CSCW Exhibition

So things are pretty crazy around here as I attempt to wrap up my first graduate degree. I want to update on everything that’s occurred, but in the meantime, I wanted to spread the word about an exhibition that one of the selective courses is holding. See below for the invitation form Shaowen Bardzell!

If you can’t make it, I’m going to take video and post it on my Vimeo account.

When: Thursday, April 29, 9:30 am to 10:35 am
Where: INFO East 130
Attire: LBD, Haute Couture, tattoos, pajamas, ninja costume, or whatever makes you feel most stylish in the morning
What to expect: Design Rogues, Joke Tracker, Critique Wall, Hand-holding Gloves, Role-based Budget Blog, Rock Clock, the Cow of C.O.W., Safety Belt, and many many more!

Binaebi and Advanced Ceramics

Last semester, I took a ceramics class for the first time. It was eye-opening, and helped me learn the one most important life lesson that I still struggle with: how to let go. I am detail-oriented, but can often still see the big picture, except when it comes to my own life. Ceramics is slowly curing me of that fault.

Today, in our first session of advanced ceramics, we were advised to think about why we were in the class. I thought the questions were applicable to why this class is important for me to take as an interaction/user experience designer. So here are my thoughts on the matter.

Why clay?

Clay is a mysterious, moody medium. You never really know how the clay will behave and feel each time you come into the studio. Much is the same for our users as interaction designers. We never know how our users will behave and feel each time they come to our designs, whether they be software, websites, interactive media, etc.

Why the human figure?

The specific topic of this advanced ceramics course is the human figurative sculpture, taught by Chris Boger (who is amazing, by the way). Now, ever since I began to teach myself to draw in elementary school, as well as the drawing and physiology classes I took in high school, I’ve always been interested in the human form. I’m especially interested in the human form as a means to communicate. For example, the way I’m sitting communicates something about my mood, how I feel about the people and situation surrounding me, etc. So much about our lives is about communication—or lack thereof. I’m interested in exploring that channel of interaction through the medium of clay because of the 3D qualities of a finished sculpture. You are able to circle it, analyze it from multiple angles and determine how its message changes depending on the way the light shifts.

We have been encouraged to be inspired by all types of human figures: Disney, anime, sports, politicians, dancers, the medicinal understanding of the human body, the psychological understanding, fashion, etc etc etc.

What do I hope to learn from advanced ceramics?

Woof. This is a tough question. I’ve gone through a lot of changes this past year. I don’t mean to be dramatic when I say 2009 was the worst year of my life, considering I’ve only lived 24 years. As such, I’d like to explore the idea of identity, personal meaning, morals, relationships, and other such abstract ideas through the human figure. What does it mean to love, and be loved? What does it mean to be autonomously happy? How can I possibly portray this through the human figure? Will my human figure be anatomically correct?

So, I suppose what I hope to learn from this class is my thoughts on how people communicate. It will be exploratory, therapeutic, and, most importantly, will allow me to get my hands dirty while working in a larger scale than I’m used to. My figures haven’t been larger than 10 inches tall. In this class, it’s suggested we work in a 3/4 or 1/2 life scale. That’s huge to me, and will be my biggest challenge. I’m looking forward to it.

Making is Thinking

As a mentor for the incoming Human-Computer Interaction Design (HCID) class of 2011, I engage the students in many philosophical discussions. It is the highlight, I feel, of having a mentor relationship with students, because it allows me to reflect upon myself, my actions, my thoughts, and my understanding of the courses here at Indiana University. For instance, in October 2009, I had a conversation with one of my students, where in being completely honest with him, I surprised myself.

The student was asking for advice about electives. He was unsure what he wanted to take, because he wanted to “get the most” out of his experience in the HCID program, but at the same time, was unsure if he needed to expand his artistry background since he was coming from a technical background.

That said, he asked me what elective I took during my second semester, and whether it was something related to HCID. I told him no, the course I took had almost nothing to do with HCID explicitly. I had taken a fiction writing course. After all, “I am a writer, an artist, a designer, an engineer. In that order.”

