Danish furniture design and home decoration (design, ideology and identity) and 3) the project The choreographed nature. She has published several books and articles on these issues. Cecilie Bendixen MA in Architecture from The Royal Danish Academy of Fine Arts, School of Architecture (2005). From 2007 Ph.D.-scholar at The Danish Design School and Kvadrat A/S. From 2005 to 2007 tentarchitect in the tentcompany PLOEK. Received in 2003 a grant for work at the Nordic Center of Art, Dalsåsen, Norway. In 2006 selected as The Artist of the Year in Fredericia. Has exhibited regularly, among others, at Museum of Art in Vejen and the Spring Exhibition at Charlottenborg. Erik Hansen-Hansen MA IT, Ph.D. Design, Research Assistant Professor at The Danish Design School. His research area is the contemporary global luxury fashion. The present research project is about flagship stores and logo handbags in relation to the global fashion cities Paris, Tokyo, Milan, New York and London; and the new emerging cities like Moscow, Shanghai, Hong Kong, Beijing and Los Angeles. Theoretically the project is informed by complexity and network theory, mobilistic sociology, fashion philosophy and evolutionary psychology. Eva Brandt is educated from the Technical University of Denmark and holds a Ph.D. Degree from Danfoss. She has been employed as an associate professor at in Interaction Design at Art and Communication, Malmö University and since 2005 she has been an associate professor at Danmarks Designskole. Her research focuses on participatory approaches to user driven innovation and the role of design experiments in design research. Flemming Tvede Hansen graduate student from The Danish Design School ( ) specialized in ceramics and glass and subsequently trained in multimedia design ( ) at The Multimedia Institute MMI at The School of Architecture in Copenhagen. Currently he is a Ph.D.-Scholar at The Danish Design School with a project entitled Experimental Use of Digital Media in the Field of Ceramic. The project is based on own experiments in the crossborder between modern technology, traditional techniques and natural materials. Since 1995 he has had his own studio and been part of the Danish arts and crafts milieu exhibiting in Denmark as well internationally. Furthermore, he has

13 performed design tasks for among others Bosch & Fjord and Hindsgaul Mannequins A/S. As part of his Ph.D. he has been linked to the British art and research milieu, especially to the research cluster Autonomatic, Falmouth College University. Joachim Halse with a combined background in Anthropology from The University of Copenhagen and Interaction Design from The IT University of Copenhagen he has written a Ph.D. thesis on how open-ended ethnographic field studies can be combined with designerly articulations of new possibilities. He currently works as a research assistant professor at The Danish Design School engaging citizens in reducing the amounts of waste to be incinerated, and more generally with developing a design anthropological innovation model (the DAIM project). He is a member of Danish Association for Science and Technology Studies (DASTS) and Designantropologi. Julie Sommerlund MA in Modern Culture and Cultural Dissemination, University of Copenhagen and a Ph.D. Degree from Copenhagen Business School. She has worked two years at The Danish Design School. Before joining The Danish Design School she worked as an assistant professor at Copenhagen Business School. She is an active part of the national and international theoretical research environment known as STS (Science and Technology Studies ) or ANT (Actor-Network Theory). Her special contribution is within the branch of this environment that is moving the tradition from its original focus on scientific and technological fields to cultural and aesthetic phenomena. She has co-founded and sits on the board of the scientific association, DASTS (Danish Association of Science and Technology Studies). 12 Maria Foverskov apart from previous employment at an analysis bureau, she holds a degree as industrial designer from The Danish Design School. Her studies at The Danish Design School has, besides exploring process, methodology and material been marked by exchange with Design Academy Eindhoven (NL) as well as internship and subsequent job with the consultancy bureau ReD Associates. She currently works as a research assistant on the DAIM project (Design Anthropological Innovation Model) at The Danish Design School. In her work she is focusing on the contextual value occurring when objects interact with humans. Her research within the DAIM project will in the near future explore, by an interventionistic approach, how the users may be invited in the process of a common dialogue and development of possible futures of waste management at an earlier stage. Maria Mackinney-Valentin M.A. in English literature from Copenhagen University, Universiteit van Amsterdam and Columbia University. Since 2006 she has been employed as a Ph.D.-scholar at The Danish Design School with a project entitled On the Nature of Trends, which looks at how and why trends in fashion change. She has a professional background in journalism both as a writer and editor of Danish and international publications. As researcher she is part of the fashion research platform MOKO (Fashion Consortium). Marie Riegels Melchior MA in European Ethnology, University of Copenhagen. In Polaire Weisman Fund Fellow at The Costume Institute, The Metropolitan Museum of Art in New York, followed by teaching fashion history, material culture studies and museum studies at the Department of Archeology and Ethnology, University of Copenhagen. Since 2004 and until 2008 Ph.D.