Chapter 3. How it works

CHAPTER 3

How it works: Generative Tools and Techniques Context Mapping/IID3014, 2019 Fall Class hours : Thursday 2:00 – 5:50 pm Lecture Room : International Campus Veritas Hall B 204/309 10th October 2019

Contextmapping : experience from practice Visser, F. S., et al. (2005) CoDesign Vol. 1, No. 2, pp. 119-149.

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Introduction • Information about the contexts − In combination with information about the company (e.g. marketing, production capabilities) and about the skills of the design team (multidisciplinary: professional designers, engineers, usability professionals) the contexts of product use form an innovative base for human-centred design (Sanders and Dandavate, 1999).

• Participatory Design − users and other stakeholders participate in the design process to ensure that the resulting designs fit the way people will actually use the product in their own lives.

• Cultural probes (Gaver, Dunne and Pacenti, 1999) and generative techniques (Sanders, 2001) − aim to create context awareness by eliciting emotional responses from the participants.

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Basic Principles • The definition of context − ‘the environment of human-computer interaction’ − We use the term context to refer to ‘all factors that influence the experience of a product use’. − Studying the context of product use helps designers to gain empathy with users, to avoid fixation on preset assumptions about the user or the product, and to create innovative concepts on how a product can be experienced.

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Basic Principles • Context vs. Experience − A context has components of time and space, whereas experience always occurs in the context of time. − An experience is a subjective event, felt only by the person who has the experience. − An experience can be ephemeral, i.e., lasting only for the moment. It is the point where memory and imagination meet. A basic mechanism in generative techniques is to let people construct a view on the context, by calling up their memories of the past and by eliciting their dreams of the future.

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Basic Principles

Figure 2. The experience domain (adapted from Sanders, 2001).

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Basic Principles

Figure 3. Different levels of knowledge about experience are accessed by different techniques.

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The contextmapping process

Figure 4. Procedure of a contextmapping study.

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The contextmapping process • Preparation − The formulation of goals, planning, selecting participants, choosing techniques • Sensitization − Sensitizing is a process where participants are triggered, encouraged and motivated to think, reflect, wonder and explore aspects of their personal context in their own time and environment.

• Sessions − a meeting in which participants do generative exercises. − Participants receive instructions and sets of expressive components, and create artefacts that express their thoughts, feelings, and ideas.

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The contextmapping process • Analysis − The artefacts created by the participants contain many stories and anecdotes related to the topic. − The stories and anecdotes are usually recorded on video and audio. − Transcriptions of the verbal protocol are also made. − The study is not meant to support or reject existing hypotheses, but to explore the context, uncover unexpected directions, and widen the view of the design team.

• Communication − The final step is bringing the results to the design process. − Techniques that are more interactive, such as workshops, cardsets, and persona displays can be used to enhance the design team’s understanding for and empathy with users.

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Preparing the study • Goal statements − how to set-up exercises for the sensitizing package and for the sessions, and how to analyse and communicate the findings.

• Preliminary mapping • Participant selection • Sensitization − Disposable camera − Workbook − Diary − Postcards

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Preparing the study • Creation of sensitizing packages − The design of the sensitizing package is playful and professional at the same time. − The subject of the sensitizing package is usually broader than the subject covered in the sessions. − The sensitizing package stimulates participants to reflect on a daily pattern over a few days, and in this way they will slowly become more aware about their experiences. The diary exercise is one way of doing this. Taking photos over a number of days is another way. − The design of the sensitizing materials invites participants to write their ideas or impromptu comments. − Working on the sensitizing packages should require people no more than five to ten minutes per day (often they will do a lot more, though).

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Sessions with Users Table 2. Timetable used for group sessions in the high security admittance project time

action

5 min

Introduction

Explaining set up session, goal and that they are experts on their own experiences

5 min

Warm-up

Introduction of participants by explaining their bunches of keys

Exercise 1: collage of being admitted

Use these pictures and words to express how you feel about being admitted in the broadest sense

20 min

‘‘Make’’ part

20 min

‘‘Say’’ part

Present collage

10 min

Discussion

Reaction on each other’ stories

5 min

break

Exercise 2: draw ideal ritual

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checklist

Make a drawing (or collage) to express your ideal ritual of being admitted in a building in the future (2050). Express how it feels

20 min

‘‘Make’’ part

20 min

‘‘Say’’ part

Present drawing

20 min

Discussion

Reaction on each other’ stories

20 min

Remain talking

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Sessions with Users

Figure 7. Mapping exercise of a routine in your kitchen.

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Communicating the knowledge

Figure 8. A raw data compilation: Part of a collage representing the kitchen experience of one of the participants (from van Beusekom, 2005). Parts of the actual data, photos of the sensitizing package and anecdotes of the transcript are combined to present the context of the kitchen for each participant.

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The different roles of the researcher, designer, and user

Figure 9. The involvement of the stakeholders varies through the stages of the study.

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The experience of shaving: A case study • The aim of the study − To learn about the shaving experience of men and to create a map for designers which describes the context of shaving. − To gather functional and affective information to inspire design teams in designing products for a new shaving experience.

