The main promise behind the idea of self-quantification is to transform our lives through the con... more The main promise behind the idea of self-quantification is to transform our lives through the continuous collection of numerical evidence about the body and its activity. Although this process may help boost self-knowledge, everyday life also involves a complex network of relations with other bodies that exert a significant, sometimes determining, influence on our behaviour. To address this concern, we suggest that self-quantification data can be modulated as perturbations to other human and non-human bodies which, in turn, may directly affect the everyday practices of the self. By coupling quantified bodies, we transform existing practices by disrupting the elements that realise, perform and reproduce existing practices. In order to explore and further understand the affective potential of this idea, we designed a system that creates unfamiliar, digitally-enabled couplings between two quantified bodies: a human and a plant. In particular, in this design experiment we modulate walking activity data into perturbations to a quantified plant. How does this coupling transform the way we look at self-quantification? Are we bringing forth a new space of responsibility and ethical concern? What if the plant dies because someone did not walk enough? In this article we discuss the implications of creating such a coupling keeping a critical distance to current forms of self-quantification, which are often focused on change through prescriptive solutions rather than through the fostering of self-determined growth. With this work we aim to expand the current understanding of the affective possibilities of self-quantification in the context of social change.
Les universités australiennes ont reçu récemment une liste de revues de recherche transmise par l... more Les universités australiennes ont reçu récemment une liste de revues de recherche transmise par l'Australian Research Council (ARC). Cette liste offre un classement de ces revues à l'initiative de l'ERA : Excellence in Research for Australia. Des revues de design et de recherche en design figurent parmi les revues classées. Mais elles sont peu nombreuses et mal classées. Le classement proposé par l'ERA vise à inclure toutes les revues de qualité, dans tous les domaines de spécialité. Le classement dans un domaine particulier est sensé refléter l'importance de la diffusion des revues du domaine concerné. Les revues classées A* correspondent à 5 % d'entre elles qui arrivent en tête de classement dans une spécialité donnée ; les revues A représentent les 15 % qui viennent ensuite, les revues B les 20 % qui suivent, et les revues C toutes les autres. L'importance politique et financière du système de classement est un aspect qui motive la décision du nouveau ...
Intimate Transactions: Art, Exhibition and Interaction within Distributed Network Environments, 2006
Guy Webster is a sound artist who has been featured in numerous festivals, galleries, conferences... more Guy Webster is a sound artist who has been featured in numerous festivals, galleries, conferences and theatres in Australia, Japan, UK and Europe. As part of the Transmute Collective he developed the immersive soundscape of Intimate Transactions. On 2nd November, 2005 Jilliann Hamilton and Jeremy Yuille met with Guy Webster to discuss his approach to immersion in soundsapes.
A short piece unpacking how I think about artifacts as tools to help me engage with uncertainty. ... more A short piece unpacking how I think about artifacts as tools to help me engage with uncertainty. Poetic.
This paper discusses a new theory of Designerly Leadership in response to major disruptions in th... more This paper discusses a new theory of Designerly Leadership in response to major disruptions in the ways that products and services are designed, made, and distributed. We outline an experientially derived framing of what it means to lead in a designerly fashion, particularly focusing on how leaders modulate their perceptions of affinity and develop extended methods for working with ambiguity.
We then propose a series of ways that programs wanting to educate design managers for strategic roles could build and support this capacity in their graduates.
Through a methodology incorporating design practice, studies and exploration (Fallman 2008), this... more Through a methodology incorporating design practice, studies and exploration (Fallman 2008), this research has examined the emergent field of interaction design.
Integrating discourse and literature from both academic and professional arenas with critical reflection on two projects for clients and one self-initiated project, I propose a model of how interaction designers work with artifacts, spaces and people to design for the intangible material of experience.
I bring together theories of perception and experience (Dewey 1934, Merleau Ponty 1945/1962), enaction and distributed cognition (Hutchins 2005, 2011), design practice (Schön 1983, Löwgren & Stolterman 2008), and performativity (Austin 1962) to reframe interaction design as a set of practices that draw on the designer’s ability to perform ambiguity and perceive affinity between different elements and stages of a design process.
