crunchy, crispy pop metaphysics
This is the first time we have instructed students to use stop motion, so the project was partly an experiment in itself. In addition we wanted to find out more about the potentials and challenges of using stop motion for prototyping navimation.
Digital video for user-centred co-design is an emerging field of design, gaining increasing interest in both industry and academia. It merges the traditions of design ethnography, participatory design, interaction analysis, scenario-based design, and usability studies into an integrated approach, which values the designer’s capacity to study and change the world creatively.
Designing with video, focusing the user-centred design process. By Salu Ylirisku, Jacob Buur.
A significant challenge in interaction design practice is to express, shape and communicate the behavior of an intended design. Time-based media such as video can be a good choice for that purpose. This compendium presents a number of approaches to video as an expressive medium for interaction design.
There are good reasons why science fiction ideas percolate through culture like background radiation, instead of being baldly trotted out front and center. Archigram’s sci-fi flavored architecture-fiction was never commercially practical, it wasn’t meant to be, but it was usefully provocative: while pretending to be all zap-pow, pop-art and spacey, Archigram was chopping the future’s wood and hauling its water. That’s why their battlesuit ideas have survived for forty years.
Computing power is an integrated part of our physical environment, and since our physical environment is three-dimensional, the virtual studio technology, with its unique potential for visualizing digital 3D objects and environments along with physical objects, offers an obvious path to pursue in order to envision future usage scenarios in the domain of pervasive computing. We label the work method virtual video prototyping, which grew out of a number of information systems design techniques along with approaches to visualization in the field of architecture and set design. We present a collection of virtual video prototyping cases and use them as the platform for a discussion, which pinpoint advantages and disadvantages of working with virtual video prototyping as a tool for communication, experimentation and reflection in the design process. Based on more than ten cases we have made the observations that virtual video prototypes 1) are a powerful medium of communication in development teams and for communication with industry partners and potential investors, 2) support both testing and generating ideas 3) are particular suited for addressing spatial issues and new ways of interacting. In addition practical use of virtual video prototypes has indicated the need to take into account some critical issues including a) production resources, b) hand-on experience, and c) the seductive power of virtual video prototypes.
The architecture of science fiction has profoundly changed urban design. When building cities of the future, our best guides may be places like comic book megalopolises Mega-City-1 or Transmet.
The new directions that I am looking at revolve around the idea of simulation. My last post looked at how construction and fabrication technologies are used to simulate the elements of building construction and use. In entertainment design the elements of space are a means to a different end – the simulation of experience. As a result (and thank goodness!) people are at the centre of the action.
The technique has clearly some disadvantages – it is for example hard to make subtle movements and deal with details and many elements at the same time. However, it seems especially suited for 3D motion sketching, since this often requires a lot of time and skills to do on a computer.
Thesis 25: Everyware has already staked a claim on our visual imaginary, which in turn exerts a surprising influence on the development of technology.
The idea of using an existing character to fill out the design thinking exercises may not produce better design, but it may produce more effective design communication.
In the context of design, the conceptual model as genotype rather than prototype could allow it to function more abstractly by deflecting attention from an aesthetics of construction to an aesthetics of use.
It’s interesting to see how most of these notions have by now been implemented, either by Apple itself or by various other hard and software providers.
Why didn’t Philips’ Visions of the Future turn into winning products?
Some people (they are wrong) say design is about solving problems. Obviously designers do solve problems, but then so do dentists. Design is about cultural invention.