It boggled his mind that I, being what he considered one of the top performers in my class, did not put “designer” at the beginning of the list of adjectives describing who I am. I replied,

“It works because writing is all about how to express your ideas. If you have an awesome idea, but can’t express it, it doesn’t matter.

“That goes directly back to HCID. My profession isn’t who I am. It benefits from who I am. It doesn’t define me.”

This is my position in terms of design theory, and being a designer. I am a writer, an artist, a designer, and an engineer. My “ability to know” is based on my “ability to construct meaning” from my “experiences” (Smith 2005). I am, in other words, utilizing my previous life experiences to inform my design thinking, as suggested by Krippendorff. Acknowledging that I am a tactile person, that I must be creative with my hands, and that I must have creative outlets in general or I will likely go insane, is imperative to understanding me as a designer.

You see, I believe “thinking and feeling are contained within the process of making” (Sennet 7). The semester I took this design theory course, I was also taking ceramics. This elective, much like fiction, has little to do with HCID explicitly. However, there are implicit similarities that have altered—and improved—my design thinking.

The craftsmanship of Ceramics and HCID

Ceramics was one of two artistic realms that I had not truly ventured into; photography is the other, and I will be taking a course next semester to fill that hole. As such, by entering the course, I was admitting that I was a novice, but that I hoped to develop a connoisseur’s eye toward ceramic design and craftsmanship. At the beginning of the semester, something as simple as making a slab could take me 45 minutes because I was unused to the clay material, which seemed to have a mind of its own. The clay could be too wet, and not hold its form, or too dry, and fall to pieces. The clay could have bubbles in it which, if not found, could result in the sculpture exploding in the kiln.

The only way to learn all of the different pitfalls of the ceramic craft is either to experience them, or watch someone else go through it and learn from their mistakes. By the end of the semester, I could make a slab in ten minutes, without air bubbles, but only because I put so many hours into failing at slab-making at the beginning of the semester.

In this way, I learned that my discipline with drawing, painting, and playing violin could once again be applied to a new forum, ceramics. It is like the architect Renzo Piano said, “You think and you do at the same time. You draw and you make. Drawing… is revisited. You do it, you redo it, and you redo it again” (Sennet 40).

Why do I have this discipline instilled within me? I could have lost my patience when I first trained myself to draw when I was eleven. I could have assumed I would never reach my sister’s potential when it came to painting when she was fifteen and I was seventeen. I could have convinced my mother to let me quit violin when I was fourteen, the way I wanted.

I did not give up any of these times because I am, I have realized while taking this course, a craftsman. I believe in craftsmanship, meaning that I believe in the “enduring, basic human impulse, the desire to do a job well for its own sake” (Sennet 9). I believe in collecting experiences in which I am a connoisseur, in which I have gained the “art of appreciation” (Smith 2005). I want to have the “ability to see, not merely to look” (Smith 2005).

What does this mean for HCID, and my theory of design? Everything. It means that when I learn how temperamental clay can be, I can apply such knowledge to designing an interface. I will never know what sort of “mood” the clay will be in when I make it to the ceramics studio, the same way I will never truly know what sort of “mood” my users will be when they interact with my interface and/or software and/or product designs.

This is what I mean by believing that I am a craftsman, and indeed that all designers ought to be craftsman. By gathering my experiences to look for patterns of behavior from seemingly unrelated events (i.e. using clay as a metaphor for people/users), I am using a “solution” from one field to “uncover new territory” in HCID (Sennet 11). Through my artistry, I have come to realize that “problem solving and problem finding are intimately related” (Sennet 11). By knowing how the clay works, I am able to recognize when a problem is forming, and therefore determine the possible solutions.

What is the moral of the story?

As designers, it is imperative that we recognize the material properties of our craft.

In ceramics, it is to know the material properties of the clay. It means to recognize that by throwing the clay one way, I am aligning the clay particles to slide against one another so it becomes a slab. Or that by pinching the clay, I will eventually create a bowl. Or that if I add enough water to the clay, I will have a clay solution so thin I can paint it in layers, thus achieving a smooth, delicate surface.

