RELATIONAL AESTHETICS & AESTHETICS OF INTERACTION. Eva Knutz & Thomas Markussen

Transkript

1 Progammet for i dag : Opsamling af teori : Præsenta=on og kri=k. I har 10 minuber per gruppe =l at præsentere jeres 4 afleveringer : Drinks & Snacks

2 RELATIONAL AESTHETICS & AESTHETICS OF INTERACTION Eva Knutz & Thomas Markussen

3 Indhold og læringsmål Indhold: Kurset er en teoretisk og praksisrettet overbygning på kurserne Fysisk design og Oplevelsesdesign. Deltagerne tilegner sig teoretiske perspektiver og relaterer dem til design og designprocessen. Gennem individuelt praktisk designarbejde omsætter deltagerne deres teoretiske viden til fysiske designeksperimenter. Kvalifikationsbeskrivelse (læringsmål): Deltagerne vil efter kurset have praktisk erfaring med at designe socialt engagerende artefakter og services, samt praktisk erfaring med hvordan man iterativt udvikler og undersøger æstetiske kvaliteter ved interaktionsdesign. Endvidere vil studerende kunne: På baggrund af etnometodologiske undersøgelser identificere sociale og æstetiske kvaliteter ved et artefakt eller interaktionsdesign formidle og kommunikere faglige problemstillinger (læse og forstå videnskabelige artikler). Designe løsninger der forøger de oplevede æstetiske og sociale aspekter ved et produkt. Reflektere over hvilke kvaliteter der ligger i og udenfor det designede artefakt. Planlægge og udføre en serie eksplorative designeksperimenter, der undersøger æstetiske kvaliteter ved et artefakt. Demonstrere en teoretisk og praktisk forståelse for arbejdet med designeksperimenter og sketches Demonstrere en sammenhæng mellem artefakt og formidling af dette Arbejde vedvarende forfinende med et designartefakt Demonstrere evnen til at kunne nedtone og fremhæve særligt ønskede æstetiske kvaliteter.

4 Design metoden: Design Fiction Design eksperimenter med Droner Design aim: Relational aesthetics Litteratur: James Auger: Crafting the speculation Morrison: Design notes on a lonely drone' Knutz & Markussen: The Role of Fiction in Design, Art and Archircture Litteratur: Make: Homegrown Drones Brandt & Binder: Experimental Design Research Buxton: Foto annotering, Video sketching Litteratur: Nicolas Bourriaud: Relational aesthetics Dunne: Aesthetics of Use / para-functional Petersen et al. Aesthetic Interaction Formål: anvendes til at lave design challenge, what if scenarier, video skitsering og spekulative prototyper Formål: anvendes til at udføre og dokumentere explorative design eksperimenter med drone-teknologier Formål: anvendes i evalueringen og kritikken af sociale æstetiske kvaliteter ved jeres spekulative drone-prototyper

5 Design fiction som tilgang Teoretisk grundlag Dronernes Distrikt n Set fra brugernes perspektiv (Djajadingningrat et al, 2000) n Set fra dronernes perspektiv (Morrison et al, 2013) n Set ud fra hverdagens perspektiv (Auger, 2013) n Knutz & Markussen/ Markussen & Knutz (2013)

6 Design fiction som tilgang Teoretisk grundlag Centrale teoretiske begreber n Set fra brugernes perspektiv (Djajadingningrat et al, 2000) n Set fra dronernes perspektiv (Morrison et al, 2013) n Set ud fra hverdagens perspektiv (Auger, 2013) Extreme characters Appearance Interac=on Roles n Knutz & Markussen/ Markussen & Knutz (2013)

7 Design fiction som tilgang Teoretisk grundlag Centrale teoretiske begreber n Set fra brugernes perspektiv (Djajadingningrat et al, 2000) n Set fra dronernes perspektiv (Morrison et al, 2013) Anthropomorphizing technology n Set ud fra hverdagens perspektiv (Auger, 2013) n Knutz & Markussen/ Markussen & Knutz (2013)