This research contributes to the understanding of interaction design practice in the following ways: I bring professional and academic perspectives together to present a interaction design practice as being made up of pragmatic, critical, and enterprising approaches to performative ambiguity.
I illustrate how interaction designers modulate their ability to perceive similarities: seeking, spotting and making affinity between elements in a design situation.
I identify and name a key site and method for this performance of design: the Forensic Wall.
Finally, I reflect on these discoveries and propose that designers perform design by choosing to excise or exercise ambiguity in the situation of concern.
Traditionally, cartographers have produced atlases as ‘composite’ products containing maps, photo... more Traditionally, cartographers have produced atlases as ‘composite’ products containing maps, photographs, diagrams and text. They are produced on paper, discrete media and distributed media. They are ‘pre-composed’ or ‘constructed’ products, whereby the cartographer controls all of the atlas content and how it is delivered to the user. It is a ‘predictable’ product, where the user is only a consumer and has no input into the design or content of the atlas. Web 2.0 presents a new view on what can be done when provisioning users with cartographic materials. It is a different way of delivering cartographic media which, in many cases is basically non-cartographic, but delivers information that needs to be spatially defined and controlled if usable geographical information is to be assembled. It is a new publishing genre for cartography where users become part of Web-enabled collaborative publishing consortia. The tools and methods of delivery are different and they need to be explored, appreciated and applied. This paper addresses these questions in the contexts of cartography and communications system design. The concept of an ‘affective’ atlas is proposed and its usefulness and effectiveness for better provisioning users with appropriate geospatial resources is being evaluated by a research team at RMIT University, Australia. It brings together researchers from Cartography and Applied Communication. The paper outlines theory being developed about how geospatial information might best be delivered using Web 2.0 and social software and its implications for the relationship of cartography to social, cultural, and narrative practice.
Abstract Aesthetic accounts of interaction design (Löwgren 2008, Wright et al 2008) acknowledge t... more Abstract Aesthetic accounts of interaction design (Löwgren 2008, Wright et al 2008) acknowledge the importance of the descriptive and dialogic roles that design artefacts play. Yet, much of the focus in this aesthetic turn (Udsen 2005) concerns final designs, or products of the design project. Ephemeral artefacts that are produced in the course of these projects or the design actions by those who created the artefacts inside projects are often omitted and rarely discussed.
Abstract This paper reports on the development of a unique software prototype that combines digit... more Abstract This paper reports on the development of a unique software prototype that combines digital information spaces with sound and intelligent agent support. This prototype is innovative in its use of digital space as a mechanism for arranging image based information for presentation scenarios. Working with a spatial approach to digital environments, this research presents the prototype, and examines the enhancement of digital space in two principal areas: spatial sound and intelligent agent support.
Abstract. This paper describes our approach to the design of Scribblr; an internet-based tool to ... more Abstract. This paper describes our approach to the design of Scribblr; an internet-based tool to support mark-up of images in the course of creative work. The mark-up, which may be textual or freeform sketches, forms a conversation between remote collaborators which is archived and can be revisited at a later date. This paper considers the ways in which two key spaces are transformed and extended through the use of the Scribblr tool.
Abstract Traditionally, cartographers have produced atlases as &#... more Abstract Traditionally, cartographers have produced atlases as 'composite'products containing maps, photographs, diagrams and text. They are produced on paper, discrete media and distributed media. They are 'pre-composed'or 'constructed'products, whereby the cartographer controls all of the atlas content and how it is delivered to the user. It is a 'predictable'product, where the user is only a consumer and has no input into the design or content of the atlas.
Abstract In this paper we reframe the creation of information visualizations as a kind of interfa... more Abstract In this paper we reframe the creation of information visualizations as a kind of interface design, where visualizations provide people with an interface onto a dataset in such a way that they can generate, understand, and ultimately communicate interpretations of the data in the form of narratives to other members of given social settings. The paper describes a three stage create--interpret--capture process [Figure 1] for the design of information visualizations. The work references existing interaction design patterns, ...