In HICD, it is to know the material properties of the people using our design. Who are they? What is their responsibility? What is their main concern when interacting with my design? Do they realize it as such? Will they have varying moods while interacting with my design? Must they have the use of both their hands? Must they have use of all of their senses?

In this way, I am the writer, the author attempting to tease out the concerns of my characters. What are their motivations, and how can I help them? What can I do to get in their way, and is it necessary? Everything to me is a narrative, from working with the clay, to practicing the violin, to walking through a storyboard for a proposed interaction.

This is because I am a craftsman, and thus represent that “special human condition of being engaged” (Sennet 20). I am fully engaged, and so should other designers be. We all ought to learn from the miniscule events in our lives as much as the traumatic ones. We ought to “do good work,” which means we need to be “curious about, to investigate, and to learn from ambiguity” (Sennet 48).

REFERENCES

Design Rationale behind the “Thought Box”


Jay Steele was interested to know my idea behind the bowls + box. After getting an excellent response from the in-class critique, I figured it was a good idea to post my (very informal) design rationale.

The interesting thing about the in-class critique was how my design sparked an animated conversation. Without knowing details, the class was able to abstract meaning by rearranging the bowls with the box, finding interpretations I hadn’t thought were explicit.

My favorite interpretation was the metaphor that each of the bowls had a spout of sorts, so you could, potentially, pour your thoughts from the bowls into the box. Eventually, the box would leak out the thoughts through that side hole… but never overflow the box.

I love it when someone “gets” the design.

Surviving Grad School Notes

Cross-posted at the IDP08 Blue Blog.

Unlike my notes from the e-portfolio workshop, which were small picture and typed, my notes from the “Surviving Grad School” panel are big picture, and handwritten. There were a number of us at the panel, and Sarah gave a great overview.

At the panel, they asked the typical questions of how many people were PhD students, how many were masters students, and how many masters students planned on going for the PhD. I pseudo-raised my hand, which Marty noticed and chuckled at, but this is actually something that I’ve been thinking about for a long time. For almost as long as I can remember, I’ve wanted at least a masters, and hopefully a PhD. I’ve never known what it would be in, and I’m even less sure now than I was three months ago. I had hoped the masters program would reinvigorate my interest in academics, but so far I’ve mainly felt a continuance of the burnt-out-just-enough to think that maybe a PhD isn’t for me.

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Notes from the ePortfolio Workshop

Cross-posted at the IDP08 Blue Blog.

I took these notes for Lynn, Lorelei, and Drew, but I figured I should post them to the blog so everyone can benefit from my obsessive note taking. Anyway, I published it as a PDF so you can download and take it with you.

These notes are pretty thorough, but I tried to make them easy to skim. At the bottom are links to the portfolios that were critiqued, as well as notes from the critique. If you have questions, comment and I’ll try to answer.

Sharing is Caring

Cross-posted to the IDPo8 Blue Blog.

A word from Bill Buxton (with my emphasis):

“The risk of someone stealing your ideas, or making a fool of yourself, by sharing your ideas before they are done is NOTHING compared to the certainty of ending up with IMPOVERISHED RESULTS if you don’t.”

In the aftermath of project two, I have to comment on the fact that it felt like everyone was guarding some huge secret idea that was supposed to be the next big million dollar extravaganza. I literally had no idea what people were doing until the presentations, and that kind of saddened me. And it’s really frustrating that there are people in this program that think we’re competing to be the “best designer” out of everyone.

I realize some students want their ideas to be “pure” from the outside influence of their peers (mentors and professors excepting). But it seems to me that’s the wrong sort of motivation for this program. I mean, we’re not learning from the professors and mentors only, we’re learning from each other.

Maybe this is happening already and I’m not seeing it because I’m too busy running around being an AI and keeping on top of classes. And that’s fair. But in case it isn’t happening, I’d just like to say that I think it would be really cool if there were more inter-group discussions about projects in general.