participation in interaction design:
actors and artefacts in interaction
pelle ehn
school of arts and communication (k3)
malmö university, sweden
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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
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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
work-oriented design
norwegian metal workers union project
participatory design
from bauhaus to our house (k3) a digital bauhaus ?
k3 – a digital bauhaus ?
the aesthetic and social synthesis
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“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
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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
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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
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physical space and the objects surrounding
us (ubiquitous computing)
convergence between different media
(multimedia, new media)
interaction design
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
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emergence of interaction design
community
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Interaction design is not computer science,
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not even HCI, even if it deals with humans, computers and interaction.
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nor is interaction design graphic design, even if it is both visual and communicative
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neither is interaction design other computer studies like CSCW or PD
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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.
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interaction design is neither art nor technology in isolation, but maybe a social and aesthetic synthesis.
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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 !
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‘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)
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participation and community (actors and artefacts) in interaction
design
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as practice
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as discipline
theory for interaction design as practice
we are designing interaction design !
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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
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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
engineer
explorer
artist
problem solver
detective
creator
• requierement specification
• social needs
• theory
• inductive
• experimental
• personal process
• aesthetics
• intuitive
• expressive
social
subjective
• technology
• deductive
• formal
• predictive
Who is the interaction designer ?
objective
engineer
explorer
artist
problem solver
detective
creator
• requierement specification
• social needs
• theory
• inductive
• experimental
• personal process
• aesthetics
• intuitive
• expressive
• technology
• deductive
• formal
• predictive
objective
what is the designer ?
social
subjective
engineer
explorer
artist
problem solver
detective
creator
• requierement specification
• social needs
• theory
• inductive
• experimental
• personal process
• aesthetics
• intuitive
• expressive
objective
social
subjective
• technology
• deductive
• formal
• predictive
The Art and
Science
of Designing Computer
Artifacts
design
and
knowledge
interests
INST RUMENT AL
ACT ION
INTERSUBJECT IVE
COMMUNICAT ION
CRIT IQUE AND
LIBERATION
objects
things
events
conditions
manipulation
language
interaction
power
T ECHNICAL
CONTROL
INTEREST
PRACT ICAL
INTEREST
EMANCIPAT ORY
INTEREST
OBSERVATION
EMPIRICAL ANALYSIS,
INSTRUMENTAL CONTROL
DIALOGUES
PARTICIPATION
UNDERSTANDING
BEYOND CONTROL
AND
UNDERSTANDING
CREAT IVIT Y
art
AEST HETICEXPRESSIVE
INTEREST
products
quality-in-use
changed possibilities for action
not an object
processes
the reflective designer
design practice