-scholar at The Danish Design School and the Danish Museum of Art and Design. Title of dissertation: Danish in Fashion! An Examination of Design, Identity and the History of the Danish Fashion Industry. Affiliated Nordic research networks about fashion, clothing and textile as well as post structuralist materiality studies. Mette Agger Eriksen is educated architect from Aarhus School of Architecture specialized in industrial design and communication design. She is enrolled as a Ph.D.-scholar in Interaction design at Art & Communication [K3] at Malmö University in Sweden, but through her partial financing from The Danish Centre of Design Research [DCDR] she is currently working at The Danish Design School, where she is a part of the research group involved in the DAIM project. Initially as a student employee, then as a research assistant and the later years as a Ph.D.-scholar, she has been involved in three large European IT research projects for example within the program Disappearing computer [Work- Space, Atelier and PalCom]. All the projects have been very interdisciplinary and have had a participatory approach of engaging users which also are central elements in her dissertation work. Through her Swedish connection, she is

14 a part of the network around the Swedish School of Design Research [CR-D], and in Denmark she participates in a small crossdisciplinary network called Krydsfeltet. Per Galle was trained as an architect originally, but earned his Ph. D. Degree in Computer Science. Since 2006 he has been an associate professor at The Danish Design School. He has worked with computer modelling of buildings and with theories of design cognition at the Technical University of Denmark before he came to The Danish Design School. His current research interests include the philosophy of design, the theory of science of design, and the practice-theory relationship. He is director of CEPHAD, Centre for Philosophy and Design. Sofie Beier graduated from the department of Visual Communication at The Danish Design School in After graduating, she worked with graphic design at the design collaboration Gul Stue in Copenhagen. She is currently working as a Lecture at The Danish Design School, and is in the process of finishing her Ph.D. in typeface legibility at the Royal College of Art in the UK. She has been London based in relation to her Ph.D.-studies from In her research she is collaborating with the Microsoft Advanced Reading Technologies, a Seattle based work group, specialising in improving onscreen reading. Stina Teilmann holds a Ph.D. and a M.A. in comparative literature. Her doctoral dissertation focused on the evolution of French and British copyright law, the development of the droit moral and the harmonization of continental Civil Law and British Common Law in recent European legislation. Currently the holder of a Carlsberg Post-doctoral Fellowship at The Danish Design School, she has also worked in the private sector as a patent administrator. Her research investigates the relationship between Danish Design and the law, both national and international. She was a core member of the Arts and Humanities Research Council Copyright Research Network (Birkbeck Law School, London) in and is a member of the NordForsk-Network on Law and Literature in the Nordic Countries (University of Aarhus) and of SHARP: The Society for the History of Authorship, Reading and Publishing (Johns Hopkins University, Baltimore). Thomas Binder is educated from the Technical University of Denmark (1987) and is employed as senior researcher at The Danish Design School. He is involved with open design collaborations and participatory design in the context of product design, workplace change and interaction design. He is currently engaged with participatory approaches to user driven innovation and the role of design experiments in design research. He has been conference chair of the Participatory Design Conference 2002 and the Nordic Design Research Conference Trine Paludan is an anthropologist, educated at University of Copenhagen where she specialized in education, Islam and rural development in West Africa. She earned her Ph.D. at Copenhagen Business School where she did research on work identities in late modern organization. In the recent years she has been working within the fields of user driven innovation and anthropology and design. She is presently working as a consultant to the DAIM project (Design Anthropological Innovation Model) at The Danish Design School. Troels Degn Johansson graduated as MA in Film and Media Studies at the University of Copenhagen and Psychoanalytic Studies at University of Kent at Canterbury and did his Ph.D. Degree on web-based visualisation of change in landscape and urban space at the Danish Forest and Landscape Research Institute, University of Copenhagen. Since 2005 he has been an associate professor at The Danish Design School. His main field of research is digital aesthetics, pictorial aesthetics, and the interplay between art and design. He is connected to a number of recognised, international and Danish research networks within design research, semiotics, aesthetics, art theory, avant-garde studies, visual culture, human geography, and design pedagogy.

