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A day-long workshop at OZCHI 2006 - November 22nd 2006 - Sydney, Australia.
Workshop proceedings can be found at [ proceedings - 6.7mb ].
Accepted Papers
The following seven papers have been accepted for the 'Object of Interaction' Workshop.
Experience Workshops
Lizzie Muller*, Toni Robertson+, Ernest Edmonds*
*Creativity and Cognition Studios, University of Technology Sydney, PO Box 123, Broadway, NSW 2010
+Interaction Design and Work Practice,University of Technology Sydney, PO Box 123, Broadway, NSW 2010
This position statement describes a method called "Experience
Workshops", developed by the authors for working with expert
audiences in the design of an interactive artwork. Based around
the participants' experience of a high-fidelity prototype, the
workshop aims to generate experiential language, draw together
the artist's goals and the participants' experiential actualities and
provide a way to reflect together on the gaps and connections
between them. We describe the research principles and needs
which led to the development of the method and the models it
draws from. We show how the method has been used, and reflect
upon its effectiveness.
View full paper - [ pdf ]
Sharing through Artefacts: client-user centred design
Penny Hagen*+ & David Gravina+
*Faculty of IT, University of Technology Sydney
+Digital Eskimo, Sydney
As a design agency we have transitioned from a methodical or engineering influenced approach to one that enables us to better respond to the situation and needs of each project environment. The methods we use, and propose to use are shaped by the particular situation of the client. In this paper we present some of the creative and generative artefacts that are incorporated into our design process, and introduce work in progress exploring mobile devices as design tools.
View full paper - [ pdf ]
Cognitive Artifacts in Refrigeration System Configuration?
Svenja Weinmann
IT Product Design, University of Southern Denmark, Grundtvigs Alle 150
"In watching people thinking in the wild, we learn about their
environment for thinking not what is inside them.
But the environments of human thinking are not 'natural' environments.
They are artificial. Humans create their cognitive power by creating the
environments in which they exercise those powers." - Hutchins, 1995: 169
This paper deals with cognitive artifacts and their relevance for
configuration practice in industrial refrigeration. It will explore
the role and significance of cognitive artifacts in such a context.
To what extend and when are cognitive artifacts used in
refrigeration system configuration? This paper will give examples
of relevant cognitive artifacts and illustrate their use in the studied
context. How can the researcher approach the wish to analyze
those in a context as complex as that of configuration practice?
Does such analysis actually help a designer in understanding the
context to be able to design technological solutions for it? This
paper will introduce the method 'video collage' as a tool to
analyze cognitive artifacts in configuration practice.
In order to do this, the author will firstly start out with introducing
and framing the theory of 'distributed cognition', from which the
term 'cognitive artifacts' evolved, its advantages for analyzing a
well- structured cognitive system as well as its shortcomings for
general practical use context analysis, and, secondly, the author
will end with discussing particularly 'cognitive artifacts' with
regard to the practice of refrigeration system configuration.
View full paper - [ pdf ]
Artefact and Iteration: Circular Entanglements
Ann Morrison* & Peta Mitchell^
*The Australian CRC for Interaction Design Pty Ltd / School of ITEE, University of Queensland
^The Australian CRC for Interaction Design Pty Ltd / School of EMSAH, University of Queensland
In this workshop proposal I discuss a case study physical
computing environment named Talk2Me. This work was
exhibited in February 2006 at The Block, Brisbane as an
interactive installation in the early stages of its development.
The major artefact in this work is a 10 metre wide X 3 metre high
light-permeable white dome. There are other technologies and
artefacts contained within the dome that make up this interactive
environment.
The dome artefact has impacted heavily on the design process,
including shaping the types of interactions involved, the kinds
of technologies employed, and the choice of other artefacts. In
this paper, I chart some of the various iterations Talk2Me has undergone throughout the design process.
View full paper - [ pdf ]
To explore strange new worlds: experience design in 3 dimensional immersive environments - role and place in a world as object of interaction
truna aka J Turner
The Australasian CRC for Interaction Design Pty Ltd,
Level 3, Room 312, Musk Avenue, Kelvin Grove, Queensland, 4059, Australia
Space, the final frontier. These are the voyages of the Starship Enterprise. Its five-year mission: to explore strange new worlds; to seek out new life and new civilizations; to boldly go where no man has gone before. (Roddenberry 1966)
This discussion paper is about constructing rich graphical immersive worlds where the world within the screen becomes both the object and the site of interaction. The discussion centres on two aspects of game world design: the manner in which the interactivity in these environments depends on the user - or player rather, recognizing their role within the constructed world, and the extraordinary ways that this space is usually envisioned as either 'fifth business' or occasionally an antagonist but rarely given credit as participant or recognized as a context laden object of interaction. The discussion unpacks these issues in the light of a project which undertakes the construction of a non western cultural experience of specific place using a game engine to create a rich immersive graphical environment. Place is not the same as space, as Yi-Fu Tuan observes: Place is about memories, familiarity, it is something you are attached to and belong within. Many of our design tenets for virtual worlds emphasise the idea of space as a very western notion of freedom. In a design area where aesthetics is the interface it is important to recognize the extent of cultural habits and some of the ways that they construct the (digital) world as an artifact. This paper is written for a workshop and ends with more questions than answers.
View full paper - [ pdf ]
HU U
Matthijs Siljee
Institute for Design for Industry and Environment, Massey University, Wellington, New Zealand.
To have expertise in a particular field enables one to apply this to a more or less familiar design scenario but may also cause self-censorship when exploring beyond the familiar with an open-ended brief. This text describes a collaborative design process whereby an attempt was made to combine the advantage of people without a pre-conceived perspective with the strengths of experts in the field of electronic communication.
In 2005 H&M [1], a partnership consisting of Hanne van Beek and Matthijs Siljee were invited to participate in the group exhibition 'Jewellery Out of Context' curated by Dr Carole Shepheard and Peter Deckers. This resulted in exhibited artwork by H&M titled 'Colon Dash Closing Bracket', shown in The Muse, Sydney, February 2006 and to be exhibited further in New Zealand, Canada and the EU in 2007. Through this work the authors sought to explore the bodily relationship between people and their electronic gadgets. During the creative process of this project H&M sought collaboration with members of Massey's Institute of Information Sciences and Technology.
Two aspects of this project will be presented:
1. Events from the 'lived world' that helped to shape the themes and concept this project.
2. A reflection on differences in expectation between members of 'engineering' and 'creative' disciplines.
The purpose of describing these events is to illustrate relevant 'ingredients' for the overall process of creative exploration that may not always appear relevant to the domain of technical problem solving.
View full paper - [ pdf ]
xProbes at Work: Using In-situ Experience Prototyping as Probes in Projecting and Discussing Possible Futures
Daniel Fallman
Umeċ Institute of Design, Umeċ University, Sweden.
In this paper, we will reflect on a particular methodological
technique - namely our use of in-situ experience prototyping;
what we call xProbes - that has evolved in our collaboration with
a large industrial company and that we believe to be potentially
useful for interaction design, as xProbing can come to
complement rather than replace the use field-studies using
ethnographic techniques, workshops, brainstorming, scenario-
building, and low-fi prototyping.
View full paper - [ pdf ]