8 Design fiction som tilgang Teoretisk grundlag Centrale teoretiske begreber n Set fra brugernes perspektiv (Djajadingningrat et al, 2000) n Set fra dronernes perspektiv (Morrison et al, 2013) n Set ud fra hverdagens perspektiv (Auger, 2013) n Knutz & Markussen/ Markussen & Knutz (2013) Crafting the speculation Perceptual Bridge

9 Design fiction som tilgang Teoretisk grundlag Centrale teoretiske begreber n Set fra brugernes perspektiv (Djajadingningrat et al, 2000) n Set fra dronernes perspektiv (Morrison et al, 2013) n Set ud fra hverdagens perspektiv (Auger, 2013) n Knutz & Markussen/ Markussen & Knutz (2013) What if scenario Crafting the speculation written scenarios Design challenge

11 Teori om design eksperimentet og skitsering Brandt and Binder (2007) Diagram // experiment driven design research Suggest that research through design projects can be accurately defined in terms of three basic constituents Research question (guides the inquiry by setting an overall scope) Program (proposes particular methods and tools; specifies context of use, economical constraints, technological requirements, end users, etc.) Experiment(s) (explores the program in order to produce new knowledge on the research question) Fig. 1: A diagra research questio driven by desig the inquiry by e the program fram by proposing th the employment Brandt & Binder, 2007 In design research we seem to need the substantiated program through establishing the novel program that we have data on

12 Eksperimenter med Droner I skal bruge diagrammet til at skitsere den serie af eksperimenter I kommer til at lave i dag og næste gang Etablere fælles forståelse i gruppen Identificere og begrunde de væsentligste design valg gennem jeres proces Projektstyring, projektkommunikation og dokumentation

13 Question(s) Brandt & Binder (2007) SAINT Teksten Dronernes Distrikt rejser det overordnede spørgsmål: Hvordan vil Dokk 1/Århus se ud i en fremtid hvor dronerne har fået tilkendt statsborgerskab? Ved hjælp af jeres design challenge skal I formulere et mere konkret design question

14 Fra Question(s) til design challenges + what if scenarier Brandt & Binder (2007) SAINT Teksten Dronernes Distrikt rejser det overordnede spørgsmål: Hvordan vil Dokk 1/Århus se ud i en fremtid hvor dronerne har fået tilkendt statsborgerskab? Ved hjælp af jeres design challenge skal I formulere et mere konkret design question

15 Program Brandt & Binder (2007) SAINT Design Fiction er jeres metode og indgår som en del af jeres program Derudover skal jeres program sige noget om: - Stedet I designer til (graveyard, the squat, garage ) - Hvem er det I designer til? - Design intentionen: Den social æstetiske relation mellem droner/mennesker som I designer for: encounter, exchange, negotiation

16 Experiment Brandt & Binder (2007) Definitions A means to explore a possible program A result of a truly designerly engagement with possible form or interaction Drone hacking à experimenting à building

17 RELATIONAL AESTHETICS & AESTHETICS OF INTERACTION Eva Knutz & Thomas Markussen

18 Aesthetics of Interaction A Pragmatist Aesthetics of Interactive Systems Definition New ways of interacting with digital MATERIALS requiring the expansion of ideals as transparancy and efficiency to include subtle POETIC elements exciting IMAGINATION. Marianne Graves Petersen et al We are looking to aesthetics as a way to pursue these ideals, p. 269.