15 At væve At væve oplevelser elser ind i virtuelle ve verdener: spil-person game metr e metrics og sonaer

16 ind i rdener: aer og virtuelle oplev spil-per ics gam Et spils værdiandel opgøres i, hvordan det får dets spillere til at tænke og føle. Spillere køber ikke spil, de køber oplevelser [Nicole Lazzaro - XEO Design] Designere vil transformere fra at være designere af ting til at blive konstruktører af stilladser til oplevelser. [Elizabeth Sanders - MakeTools] Når man kan måle, hvad man taler om, og når man kan udtrykke det i tal, så har man viden omkring det [Lord Kelvin] A game s value proposition is how it makes its players think and feel. Players don t buy games, they buy experiences [Nicole Lazzaro - XEO Design] Designers will transform from being designers of stuff to being the builders of scaffolds for experiencing. [Elizabeth Sanders - MakeTools] When you can measure what you are speaking about and when you can express it in numbers you know something about it [Lord Kelvin]

17 Alessandro Canossa Ph.D. scholar At væve oplevelser ind i virtuelle verdener: Spil-personaer og game metrics Weaving experiences in virtual worlds: Play-personas and game metrics 16 Folk efterlader spor - bøger lånt på biblioteket, websider besøgt på internettet, ejerskab af et hus, arbejde som underdirektør, ferie i sydøst Asien. Uanset om vi kører i bil, på motorcykel eller kører rickshaw. Stort set enhver handling, vi udfører i det offentlige rum, kan repræsentere en stavelse fra en længere sætning, som bidrager til at sammensætte vores livs fortælling. At læse en form for mening ind i vores handlinger er alt andet end en triviel semiotisk bestræbelse. Ikke desto mindre er antallet af annoncer og produkter, der forsøger at udnytte denne udbredte viden, ved at tiltage drastisk: websider der kender vores surfe-historik, spam-mails der indeholder nøgleord, udvalgt i forhold til indholdet i alle mails, som vi sender og modtager, og fysisk reklame materiale, som er produceret i tråd med vores indkøbs præferencer. Dog er det sjældent at denne potentielle bevidsthed bliver brugt til noget andet, mere nyttigt, udover de iøjnefaldende kommercielle formål, eller til at blackliste de få modige, som tør låne flyvemanualer fra biblioteker i USA - noget der rejser alle mulige privatlivs-relaterede bekymringer. Denne bevidsthed, omkring folks opførsel, kunne virkeligt komme til at skinne og vise sit fulde potentiale, hvis den blev brugt til at designe oplevelser. Dog en advarsel: vi er alle meget forskellige personer, med forskellige baggrunde og erfaringer; at tænke at det er muligt at masse-designe oplevelser er ikke kun reducerende og naivt, men også potentielt skadeligt. Hvis vores produkter på en eller anden måde kunne tappe ind i den viden, som er distribueret i sporene og reflektere tilbage til dens oprindelse, nemlig brugeren, så kunne vi virkeligt være på randen af denne Brave New World. People leave trails. Books borrowed at the library, websites visited while browsing the net, owning a house, working as a middle manager, vacationing in Southeast Asia - whether we drive a car, a motorcycle, or a rickshaw. Almost any action we take in the public space can represent a syllable of a longer sentence that contributes to composing the narrative of our lives. Reading some sort of meaning into our actions is much more than a trivial semiotic effort. Nevertheless, the number of messages and products attempting to take advantage of this disseminated knowledge is drastically increasing: websites aware of our browsing history, spam mails containing keywords selected according to the content of all the mails that we send and receive, physical advertisement material produced according to our shopping preferences. Yet, it is rare that this potential awareness is used for something else and more useful besides the obvious commercial purposes or the blacklisting of the courageous few that dare borrow flying manuals from libraries in the USA, the latter raising all sorts of privacy-related concerns. This awareness of people s behaviour could truly shine and show its full potential if utilised in design experiences. One caveat, though: we are all very different people, with different backgrounds and histories, and thinking that it is possible to mass-design experiences is not only reductive and naïve, but also potentially harmful. If our products could somehow tap into the knowledge distributed by the trails and reflect it back to its origin, the user, then we might really be on the verge of that Brave New World.