In this paper we present work on a scenario and persona based approach to exploring social softwa... more In this paper we present work on a scenario and persona based approach to exploring social software solutions for a globally distributed network of researchers, designers and artists. We discuss issues identified with scenario based approaches and a potential participatory solution adopted in this project.
The main promise behind the idea of self-quantification is to transform our lives through the con... more The main promise behind the idea of self-quantification is to transform our lives through the continuous collection of numerical evidence about the body and its activity. Although this process may help boost self-knowledge, everyday life also involves a complex network of relations with other bodies that exert a significant, sometimes determining, influence on our behaviour. To address this concern, we suggest that self-quantification data can be modulated as perturbations to other human and non-human bodies which, in turn, may directly affect the everyday practices of the self. By coupling quantified bodies, we transform existing practices by disrupting the elements that realise, perform and reproduce existing practices. In order to explore and further understand the affective potential of this idea, we designed a system that creates unfamiliar, digitally-enabled couplings between two quantified bodies: a human and a plant. In particular, in this design experiment we modulate walking activity data into perturbations to a quantified plant. How does this coupling transform the way we look at self-quantification? Are we bringing forth a new space of responsibility and ethical concern? What if the plant dies because someone did not walk enough? In this article we discuss the implications of creating such a coupling keeping a critical distance to current forms of self-quantification, which are often focused on change through prescriptive solutions rather than through the fostering of self-determined growth. With this work we aim to expand the current understanding of the affective possibilities of self-quantification in the context of social change.
Les universités australiennes ont reçu récemment une liste de revues de recherche transmise par l... more Les universités australiennes ont reçu récemment une liste de revues de recherche transmise par l'Australian Research Council (ARC). Cette liste offre un classement de ces revues à l'initiative de l'ERA : Excellence in Research for Australia. Des revues de design et de recherche en design figurent parmi les revues classées. Mais elles sont peu nombreuses et mal classées. Le classement proposé par l'ERA vise à inclure toutes les revues de qualité, dans tous les domaines de spécialité. Le classement dans un domaine particulier est sensé refléter l'importance de la diffusion des revues du domaine concerné. Les revues classées A* correspondent à 5 % d'entre elles qui arrivent en tête de classement dans une spécialité donnée ; les revues A représentent les 15 % qui viennent ensuite, les revues B les 20 % qui suivent, et les revues C toutes les autres. L'importance politique et financière du système de classement est un aspect qui motive la décision du nouveau ...
Intimate Transactions: Art, Exhibition and Interaction within Distributed Network Environments, 2006
Guy Webster is a sound artist who has been featured in numerous festivals, galleries, conferences... more Guy Webster is a sound artist who has been featured in numerous festivals, galleries, conferences and theatres in Australia, Japan, UK and Europe. As part of the Transmute Collective he developed the immersive soundscape of Intimate Transactions. On 2nd November, 2005 Jilliann Hamilton and Jeremy Yuille met with Guy Webster to discuss his approach to immersion in soundsapes.
A short piece unpacking how I think about artifacts as tools to help me engage with uncertainty. ... more A short piece unpacking how I think about artifacts as tools to help me engage with uncertainty. Poetic.
This paper discusses a new theory of Designerly Leadership in response to major disruptions in th... more This paper discusses a new theory of Designerly Leadership in response to major disruptions in the ways that products and services are designed, made, and distributed. We outline an experientially derived framing of what it means to lead in a designerly fashion, particularly focusing on how leaders modulate their perceptions of affinity and develop extended methods for working with ambiguity.
We then propose a series of ways that programs wanting to educate design managers for strategic roles could build and support this capacity in their graduates.
Through a methodology incorporating design practice, studies and exploration (Fallman 2008), this... more Through a methodology incorporating design practice, studies and exploration (Fallman 2008), this research has examined the emergent field of interaction design.
Integrating discourse and literature from both academic and professional arenas with critical reflection on two projects for clients and one self-initiated project, I propose a model of how interaction designers work with artifacts, spaces and people to design for the intangible material of experience.