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Research Procedure • At the start, − we had no particular product in mind.

• The target group for the study − consisted of men with ages between 20-60 who shave at least once a week. − It contained men who were dry and wet shavers.

• Recruitment − A recruitment agency for marketing research selected and recruited 10 participants from their database.

• Two sessions with five participants each were set up. − We used a diary as a means of sensitizing the participants before they came to the generative sessions. − In the sessions the collaging technique was used because we needed rich and emotional input about shaving.

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A.1. Preparation and planning

Figure 1. An overview of the research plan.

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A.1. Preparation and planning

Figure 2. Mindmap about the shaving experience made before the research.

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A.2. Sensititization

Figure 3. One of the exercises in the diary. The instructions say: ‘Make notes for five days when you do these body care activities. This is the page for the fifth day’. On the right page: ‘Use these smiley stickers to mark moments when you feel good and attractive. Use the sad sticker to mark when you feel bad concerning body care.’

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A.2. Sensititization

Figure 4. An example of a filled-in diary page from the exercise above.

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A.3. The sessions Table 1 Timetable of two and a half-hour session with moderator’s checklist.

Time

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Action

Checklist

5 min.

Introductions

Goal: insight into experience, You are the expert, Basic rules

5 min.

Warm-up

Images of animals Every participant selects a picture of an animal with which he can identify most and presents the animal and himself to the group.

5 min.

Instructions for collage making

Use the images and words to make associations and to bring back memories about shaving this morning or whenever.

20 min.

Collaging “the shaving environment”

Environment of shaving: where, what, who, when, situation, seeing, feeling, hearing, scenting, tasting, mood? Think about the last time you shaved.

25 min.

Present collages

Explain your collage to the group. You can react to each other’s stories.

10 min.

Group discussion

Reacting on each other’s stories

15 min.

Collaging “feeling before, during and after shaving”

Why do you shave, how do you feel, how do you feel about shaving, what happens, are there changes: your feelings and state of being, what is the effect?

25 min.

Present collages

Explain your collage to the group. You can react to each other’s stories.

15 min.

Group discussion: Ideal having exercise with attributes for aliens

What would be the ideal situation? What should shaving be like in the future?

5 min.

Closing comments

15 min.

Walk out

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A.3. The sessions

Figure 5. Participants making their first collage.

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A.3. The sessions The environment where I shave: 1) I immediately have memories about what shaving was like when I was doing military service. It was bad. You were always feeling dirty, and you had to shave dry. It was obligatory. I really hated it. Being dirty, not washed and then shaving! That’s why I put the penknife picture above. There shaving was always in the open air and after two weeks of exercises you were really dirty. Bad memories.

2) On the other hand I like shaving in the open air on holidays. I take time for doing it and I shave wet and it feels so fresh in the open air. I go on sailing holidays sometimes.

Figure 6. One of the collages including part of the story told by one of the participants.

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3) Yeah, and normally shaving for me is a nine to five thing, every day to the office. I do not shave myself in the bathroom, but in my study room. I shave myself dry when sitting on my desk. While shaving I check myself in a small magnifying mirror and meanwhile I always smoke a cigarette. After shaving I clear my electric razor by knocking it against my trash can‌.

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A.4. Analysis

Figure 7 The sessions produce a wealth of data: diaries, collages, videotapes of the sessions.

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A.4. Analysis

Figure 8. A participant tells his story by presenting his collage.

Figure 9. Notes by one of the researchers about one participant’s collage. Here the researcher explored the videotapes to see if the way of presenting (order of topics, intonation, gestures, composition, etc) reveals extra information.

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A.4. Analysis • P11: I do not shave, I trim my beard!

• P12: I always shave a bit on good luck • P13: I actually shave dry. Just routine.

• P14: Sometimes I sing a song while I’m shaving!

• P21: I hate shaving. It irritates me!

• P22: I think it is kind of sexy.

• P23: I want to be free in choosing when I want to shave.

• P24: I get a kick from making very straight lines in the foam on my face while shaving Lecture #6

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A.4. Analysis • The last step consisted of creating an overview of the overall shaving experience across all the participants. We made interpretations about: − The goals men want to achieve by shaving: Feeling fresh, being attractive, waking up, etc. − The meanings of shaving: obligation, to be creative with your looks, to treat yourself well, etc. − The emotions men have towards shaving: Happy, sad, angry, excited, bored, etc.

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A.5. Communication of the results

Figure 10. The personal cardset.

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A.5. Communication of the results

Figure 11. Front side of one card.

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A.5. Communication of the results

Figure 12. Designers using the information while generating ideas.

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A.6. Concepts

Figure 13. One of the concepts: A shaving device which allows your fingertips to immediately feel the effect. By feeling every move, the shaver may build a memory of the shaving actions on his skin because it is ‘in his fingertips’.

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Generative Tools for Co-designing Sanders, Elizabeth. (2000). Collaborative design: Proceedings of CoDesigning 2000. London: Springer. pp3-12.

