empowering products...emotional design: why we love (or hate) everyday things. basic books, new...

EMPOWERING PRODUCTSPersonal Identity through the Act of Appropriation

Binaebi Akah

Shaowen Bardzell

February 26, 2010

IST Conference, Indiana University

February 26, 2010 Akah/Bardzell 2

“Products can be more than the sum of the functions they perform. Their real value can be in fulfilling people‟s emotional needs, and one of the most important needs of all is to establish one‟s self-image and one‟s place in the world.” Donald Norman, 2005

Norman, D. 2005. Emotional design: why we love (or hate) everyday things. Basic Books, New York, NY.


“Products can be more than the sum of the functions they perform. Their real value can be in fulfilling people‟s emotional needs, and one of the most important needs of all is to establish one‟s self-image and one‟s place in the world.”Donald Norman, 2005



Personal Identity

Appropriation

Steampunk

Theory


1 Personal Identity


Leary, M. 2004. Editorial: what is the self? A plea for clarity. In Self and Identity 3, 1-3.

Self

Syn. “Person”

Syn. “Personality”

Self-as-subject

Self-as-object

Self-as-doer



Self

Syn. “Person”


Self-as-subject

Self-as-object

Self-as-doer


Self-as-object

Self-as-object

ExperiencesExperiences

CharacteristicsCharacteristics

ThoughtsThoughts

BehaviorsBehaviors


IdentityThe unique set of experiences, characteristics, thoughts, behaviors, etc, recognizably defining an individual or community, and the relationships between them.


Markus, H., and Kitayama, S. 1991. Culture and the self: Implications for cognition, emotion, and motivation. In Psychological Review 98 (2), 224-253.

Oring, E. 1994. The arts, artifacts, and artifices of identity. In The Journal of American Folklore 107 (424), 211-233.


Odom, W. and Pierce, J. 2009. Improving with age: designing enduring interactive products. CHI EA '09. ACM, New York, NY.

Rosner, D. and Ryokai, K. 2008. Weaving memories into handcrafted artifacts with Spyn. CHI EA „08. ACM, New York, NY

AppropriationPersonal Identity


2 Appropriation


As with anything, there are varying degrees of appropriation.

Buechley, L., Rosner, D. K., Paulos, E., and Williams, A. 2009. DIY for CHI: methods, communities, and values of reuse and customization. CHI EA '09. ACM, New York, NY.

Carroll, J., Howard, S., Vetere, F., Peck, J., and Murphy, J. 2001. Identity, power and fragmentation in cyberspace: technology appropriation by young people. In ACIS 2001 Proceedings. Paper 6.




Integration into one‟s life

Creative customization


Creative customization and/or appropriation makes an object a creation of one‟s self rather than the creation of some “other.”




Appropriation The act of adapting an object to oneself in a way that not only redefines the object, but also relatesthe object to one‟s sense of self.

Ahde, P. 2007. Appropriation by adornments: personalization makes the everyday life more pleasant. DPPI „07. ACM, New York, NY, 148-157.

Dix, A. 2007. Designing for appropriation. BCS-CHI „07. BCS, Swinton, UK, 27-30.

March, W., Jacobs, M., and Salvador, T. 2005. Designing technology for community appropriation. CHI EA „05. ACM, New York, NY, 2126-2127.

McCarthy, J. and Wright, P. 2004. Technology as experience. MIT Press, Cambridge, Mass.Salovaara, A. 2009. Studying appropriation of everyday technologies: a cognitive approach. CHI EA „09. ACM, New York, NY, 3141-3144.

Wakkary, R. and Maestri, L. 2007. The resourcefulness of everyday design. C&C „07. ACM, New York, NY, 163-172.





Case study: Steampunk


3 Case Study: Steampunk


What is it?

February 26, 2010 Akah/Bardzell 30Jake von Slatt / http://www.steampunkworkshop.com/lcd.shtml


An “antiquated re-imagining of Cyberpunk set 100 years in the past rather than 100 years in the future.”

Gross, C. 2007. A History of Misapplied Technology: The history and development of the steampunk genre. In Steampunk Magazine: Lifestyle, Mad Science, Theory & Fiction 2 (2007), 54-61.


Do-it-yourself aesthetics redefining modern computing technology to create “a thing of beauty and a joy forever.”