I bring together theories of perception and experience (Dewey 1934, Merleau Ponty 1945/1962), enaction and distributed cognition (Hutchins 2005, 2011), design practice (Schön 1983, Löwgren & Stolterman 2008), and performativity (Austin 1962) to reframe interaction design as a set of practices that draw on the designer’s ability to perform ambiguity and perceive affinity between different elements and stages of a design process.
This research contributes to the understanding of interaction design practice in the following ways: I bring professional and academic perspectives together to present a interaction design practice as being made up of pragmatic, critical, and enterprising approaches to performative ambiguity.
I illustrate how interaction designers modulate their ability to perceive similarities: seeking, spotting and making affinity between elements in a design situation.
I identify and name a key site and method for this performance of design: the Forensic Wall.
Finally, I reflect on these discoveries and propose that designers perform design by choosing to excise or exercise ambiguity in the situation of concern.
Traditionally, cartographers have produced atlases as ‘composite’ products containing maps, photo... more Traditionally, cartographers have produced atlases as ‘composite’ products containing maps, photographs, diagrams and text. They are produced on paper, discrete media and distributed media. They are ‘pre-composed’ or ‘constructed’ products, whereby the cartographer controls all of the atlas content and how it is delivered to the user. It is a ‘predictable’ product, where the user is only a consumer and has no input into the design or content of the atlas. Web 2.0 presents a new view on what can be done when provisioning users with cartographic materials. It is a different way of delivering cartographic media which, in many cases is basically non-cartographic, but delivers information that needs to be spatially defined and controlled if usable geographical information is to be assembled. It is a new publishing genre for cartography where users become part of Web-enabled collaborative publishing consortia. The tools and methods of delivery are different and they need to be explored, appreciated and applied. This paper addresses these questions in the contexts of cartography and communications system design. The concept of an ‘affective’ atlas is proposed and its usefulness and effectiveness for better provisioning users with appropriate geospatial resources is being evaluated by a research team at RMIT University, Australia. It brings together researchers from Cartography and Applied Communication. The paper outlines theory being developed about how geospatial information might best be delivered using Web 2.0 and social software and its implications for the relationship of cartography to social, cultural, and narrative practice.
Abstract Aesthetic accounts of interaction design (Löwgren 2008, Wright et al 2008) acknowledge t... more Abstract Aesthetic accounts of interaction design (Löwgren 2008, Wright et al 2008) acknowledge the importance of the descriptive and dialogic roles that design artefacts play. Yet, much of the focus in this aesthetic turn (Udsen 2005) concerns final designs, or products of the design project. Ephemeral artefacts that are produced in the course of these projects or the design actions by those who created the artefacts inside projects are often omitted and rarely discussed.
Abstract This paper reports on the development of a unique software prototype that combines digit... more Abstract This paper reports on the development of a unique software prototype that combines digital information spaces with sound and intelligent agent support. This prototype is innovative in its use of digital space as a mechanism for arranging image based information for presentation scenarios. Working with a spatial approach to digital environments, this research presents the prototype, and examines the enhancement of digital space in two principal areas: spatial sound and intelligent agent support.
Abstract. This paper describes our approach to the design of Scribblr; an internet-based tool to ... more Abstract. This paper describes our approach to the design of Scribblr; an internet-based tool to support mark-up of images in the course of creative work. The mark-up, which may be textual or freeform sketches, forms a conversation between remote collaborators which is archived and can be revisited at a later date. This paper considers the ways in which two key spaces are transformed and extended through the use of the Scribblr tool.
Abstract Traditionally, cartographers have produced atlases as &#... more Abstract Traditionally, cartographers have produced atlases as 'composite'products containing maps, photographs, diagrams and text. They are produced on paper, discrete media and distributed media. They are 'pre-composed'or 'constructed'products, whereby the cartographer controls all of the atlas content and how it is delivered to the user. It is a 'predictable'product, where the user is only a consumer and has no input into the design or content of the atlas.