19 Aesthetics of Interaction A Pragmatist Aesthetics of Interactive Systems Critique We wish to challenge the assumption that aesthetics are mainly concerned with the immediate visual impression of products, Hiroshi Ishii, Music Bottles, MIT Aesthetic Interaction can be obtained when the human body, intellect and all the senses are used in relation to interactive systems, p. 269

20 Aesthetics of Interaction A Pragmatist Aesthetics of Interactive Systems Theoretical Foundation Pragma&sts philosophy & aesthe&cs. Richard Schusterman à John Dewey Art as Experience IXP Interactive Hydroscope, Kattegatcentret Mapping Cultural Frame Shifting in Interaction Design with Blending Theory Analy=cal Aesthe=cs versus Pragma=sts Aesthe=cs In a pragma=st perspec=ve, aesthe=c experience is closely linked not only to the analy=c mind nor solely to the bodily experience; aesthe=c experience speaks to both, p Figure 4. (a) Movable mixed reality Hydroscope at the Kattegat Centre, (b) Screen dump from the Hydroscope, (c) Children collectively pushing the Hydroscope. arrows provide hints of underwater characteristics such as the bed of river, low and deep waters. We deliberately chose not to mark the physical floor according to the mapping of the seabed visible through the Hydroscopes as the slow gradual discovery of different waterbeds is seen as an attractive pointer for spurring curiosity. Theorizing on User Experience into this marine centre is somewhat inconsistent with this cultural frame, and forces users to perform cultural frame shifting in order to interpret the use of the hydroscope. In the following we theorize on this user experience and we use blending theory to unpack its internal con figurations and governing principles. We start out by using Hutchins s (2005) concept of material anchors in order to describe how the material structures of physical space and objects constraint users experience in our design case.

21 Aesthetics of Interaction by other visitors. A Pragmatist Aesthetics of Constructing Fish with a RFID Kit Interactive Systems Theoretical Foundation Aesthetics has the ability to surprise and provoke and to move the subject to a new insight of the world. provide visitors with a new perspective on the centre. Rather than explicitly communicate information about marine life we looked to create a space where visitors could imagine how marine life could be like. In a very literal sense we constructed a setup where visitors could experiment by constructing their own fish from individual parts and exploring its qualities. Having constructed an imagined fish from different parts, visitors are able to release the fish into a digital ocean where it will live alongside fish created To support the construction of the fish, we developed an RFID based construction kit with physical pieces with embedded RFID tag (Figure 3a). The physical pieces can be assembled to an imaginary fish on top of an RFID tag-reader, and when the user is satis fied with the constructed fish, it can be released into the virtual sea. The tag-readers are built into a special table with a dome display viewing into the virtual sea universe. The dome IXP Interactive Hydroscope, Kattegatcentret view is provided through a display on top of the table (Figure 3b). The construction set is developed on the basis of five different fish species, deconstructed into the following types of pieces: body, head, tail, swim bladder front fin and back fin. Each piece enable visitors to look down through the floor surface into the digital ocean. During the design process several solutions for creating the digital ocean were envisioned. Initially, the digital ocean was conceived as a large projected floor surface, where the entire ocean was visible. This would provide visitors with an overview of the ocean and allow them relatively quickly to find different fish. The design of the hydroscope, promotes a somewhat different agenda. The hydroscopes do not provide overview and they do not make it easy for visitors to find fish or navigate the ocean. Rather, the hydroscopes were designed as a way for visitors to explore the hidden universe of the digital ocean. Instead of revealing the ocean and the constructed fish, they encourage visitors to actively explore the ocean and to imagine what is hidden beyond the range of the hydroscopes. The ocean is only visible through the hydroscope and visitors have to move around this Peephole to explore the ocean (Figure 4a & 4c). Dependent on the properties of the constructed fish, they will find their way to the most appropriate waters in the digital ocean. As navigating the hydroscope requires users to move it through the physical space, the connection is made between the physical layout of the locale and the digital space of the ocean. Alongside the rim of the central compass of the hydroscope interface (Figure 4b) simple It is the systems capacity to excite imagination that potentially will reward the user an aesthetic experience comprisen of both a bodily sensation and an intellectual challenge. Figure 3. (a) Fish construction set with RFID tagged pieces, (b) Construction table with dome display International Journal of Design Vol.2 No

22 Aesthetics of Use parafunctionality - Critical Design Definition Anthony Dunne & Fiona Raby To provide conditions where users can be provoked to reflect on their everyday experience of electronic objects, it is necessary to go beyond forms of estrangement grounded in the visual and instead explore the aesthetics of use grounded in functionality, turning to a form of strangeness that lends the object a purposefulness. (Dunne, Hertzian Tales, pp ).