not normative methods
objective
social
subjective
artifact-in-use
structure
How do we
make sure
that the
artifact is
made of the
right
material?
function
How do we
make sure
that the
artifact is
useful in its
context?
form
How do we make
sure that the
artifact supports
appropriate
experiences?
design
process
engineering
How do we
control of the
construction of
the artifact?
participation
How do we
support
appropriate
interaction in
the design
process?
design ability
How do we
support creativity
and innovation in
the design
process?
design
quality
appropriateness
How do we find a proper balance between our
responses to the questions above in our design
practice?
objective
social
subjective
artifact-in-use
structure
How do we
make sure
that the
artifact is
made of the
right
material?
function
How do we
make sure
that the
artifact is
useful in its
context?
form
How do we make
sure that the
artifact supports
appropriate
experiences?
design
process
engineering
How do we
control of the
construction of
the artifact?
participation
How do we
support
appropriate
interaction in
the design
process?
design ability
How do we
support creativity
and innovation in
the design
process?
design
quality
appropriateness
How do we find a proper balance between our
responses to the questions above in our design
practice?
objective
social
subjective
artifact aspect
structure
• hardware
and software
• material or
medium
function
• practical use
• symbolic use
form
• experience of
use
quality
perspective/
language
control
• software
metrics
• quality
standards
ethics
• usefulness
• utility
• power
• interests
• values
aesthetics
• appropriateness
• style
• balance
• resemblance
Vitruvius
firmitas
(firmness)
utilitas
(commodity)
venustas
(delight)
quality-in-use
appropriateness: a "proper balance" between
structure, function and form
objective
social
subjective
artifact aspect
structure
• hardware
and software
• material or
medium
function
• practical use
• symbolic use
form
• experience of
use
quality
perspective/
language
control
• software
metrics
• quality
standards
ethics
• usefulness
• utility
• power
• interests
• values
aesthetics
• appropriateness
• style
• balance
• resemblance
Vitruvius
firmitas
(firmness)
utilitas
(commodity)
venustas
(delight)
quality-in-use
appropriateness: a "proper balance" between
structure, function and form
objective
social
subjective
design
process
aspect
engineering
• manipulation of
objects
• formalisation
• refinement of
specifications
• logic
participation
• communication
• learning
• politics
design ability
ability
• creative
environments
• emotional
expressions
• artistic
expressions
quality
perspective/
language
control
• correctness of
descriptions
• predictability
ethics
• democracy
• appropriate
social interaction
aesthetics
• creativity
• innovation
design
style
appropriateness: a "proper balance" between
engineering, participation and design ability
objective
social
subjective
design
process
aspect
engineering
• manipulation of
objects
• formalisation
• refinement of
specifications
• logic
participation
• communication
• learning
• politics
design
ability
• creative
environments
• emotional
expressions
• artistic
expressions
quality
perspective/
language
control
• correctness of
descriptions
• predictability
ethics
• democracy
• appropriate
social interaction
aesthetics
• creativity
• innovation
design
style
presence
appropriateness: a "proper balance" between
engineering, participation and design ability
objective
social
subjective
artifact-in-use
structure
How do we
make sure
that the
artifact is
made of the
right
material?
function
How do we
make sure
that the
artifact is
useful in its
context?
form
How do we make
sure that the
artifact supports
appropriate
experiences?
design
process
engineering
How do we
control of the
construction of
the artifact?
participation
How do we
support
appropriate
interaction in
the design
process?
design ability
How do we
support creativity
and innovation in
the design
process?
design
quality
appropriateness
How do we find a proper balance between our
responses to the questions above in our design
practice?
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