18 Computerspil handler alle om oplevelser, og jeg var heldig nok til at begynde min forskning om spil på et tidspunkt, hvor jakkesættene fra de mange spildudviklings-firmaer besluttede sig for, at indsamling af data om spilleren ville være både et utroligt fikst markedsførings stunt og muligvis også et nyttigt værktøj i spildesignernes hænder. Indsamling af spillerdata består i at definere interessante variabler i spillernes opførsel i spilverdener og af at inkludere et stykke software i det færdige spil, der sporer disse variabler ved at sende en optagelse af spilleraktivitet tilbage til spiludviklerne. Indholdet af denne optagelse kaldes også game metrics. Et eksempel på en interessant variable kunne være spillerens død (i spilverdenen selvfølgelig): Hvor sker det? Resultatet af denne type undersøgelse er et heatmap (fig. 1). Computer games are all about experiences, and I was fortunate enough to begin my research on games at a moment in time where the suits of many game development studios decided that gathering data about the player would be both an incredibly slick marketing stunt and possibly also a useful tool in the hands of game designers. Gathering player data consists in defining interesting variables in the behaviour of players in game worlds and including in the released game a piece of software that monitors these variables by sending a record of player-activity back to the developers. The content of this record is also addressed as game metrics. As an example of an interesting variable, we could look at the death of the player (in the game world, of course): where does it happen? The resulting outcome of this type of enquiry is a heatmap (fig. 1). Figure 1 shows a map of the game Halo 3 seen from above: areas tinted Pantone 208 EC 100% identify places where players die a lot, Pantone 208 EC 78% a bit less, and Pantone 208 EC 15% very little. Heatmaps look great on game community websites and are also precious tools in the capable hands of level designers, because with few changes they can balance a map and solve potentially critical problems such as players dying several times in the same spot, providing a very frustrating experience. Inebriated by this incredibly successful story, the suits wanted more: who killed the player? With which weapon? When did the player die, and what was he/she doing at the time? Fig. 1: Heatmap fra spillet Halo 3 ( / Online/HeatMaps.aspx)/ Fig. 1: Heatmap from the game Halo 3 ( /Online/HeatMaps. aspx) Figur 1 viser et kort over spillet Halo 3 set ovenfra. Områderne der er tonet Pantone 208 EC 100% er steder, hvor spillere dør hyppigt, Pantone 208 EC 78% lidt mindre hyppigt og Pantone 208 EC 15% meget sjældent. Heatmaps ser flotte ud på spilfælles- What they did not realise, though, was that the data gathered from players, or the game metrics, actually looked something like this: <X= Y= Z= TS= 247 AV= 36.6 CV= CA= 49.8 /> <X= Y= Z= TS= 254 MA= 3 IW= 4 IP= 0 IC= 1,1 /> <X= Y= Z= TS= 279 IO= 3 IC= 0 OM= 4

19 18 skabswebsider og er også værdifulde værktøjer i level designeres kyndige hænder, for med få ændringer kan de afbalancere en bane og løse potentielt kritiske problemer, som f.eks. at spillere dør flere gange på det samme sted, hvilket giver en meget frustrerende oplevelse. Beruset af denne meget succesfulde historie, ville jakkesættene have mere: Hvem slog spilleren ihjel? Med hvilket våben? Hvornår døde spilleren, og hvad foretog han/hun sig på det givne tidspunkt? Hvad de ikke indså, var at de data, der blev indsamlet fra spillerne, eller game metrics, så nogenlunde sådan her ud: <X= Y= Z= TS= 247 AV= 36.6 CV= CA= 49.8 /> <X= Y= Z= TS= 254 MA= 3 IW= 4 IP= 0 IC= 1,1 /> <X= Y= Z= TS= 279 IO= 3 IC= 0 OM= 4 CP= 0 /> <X= Y= Z= TS= 286 CHi= A+20 CHe= A+10 CD= 0 ED= 0 /> For at kunne handle ud fra disse data er det først nødvendigt at præsentere det på måder, som mennesker kan forstå, og det er den rolle, der er udfyldt af visualiseringen. Derefter er det nødvendigt at påføre en semiotisk linse, som er egnet til at skabe mening af data, som en helhed, og sammenfatte det i en rapport. Skønheden i et heat map, er at den både sørger for en forståelig visualisering af data og fungerer som en meningsuddragende linse, men for at kunne forvandle den viden til handling kræver det stadigvæk en analyse. Mit bidrag til dette scenarie er en mulig metode til give metrics data mening ved at gruppere lignende typer af optagne spilopførsler. Disse grupper udskiller eksisterende spilmønstre fra helheden. De kan være planlagt og ønsket af designerne, eller opstå tilfældigt på grund af affordances givet af spillet. Jeg kalder disse mønstre for Play-Personas, og de udgør kernen af en teoretisk ramme, der både kan guide designerne i deres CP= 0 /> <X= Y= Z= TS= 286 CHi= A+20 CHe= A+10 CD= 0 ED= 0 /> In order to be able to take action based on this data, it is necessary first to present it in ways that humans can understand, and this is the role fulfilled by visualization. Afterwards, it is necessary to apply some semiotic lens capable of making sense of the data as a whole and to synthesise it in a report. The beauty of a heatmap is that it provides