23 Aesthetics of Use parafunctionality - Critical Design Critique Voyage to the stars, Panamarenko, 1979 Critical design er et opgør imod rationalitet, usability og forestillingen om det transparente intuitive interface (HCI, affordance, Product semantics) Panamarenko s objects rarely works, provoking the viewer to think about the nature of invention and the desires that motivates them.

24 Aesthetics of Use parafunctionality - Critical Design Theoretical Foundation Tankegodset hentes fra kunstteorier om avant-garden og conceptual art. Wodiczko Homeless Vehicles Project Verfremdung og fremmedgørelseseffekter anvendes som kunstnerisk teknik til at få folk til kritisk af reflektere over politiske, ideologiske vilkårs begrænsninger af vores hverdag.

25 Relational aesthetics Definition Nicolas Bourriad a set of ar=s=c prac=ces which take as their theore=cal and prac=cal point of departure the whole of human rela=ons and their social context, rather than an independent and private space.

26 Relational aesthetics Definition - proces-orienteret - Interaktiv - mikro-utopier - Inter-subjektive relationer er det primære kunstneriske materiale (ikke en privat kunstoplevelse) «Rela=onal aesthe=cs does not represent a theory of art, this would imply the statement of an origin and a des=na=on, but a theory of form», p. 18

27 Den kunstteoretiske definition af relationel æstetik Modernity YESTERDAY Dadaism, Surrealism, Situa=onisme, Concept art, FLUXUS Imaginary and utopian reali=es Messianis=c utopias Modernity NOW Rela=onal Art the role of artworks is no longer to form imaginary and utopian reali=es, but to actually be WAYS OF LIVING and MODELS OF ACTION within the exis=ng, p. 13 Everyday micro-utopias

28 utopi virkelighed Dadaisme, Surrealismen, Situationismen, FLUXUS, Concept art virkelighed Kristian von Hornsleth mikro-utopi mikro-utopi Jens Haaning Turkish Jokes samtidskunsten

29 Den kunstteoretiske definition af relationel æstetik Modernity YESTERDAY Modernity NOW

30 typologi Connections & meetings Definition This type of activity presupposes a contract with the viewer, an arrangement Eksempel: Rober Barry The artwork is no longer presented to be consumed within a monumental time frame and open for a universal public; rather it elapses within a factual time, for an audience summoned by the artist

31 typologi Monumental time universal public Factual time local public

32 typologien Conviviality and encounters Definition A machine provoking and managing individual and group encounters (p. 30) Eksempel: Sophie Calle

33 typologien Conviviality and encounters Definition A machine provoking and managing individual and group encounters (p. 30) Eksempel: Sophie Calle

34 typologien Conviviality and encounters Definition A machine provoking and managing individual and group encounters (p. 30) Eksempel: Braco Dimitrijevic

35 typologien Collaborations & Contracts Definition sometimes use a relational context defined in advance so as to extract production principles from it à The institution of marriage Eksempel: Wedding Piece, 1992

36 typologien Professional relation: clienteles Definition Other practices are aimed at recreating socio-professional models and applying their production methods (p. 35) Eksempel: Guaraná Power 2003

39 De 4 designopgaver i Q4 Opgave 7: Kortlægning/mapping af relationer mellem mennesker og droner (skitsering) Opgave 8: En spekulativ prototype (dokumentation af design experimenter (Skitser, foto, film, tegninger) OG endelig prototype). Opgave 9: Et storyboard (en narrative serie af tegninger eller fotoannoteringer) Opgave 10: En video sketch (max 3 minutter)