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‘Dreams are the stuff the future is made of.’

(Jensen, R., 1999) Whose dreams are the stuff the future is made of?

The dreams of CEOs? Technologists? Business people?

Or the dreams of everyday people?

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Imagine

Everyday people into the center of the design development process, respecting their ideas and desires. People-centered design is a process of discovering possibilities and opportunities, with people

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The Journey

We are on a journey toward a future being made from the dreams of everyday people.

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The Landscape Grows

Types

Domains • information/communication design (e.g., packaging and user assistance materials); • user interface design (e.g., for computer and communications devices); • environment design (e.g., retail environments); • design of branding strategies.

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toolkits made up of twodimensional components (e.g., paper shapes and color photographs);

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toolkits made up of threedimensional components (Velcrocovered forms together with Velcro-backed buttons, knobs and panels);

•

toolkits designed to elicit the expression of stories and narratives over time.

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Tools for Remembering ‘ What is your typical weekday evening like?’

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Tools for Thinking ‘How do you expect your work to change in the future?’

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Tools for Mapping ‘Make a pet store that meets your needs as a dog (cat, horse, etc.) owner.

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Tools for Visioning ‘What will your work environment feel like in the future?’

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Tools for Feeling “Use pictures and words to show a health-related experience in your past.’

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Tools for Storytelling ‘Tell us a story about your life with consumer products at home.’

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Tools for Dreaming

‘Use shapes and stickers to make spaces for your ideal home experience.’

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CHAPTER 3 How it works: Generative Tools and Techniques Sanders, E. B.-N., & Stappers, P. J. (2013). Convivial toolbox: generative research for the front end of design.

Amsterdam: BIS Publishers.

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Say, Do, and Make Tools and Techniques

SAY

DO

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Make

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Say, Do, and Make Tools and Techniques • What People Do − who does the observation? − How intrusive is the research? − What media are used to document the phenomenon? (eye, words on paper, diagrams on paper, photography, video, etc.)

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Say, Do, and Make Tools and Techniques • What People Say Questionnaires, polls, and interviews − Who talks? − Is there a pre-determined structure? − The media/ form dimension (interviews, group sessions or surveys can conduct face-to-face, online, through the mail or on the telephone. documented including audio-recoding, videorecording, or note-taking, etc.)

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Say, Do, and Make Tools and Techniques • What People Make People making things to express their thoughts and feeling and involve by having them perform a creative act with respect to the subject under study. − Dimensionality (2 or 3-dimensional materials) − Content − Time Lecture #6

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Ingredients of Make Toolkits

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Types of Make Toolkits • Emotional toolkit • Storyline toolkit • Cognitive toolkit • Group cognitive toolkit • Dolls' house toolkit

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Types of Make Toolkits • Emotional toolkit − Photos and words (or phrases) are used for eliciting memories from the past. The backdrop might be blank, allowing the participant to define its structure. Or the backdrop may be predefined to elicit specific content.

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Types of Make Toolkits • Storyline toolkit − This toolkit optimized for the expression of a story. A timeline running from left to right defines the flow od time. Visual and verbal elements might be included to facilitate thinking and expression.

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Types of Make Toolkits • Cognitive toolkit − A range of simple and symbolic shapes combined with words can be used to express relationships between ideas or components.

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Types of Make Toolkits • Group cognitive toolkit − created for group use, its elements must be bigger, do that it can be handled by multiple people at the same time, and be read from a distance.

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Types of Make Toolkits • Dolls' house toolkit − For focused applications, especially later in a session when attention is drawn to creating concrete solutions, toolkits can be more representational instead of abstract. They can also be scale models, or 1:1 models.

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A sensitizing toolkit • Context mapping (photos, videos, workbooks, and collages) workbook, Polaroid camera, and material to express their experiences around footwear. (let participants realize their own routines, habits, and feelings around a topic)

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Procedure of contextmapping (Sleeswijk Visser et al, 2005)

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Next Week Reading List • Download From YSCEC > Context Mapping > Week 07 Reading −

Isbister K. (2010) Enabling Social Play: A Framework for Design and Evaluation. In: Bernhaupt R. (eds) Evaluating User Experience in Games. Human-Computer Interaction Series. Springer, London http://link.springer.com.ssl.access.yonsei.ac.kr:8080/chapter/10.1007/978-1-84882-963-3_2

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T. S. Perry, "Virtual reality goes social," in IEEE Spectrum, vol. 53, no. 1, pp. 56-57, January 2016. http://ieeexplore.ieee.org/stamp/stamp.jsp?tp=&arnumber=7367470&isnumber=7367433

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Joshua McVeigh-Schultz, Elena Márquez Segura, Nick Merrill, and Katherine Isbister. 2018. What's It Mean to "Be Social" in VR?: Mapping the Social VR Design Ecology. In Proceedings of the 2018 ACM Conference Companion Publication on Designing Interactive Systems (DIS '18 Companion). ACM, New York, NY, USA, 289-294. DOI: http://doi.org.ssl.access.yonsei.ac.kr:8080/10.1145/3197391.3205451

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