Abstract In this paper we reframe the creation of information visualizations as a kind of interfa... more Abstract In this paper we reframe the creation of information visualizations as a kind of interface design, where visualizations provide people with an interface onto a dataset in such a way that they can generate, understand, and ultimately communicate interpretations of the data in the form of narratives to other members of given social settings. The paper describes a three stage create--interpret--capture process [Figure 1] for the design of information visualizations. The work references existing interaction design patterns, ...
In this paper we present work on a scenario and persona based approach to exploring social softwa... more In this paper we present work on a scenario and persona based approach to exploring social software solutions for a globally distributed network of researchers, designers and artists. We discuss issues identified with scenario based approaches and a potential participatory solution adopted in this project.
The Policy Booth use design to innovate the community consultation process. RMIT partnered with T... more The Policy Booth use design to innovate the community consultation process. RMIT partnered with The Projection Room and Studio Propeller to research and design an identity platform for Policy Booth, implemented on their new public website. We then partnered with Smartface to design & develop ePublic, an innovative digital platform for Policy Booth to use at their pop-up consultations.
This research was commissioned by the City of Melbourne to enable the city’s own efforts to devel... more This research was commissioned by the City of Melbourne to enable the city’s own efforts to develop a digital engagement model. This initial report, conducted over 8 weeks, represents a key piece of a broader effort to develop a proactive, coordinated, whole-of-organisation approach.
The project was conducted by Melbourne-based firm Collabforge, in partnership with the RMIT School of Media and Communication.
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Papers by Jeremy Yuille
We then propose a series of ways that programs wanting to educate design managers for strategic roles could build and support this capacity in their graduates.
Integrating discourse and literature from both academic and professional arenas with critical reflection on two projects for clients and one self-initiated project, I propose a model of how interaction designers work with artifacts, spaces and people to design for the intangible material of experience.
I bring together theories of perception and experience (Dewey 1934, Merleau Ponty 1945/1962), enaction and distributed cognition (Hutchins 2005, 2011), design practice (Schön 1983, Löwgren & Stolterman 2008), and performativity (Austin 1962) to reframe interaction design as a set of practices that draw on the designer’s ability to perform ambiguity and perceive affinity between different elements and stages of a design process.
This research contributes to the understanding of interaction design practice in the following ways: I bring professional and academic perspectives together to present a interaction design practice as being made up of pragmatic, critical, and enterprising approaches to performative ambiguity.
I illustrate how interaction designers modulate their ability to perceive similarities: seeking, spotting and making affinity between elements in a design situation.
I identify and name a key site and method for this performance of design: the Forensic Wall.
Finally, I reflect on these discoveries and propose that designers perform design by choosing to excise or exercise ambiguity in the situation of concern.
We then propose a series of ways that programs wanting to educate design managers for strategic roles could build and support this capacity in their graduates.
Integrating discourse and literature from both academic and professional arenas with critical reflection on two projects for clients and one self-initiated project, I propose a model of how interaction designers work with artifacts, spaces and people to design for the intangible material of experience.
I bring together theories of perception and experience (Dewey 1934, Merleau Ponty 1945/1962), enaction and distributed cognition (Hutchins 2005, 2011), design practice (Schön 1983, Löwgren & Stolterman 2008), and performativity (Austin 1962) to reframe interaction design as a set of practices that draw on the designer’s ability to perform ambiguity and perceive affinity between different elements and stages of a design process.
This research contributes to the understanding of interaction design practice in the following ways: I bring professional and academic perspectives together to present a interaction design practice as being made up of pragmatic, critical, and enterprising approaches to performative ambiguity.
I illustrate how interaction designers modulate their ability to perceive similarities: seeking, spotting and making affinity between elements in a design situation.
I identify and name a key site and method for this performance of design: the Forensic Wall.
Finally, I reflect on these discoveries and propose that designers perform design by choosing to excise or exercise ambiguity in the situation of concern.
The project was conducted by Melbourne-based firm Collabforge, in partnership with the RMIT School of Media and Communication.