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
design practice: participation as
epistemological category
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
users
designers
specification
design by specification
participation
design by participation
design-by-doing:
mock-ups and prototyping
design as playing
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 of
products and systems and bureaucracies
but in composing of contexts
that include everyone,
designers too.
To be a part.
To find how to make all we do and think
relate to all we sense and know,
(not merely to attend to fragments
of ourselves and our situations).
It was a question of where to put your feet.
It became a matter of choosing the dance
Now its becoming
No full stop
chris jones
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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
the computer as design material
QuickTime™ and a YUV420 codec dec ompres sor are needed to see this pic ture.
QuickTime™ and a YUV420 codec dec ompres sor are needed to see this pic ture.
interactive artefacts: designing temporal
structures and spatial configurations
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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
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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


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



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






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
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canonical texts ?
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beyond “bringing design to software”
“searching voices - towards a canon for interaction
design
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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 ?
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examples but limited language for critique
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design history of www: genre and style (engholm)
dilemmas in interaction design education
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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?
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professional wisdom and artistry: tacit
knowledge, repertoire of exemplars,
reflection-in-action, dialogue with the
situation, reflection-on-action
espoused theories versus theories-inaction
beyond technical rationality
back to phronesis
the interaction designer as reflective
practitioner (donald schön)
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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
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wisdom and artistry
art and politics are one
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speculative propositions:
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neither statements of fact
nor prescriptions of what ought to be,
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but, anxious acts of political love
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phronesis:
an anxious act of political love
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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
interaction design: a case for reflection
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interaction design:
supporting everyday learning
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design as “ethnographic” fieldwork ?
participatory design: design games,
:
props, mock-ups and
prototypes ?
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design judgement: technical, social,
aesthetic ? (technology, politics and art)
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designing mixed artefacts: narrative and
architecture ?
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interaction design studies ?
design theory and design practice (case)
text and artefact (dissertation)
thank you
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how does the collective designer ‘get things
done his or her way’?
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what role does coercion, manipulation and self
interest plays in the politics-in-practice of the
collective designer?
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what roles do the collective designer play as
leader of and driving force behind collaborations
and alliances?
politics-in-practice
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not cynical ‘gutter designer’
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not ‘amoral chameleon’ or ‘pragmatist’
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but able to switch strategies to suit context
but combine pragmatic change driver with visionary moralist
not smug unconscious hypocrisy of the moralist or the market
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but designer of integrity; doing the right thing even at a cost to
themselves; defensible type of compromise, deceit and hypocrisy
a machiavellian interaction designer?
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the programs in general are 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,visual arts
work is carried out in a production-oriented studio-based
interdisciplinary and cross art environments,
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 master and phd
programs
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aesthetic synthesis - art
and technology
social synthesis - socially
important issues
interaction design - the
computer as design
material
augmentation - studio
architecture and mixedmedia objects
challenges to studio-based design in the
era of the (disappearing) computer
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design practice as a learning process (the
reflectivce practitioner)
design as constructive learning
(constructionism)
constructing knowledge not learning what is
known
design as participative and collective knowledge
building (social constructivism)
learning environments not individual learning
design as learning – learning
as design
place and materiality for design
education: bauhütten - craft workshops interaction design studios
interaction design: the computer as
design material
QuickTime™ and a YUV420 codec dec ompres sor are needed to see this pic ture.
QuickTime™ and a YUV420 codec dec ompres sor are needed to see this pic ture.
interactive artefacts: designing temporal
structures and spatial configurations
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



design practice as a learning process (the reflective
practitioner)
design as constructive learning (constructionism)
constructing knowledge not learning what is known
design as participative and collective knowledge
building (social constructivism)
communities-of-practice - learning as legitimate
peripherical participation
learning environments not individual learning
premisses: design as learning – learning
as design
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typical arenas: design studio or master
class in architecture
face-to-face interaction with people and
artifacts in physical space
”reflection-in-action” and ”conversation
with the material”
inspirational learning
the atelier project: architecture and
technology for inspirational learning
To develop an understanding of how materials in different
media and the built environment can be interwoven with
technology and architectural components to create an
inspirational learning environment.
Malmö University
Vienna University of Technology
Akademie der Bildende Künste Wien
Imagination Computer Services
Consorzio Milano Richerche
University of Oulu
Interactive Institute
crusing
- jacket
connecting and augmenting
configuring space
- tag technology
- attaching table
- materialkammer
.
- grid
- editing entrance
re-programming
- grid
- texture brush
- materialkammer
-display spaces
- dream spaces
rhythm and appropriation
“cooking”
“negotiation of territory”
atelier scenarios
from bauhaus to our house (k3 and ii) a digital bauhaus ?
education and research at k3 and ii
• a digital bauhaus - design, art, technology, communication
• a school - bachelor, master, phd
• a research center – cross-disciplinary interactive media studios
• interaction design – a main area of K3
imagineering
perf art
techn
interact
techn
phys & virt
design
Space & virtuality
interact
design
Narrativity &
communicaiton
Separate
courses
media &
comm sc
creative
producers
Cultural studies &
‘gestaltung’
interaction
design
Creative Environments
education programs
research studios
”design noir”
reconfiguring and augmenting
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dedicated physical space for activating,
manipulating, combining and assembling
representational objects of mixed media
origion
inspirational resources: images, music,
film, everyday objects, samples of
materials, etc
inspirational learning environments
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 of
products and systems and bureaucracies
but in composing of contexts
that include everyone,
designers too.
To be a part.
To find how to make all we do and think
relate to all we sense and know,
(not merely to attend to fragments
of ourselves and our situations).
It was a question of where to put your feet.
It became a matter of choosing the dance
Now its becoming
No full stop
chris jones