Making Design Memoirs: Understanding and Honoring Difficult Experiences

Devendorf, Laura; Andersen, Kristina; Kelliher, Aisling

doi:10.1145/3313831.3376345

Cited by 52 publications

(15 citation statements)

References 28 publications

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“…First-person perspective has been applied in both interaction design and HCI by several researchers (Desjardins & Ball, 2018;Tsaknaki, 2021;Zhang & Wakkary, 2014). Devendorf et al (2020) present a method based on a first-person perspective to gain an understanding of difficult experiences. In soma design, it is important to cultivate the subjective felt experiences for developing an understanding of the soma to design somaesthetic interactions.…”

Section: Methodology: Transitioning Between First-and Secondperson Pe...mentioning

confidence: 99%

“Squeaky/Pain”: Cultivando experiencias perturbadoras y la transición de perspectivas para las interacciones somaestéticas

Demir

Nimkulrat

Kuusk

2022

Diseña

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A través del estudio de caso de un diseño, examinamos cómo la conciencia somaestética se ve amplificada por la intermediación de perturbaciones corporales y el cultivo de una transición desde una perspectiva de primera persona a una de segunda persona. El artículo se centra en el aspecto menos explorado del diseño somático: la mediación de experiencias perturbadoras que interrumpen el flujo cotidiano, en este caso, la experiencia de dolor. El proceso de diseño ilustró una transición entre las perspectivas de primera y segunda persona para cultivar y externalizar la experiencia con el dolor en la forma de una interacción corporal vestible. La experiencia del dolor externalizado se tradujo en un dispositivo vestible interactivo, “Squeaky/Pain”, que aumenta la conciencia somaestética del usuario a través de sensaciones sonoras, táctiles y cinestésicas. Este artículo hace dos contribuciones principales al diseño somático: introduce las implicaciones de las experiencias perturbadoras a la hora de aumentar la conciencia somaestética y ejemplifica de qué manera las perturbaciones corporales internas pueden materializarse mediante el cultivo de perspectivas en primera y segunda persona.

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Section: Methodology: Transitioning Between First-and Secondperson Pe...mentioning

confidence: 99%

“Squeaky/Pain”: Cultivando experiencias perturbadoras y la transición de perspectivas para las interacciones somaestéticas

Demir

Nimkulrat

Kuusk

2022

Diseña

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“…We change the colour of the yarn on the first of each month so that we will be able to see changes and fluctuations throughout the year. In previous work researchers have used crafted data stories to initiate discussion on the invisible data sources in our lives such as everyday sounds [1], autobiographical experiences [5], as well as helping us create memoirs of difficult experiences [2,3]. Hand crafts in themselves can help create markers of time, and previous research in hand knitting has highlighted how these crafted results can become a record of the process [8,9].…”

Section: Implementation and Installationmentioning

confidence: 99%

“…For this project we adapted the Circular Knitic (2014) 1 , an open-hardware circular knitting machine developed by the artist duo Varvara and Mar (Varvara Guljajeva and Mar Canet). The parts were recreated and assembled by a local prototyping lab (Bayview Yards) from files the artists provided on github 2 and tutorials on instructables 3 with digital fabrication tools. Once we received the machine from the prototyping lab, we started hacking it so that it would visualize data combined from two sources: individuals who entered the Ottawa Art Gallery and those who interacted with the machine through the gallery's website.…”

Section: Hacking the Circular Kniticmentioning

confidence: 99%

The Life of a Building

Jones

Grip²,

Kourtoukov³

2022

Sixteenth International Conference on Tangible, Embedded, and Embodied Interaction

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During the pandemic many individuals turned to handcrafts such as knitting to cope with the uncertainty and anxiety we were collectively feeling. In this artwork we wanted to bring knitting out of isolation and to use it as a method of community participation to document the "recovery" year at a local art gallery. In July 2021 we launched The Life of a Building at the Ottawa Art Gallery in Ottawa, Canada, which knits visitor data at the physical gallery as well as online interactions on the gallery website. Each month the colour of the yarn changes, creating a tangible, soft record of this unpredictable year. During TEI, the audience will be able to visit the gallery website, click a button to create their own row of stitches on the machine, and watch the knitting machine knit them into the installation through the livestream. CCS CONCEPTS• Human-centered computing → Visualization systems and tools.

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“…Others have used physical means to express bodily phenomena, e.g., Ozaki's 'Menstruation Machine' (2010) enables the experience of menstruating to be wearable; 'Breathing Shell' makes breathing tangible (Tsaknaki et al, 2021, p. 2); 'Menarche Bits', a prototyping kit that resulted from a soma-based process, allows users to prototype body-worn technologies that make space for their experiences of menstruation (Juul Søndergaard et al, 2020); 'wear.x', a wearable, embodies experiences of migraine (Beuthel & Wilde, 2017); and 'BREATH and WARMTH', also wearables that provide representations of loneliness in remote relationships (Beuthel et al, 2021). Aligning with these examples, The Armor is a material reflection of difficult first-person experiences, similar to the one provided by Devendorf et al (2020), who propose 'Design Memoirs', designerly prototypes that narrate complex and difficult personal experiences. The Armor manifests experiences that are situated within a professional context, inviting others to engage with them bodily, through wearing and touching.…”

Section: Materials On the Bodymentioning

confidence: 99%

La armadura de una investigadora: un compromiso material crítico con las experiencias somáticas

Beuthel

2022

Diseña

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A través de su trabajo, los investigadores y profesionales del diseño se relacionan continuamente con seres humanos, lo que puede traducirse en encuentros con historias personales, preguntas desafiantes y expectativas. El investigador puede verse ante la disyuntiva de seguir siendo “profesional”, lo que a menudo se asocia a ser “neutral”, o comprometerse con sus propias emociones, vulnerabilidades e inseguridades. Este artículo presenta un proceso de diseño somático informado por las experiencias autobiográficas de la autora. El resultado es un artefacto vestible llamado La armadura de una investigadora. El artefacto encarna las experiencias somáticas que se experimentan al “hacer investigación” y “ser investigador” durante los estudios cualitativos con participantes. Pretende provocar reflexiones y apunta a pensar acerca del profesionalismo. Los materiales físicos se ensamblan en una forma que se puede vestir, lo que permite a otros investigadores relacionarse con ellos a través de sus propios cuerpos. Por último, se describen los temas que la armadura ha evocado en otros; estos esbozan los conocimientos que el artefacto aporta al campo de la Interacción Humano-Computador.

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Making Design Memoirs: Understanding and Honoring Difficult Experiences

Cited by 52 publications

References 28 publications

“Squeaky/Pain”: Cultivando experiencias perturbadoras y la transición de perspectivas para las interacciones somaestéticas

“Squeaky/Pain”: Cultivando experiencias perturbadoras y la transición de perspectivas para las interacciones somaestéticas

The Life of a Building

La armadura de una investigadora: un compromiso material crítico con las experiencias somáticas

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