both an understandable visualization of the data as well as a lens with which to extract meaning from it, but in order to turn the knowledge into action it still requires analysis. My contribution to this scenario is a possible way of giving meaning to metrics data by grouping similar types of recorded playbehaviours. These groups individuate existing play-patterns, they can be planned and wanted by the designers, or they can emerge accidentally due to the affordances provided by the game. I call these patterns Play- Personas, and they constitute the core of a theoretical framework that can both guide designers in the selection of interesting variables to monitor (a priori metaphor) and provide ways of making sense of the gathered metrics (a posteriori lens). Alan Cooper, an authority in the field of Interaction Design, defines personas as: detailed, composite user archetypes that represent distinct groupings of behaviors, attitudes, aptitudes, goals and motivations observed and identified during the research phase [of product design] and they often take the form of narrative description of user types. Play-personas are both theoretical models of ideal users and data-driven representations of player behaviours. Persona as metaphor A metaphor is a rhetorical device that provides a description of something that is unknown by transferring attributes from a known entity. Metaphors are utilized before the accumulation of experience, and

20 Persona as lens Lens is here intended as the choice of a context (Umwelt) from which to sense, categorize, measure or codify experience. Lenses are utilized to examine the accumulated experience. Metric data can form the basis of defining data-driven personas during game testing. When evaluating games, personas can be used as tools by comparing the goals set by the designers with those set by the players. By comparing the goal of designers and players, it is possible to check whether the game design actually supports and facilitates the planned personas in practice, and if any new personas emerge from the userinteraction with the game software. Game metrical data can form a way of discovering patterns in the usage of game elements and features, thus enabling the building of personas of how players interact with the game, and whether the game design facilitates the specific play patterns of the personas. It is a sense-making perspective: a code that alvalg af interessante, undersøgelsesværdige variabler (a priori metafor) og sørge for måder, hvorved der kan skabes mening af de indsamlede metrics (a posteriori lens). Indenfor Human-Computer Interaktions området definerer Alan Cooper personaer som: detaljerede, sammensatte bruger-arketyper, som repræsenterer tydelige grupperinger af opførsel, attituder, mål og motivationer, som er blevet observeret og identificeret under researchfasen [af produkt design] og de tager ofte form som narrativ beskrivelse af brugertyper. Spilpersonaer er både teoretiske modeller af ideelle brugere og datadrevne repræsentationer af spilleradfærd. Persona som metafor En metafor er en retorisk anordning, der tillader at beskrive noget ukendt ved at overføre egenskaber fra en kendt størrelse. Metaforer bliver brugt før akkumulationen af oplevelse. På samme måde tillader personaer designere at rumme ukendt spiller opførsel i et digitalt spils skabelsesproces, f.eks. ved at predefinere de ideelle spilmønstre, som er mulige i det pågældende spil, og designe spillet for at imødekomme disse. I tilfældet af f.eks. Hitman: Blood Money, hvor spillere kan vælge imellem ligeligt optimale strategier for at fremrykke i spillet. Spil-personaer repræsenterer et design-værktøj, en forventning om hvordan spillere gerne vil opføre sig i spilmiljøet, gribe spillet an og generelt skabe deres oplevelse. Designere kan bruge personaer som kategorier af adfærd, før der er en spilbar version af spillet, for at planlægge sammenhængende navigations og interaktionsmåder og som guide til at udvælge, hvilke variabler der er interessante nok til at overvåge. Persona som linse Linse er her tænkt som valget af en sammenhæng (umwelt), hvorfra oplevelser kan sanses, kategoriseres, måles eller kodificeres. Linser bliver brugt til at undersøge den akkumulerede oplevelse. Metric data kan danne basis for at definere datadrevne personaer, når spillet testes. Personaer kan bru- in a similar way personas allow designers to imply unknown player behavior in the process of creating digital games, i.e. by predefining the ideal play-patterns possible in the game in question, and design so as to accommodate these. This is the case in Hitman: Blood Money, where players can choose between different equally optimal strategies to progress in the game. Play-personas as design tools represent an expectance of how players would like to create their experience. Designers can use personas as categories of behaviors prior to a playable version of the game in order to plan coherent navigation and interaction modes. They are also precious as guides to select which variables are interesting enough to monitor. Figur 1 viser et kort over spillet Halo 3 set ovenfra. Områderne der er