Verbeek, P. and Kockelkoren, P. 1998. The things that matter. In Design Issues 14 3 (1998), 28-42.


How does it relate?


“Learning, creativity, practical problem-solving, perception, and action are central” to understanding the process of appropriation.

Salovaara, A. 2009. Studying appropriation of everyday technologies: a cognitive approach. CHI EA '09. ACM, New York, NY, 3141-3144.


ObservationsObservations

EtsyEtsy

FlickrFlickr

BlogsBlogs

InterviewsInterviews

DeviantArt

DeviantArt

ArtifactsArtifacts



EtsyEtsy

FlickrFlickr

BlogsBlogs


DeviantArt

DeviantArt

ArtifactsArtifacts


http://www.nifnaks.com/chatterings-blog/rugged-femininity-my-new-work-corset-21.html



EtsyEtsy

FlickrFlickr

BlogsBlogs


DeviantArt

DeviantArt

ArtifactsArtifacts

Fleming, E. 1974. Artifact study: a proposed model. In Winterthur Portfolio 9 (1974), 153-173.

http://www.slipperybrick.com/wp-content/uploads/2007/06/nerf-maverick-pistol.jpg

http://aimeekitty.deviantart.com/art/M-Cardea-Nerf-Steampunk-Gun-104850260http://www.slipperybrick.com/wp-content/uploads/2007/06/nerf-maverick-pistol.jpg

http://http://nerfmanianova.files.wordpress.com/2008/07/steampunk-painted-maverick.jpghttp://www.slipperybrick.com/wp-content/uploads/2007/06/nerf-maverick-pistol.jpg

http://www.terminally-incoherent.com/blog/wp-content/uploads/2007/11/maverick1.jpghttp://www.slipperybrick.com/wp-content/uploads/2007/06/nerf-maverick-pistol.jpg

http://www.instablogsimages.com/images/2009/05/04/demoralizer-nerf-gun_9kLul_54.jpghttp://www.slipperybrick.com/wp-content/uploads/2007/06/nerf-maverick-pistol.jpg

http://ny-image1.etsy.com/il_430xN.62938501.jpghttp://www.slipperybrick.com/wp-content/uploads/2007/06/nerf-maverick-pistol.jpg

http://fc03.deviantart.net/fs34/f/2008/289/0/7/Jules___Nerf_Gun_Mod_by_bdunn1342.jpghttp://www.slipperybrick.com/wp-content/uploads/2007/06/nerf-maverick-pistol.jpg

http://4.bp.blogspot.com/_7Q2dFrlwAqQ/ScJ11q7VJGI/AAAAAAAAATM/I8zrfwMZQ1c/s1600-h/ray+gun.JPGhttp://www.slipperybrick.com/wp-content/uploads/2007/06/nerf-maverick-pistol.jpg



EtsyEtsy

FlickrFlickr

BlogsBlogs


DeviantArt

DeviantArt

ArtifactsArtifacts


4 Proposed Theory


“Products‟ can be more than the sum of the functions they perform. Their real value can be in fulfilling people‟s emotional needs, and one of the most important needs of all is to establish one‟s self-image and one‟s place in the world.” Donald Norman, 2005



So.


The designer (you)


must design an artifact whichempowers the user to


interpret,

56Akah/BardzellFebruary 26, 2010

http://voyagesofdrfabre.blogspot.com/2010/01/steampunk-communication-re-worked.html


interpret, adapt,


http://www.geekologie.com/2009/12/man_builds_himself_a_steampunk.php


interpret, adapt, and alter


http://www.steampunkworkshop.com/steampunk-strat.shtml


the artifact to encourage personally identifiable appropriations.


TheoryThe designer (you) must create an artifact which empowers the user to interpret, alter, and adapt the artifact to encourage personally identifiable appropriations.


5 Summary


Personal Identity

Appropriation Steampunk Theory


Personal Identity


ExperiencesCharacteristicsThoughtsBehaviors


Personal Identity


DeconstructsConstructsShapesConditions


Personal Identity


In short…

Just because you‟re done with a design doesn‟t mean your user is.

[email protected]://siriomi.com/blog

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empowering products...emotional design: why we love (or hate) everyday things. basic books, new...

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