P3, W11, Trial, Diversions of Typographical Setting

P3, W11, Rough, Diversions of Typographical Setting

Screen shots of an approach to the project, Diversions of Typographical Setting.

BACKGROUND:
What kinds of intervention in software can cause a user think critically on a process of typographical settings?

ASSUMPTIONS:
“Reflectives Lock” on a keyboard activates a supplement software.
“Reflectives Mode” through mouse-right-click activates a supplement software as well.
A supplement software has two sets of mode; objective mode and subjective mode.
In subjective mode, “Diversions of Typographical Setting” has check boxes under each distinctive.

The Reflective Mode claims to evaluate current conditions of typographical setting. The RM pauses a moment of a progression of typographical settings and provides a list of diversions. Diversions are alternatives for critical judgments of typographical settings.

The diversions can be updated, co-edited and ranked by users.

APPROACH:
1. access a supplement software through keyboard or mouse click.
2. select a subjective mode.
3. go through diversions under the subjective mode.
4. anticipate additional diversions.

CURRENT & NEXT STEP:
I wanted to set a scenario of alternatives in typographical setting. I thought what if I can approach my inquiry with only words (manual task) without numerals (default set). I thought typographical setting through words rises intuitive senses and interrupts preoccupied judgments. Further possible scenario, for instance, can be add secondly options (badly or goodly) at a judgmental word (Grotesque). If so, it is possible to get “goodly Grotesque.” Or a judgmental word can be intertwined with other diversion words in other lines.

Even though my approach can be written in diversions, feedback of diversions can not be proven (I am not sure how this trial really influence actual type set). Perhaps, in this context, puzzle-like wordings are a value of reflective own judgment in process. I want to discuss about a concept/representation of diversions. How can diversions be embedded in the physical processes involving the physical handing of the medium?

P2, W6, Rough, Ideation

Screen shot of conceptualization of Gallery at Favicon by him

P1, W5, Representation, A Cultural Probe

Screen capture of The Soap Care scenario, accompanied by The Heeding Instruction, by him

What:
current R&D project from the coffee shop experience by design perspective

How:
reconfigure new concepts from new experience in design process
1. experience Cup A Joe (local coffee house)
2. describe experience through customers
3. write a personal story (fiction or non-fiction)
4. intervene a moment of certain experience
5. create a condition of the moment
6. represent A Cultural Probe (feedback system from people) by design

Where:
Cup A Joe

Who:
customer as designer

When:
a moment of intervention at the space

Note:
Base on the design process, I made a kit for the Soap Care. The concept of Soap Care is bringing a shortened and metaphoric coffee bean heeding experience through washing one's hands experience. The framework of the concept development is envisioning ritual moment by the Soap Care kit and providing *conditions of the Soap Care experience to customer.

*conditions: a moment of pause (through ritualistic break), intervention through conditions, gently shift perspective

P5, W18, Ideation, Re-do

A gift

Scenes:
In the future...artistic-designer exchange his/her process such as thumbnail sketches, mock-ups, key words (or brief, intent or statement), synopsis, and so forth through mailing box/envelop/card upon sender’s decision.
However, a thing that want to be exchanged as a process should be half of its volume/measure/dimension, in other words, rip in two and pack only one part through postal service.
A sender includes a prepaid form for the future delivery for hinting a receiver would be another sender. A friendship between sender and receiver already has built but no clue what an exact thing will have before disclose a delivered thing.
So there is freedom to fill up another half with receiver’s interest (again, idea of thumbnail sketches, mock-ups, key words (or brief, intent or statement), synopsis, and so forth) in order to be a sender in next step.

Questions:
How can I embrace various size of works to be included next delivery box/envelop? What if earlier size is larger than current size of thing? It would be interesting a way to fold or deform bigger form into smaller form. In short, it is about way of resizing in order to mutate one to another.

How can future tech aid this interaction? What it looks like delivery box, for instance, shape/material/note? What about just keep a cardboard box. And then think ways of damage mine nicely or exchange a junk box or shake hand through box or on-off switch for evaluation (on-off switch has, for instance, turned on such as value ON, interest ON, potential ON, and so on,,,vice versa of its OFF)

Representation:
For the visualization of idea, I am thinking a quick prototype-like representation. For instance, (1) a sheet of paper printed with just a text of “thumbnail sketch” symbolizes artifact as a process and (2) a sheet of paper marked with a text “half of thumbnail sketch” connotes half of artifact and (3) a sheet of another paper printed with just a text of “8x12x3inches” signifies delivery box (or with silhouette of box) and so on....

P5, W15, Ideation, Stepstone II

Future Free Exchange

Q:
How can I find a person?
How can I build trust system?
What is faith and promise? (bond and honest)

Idea of
forget about artificiality of gallery, display, package...
back to nature of work desk, repeat, represent own work...
+ introduce my work and my mutual friends who I share interests
+ ethics of material, honest thread in material, form, and function
+ share invisible process

seek who i can trust...
who: person (true interests rather than social relational interests)
how: speciality (work place rather than background, credentials)
what: artifact (trust deal rather than fake deal)


person vs person
person vs artifact
artifact vs artifact
artifact vs idea, system (?)

P5, W15, Ideation, Stepstone

WHO: artist / designer, geographically local, not face-to-face
WHAT: free exchange of artifacts (future casted)
WHERE: mobile phone (future casted)

HOW IS INTERFACE...
mobile environment

attribute to consider
- trust quality of work through reputation
- value exchange (=?, mutual ideal point) through negotiation

platform
mobile phone (network)
- image
- text

feel this way to user < trustworthy person VS untrustworthy person
feel like < fair negotiation VS unfair negotiation

P4_3, W13, Rough Idea, Senario One

motivation:
I am motivated by to release a thing

experience:
I feel relieved.
context:
strain
environment:
virtual (online, offline)
digilog (offline and physical)
actual (physical)


references:
soft matter, granular material,
metamorphosis (tadpole, shapeshifting, mutant),

P4_2, W12, Myself in Wonderland

a whole lotta entry point...what the entry
(illusted by denise, photographed by me)


where am I entering?
(scribbled by me)

P4_2, W12, Ideation1

Motivation:
(making, building, shaping...)
kneading,
molding

Experience in Environment:
virtual/digital online (public site): publish it... mold, add more, poke, stretch//remote controller
virtual/digital offline (desktop): try it... mold, add more, poke, stretch//fingers
actual/physical (footpath): try it... mold, add more, poke, stretch//fingers, foot

Interface:
dough, clay, balloon...

P4_2, W12, Brainstorming for Ideations

feed backs

Interface:

need input and output in a certain timely manner

new form and distorted form upon interaction

form drive content vs content drive form

Next:
scratch, building, shaping, chunk, piece, blocking
what it looks like? elastic form, haptic, touch,

vapor/liquid/solid

soil, rock, water, balloon, paper ship on horizontal water

physical is physical speed//desktop is water speed//internet is sonic speed or jammed speed
stone with me //stone in water//stone with balloon
balling ball //

Stone vs Soil

snowballing effect

magnet effect//droplet//

publish stone (ice)

publish desktop stone (water)

publish online (vapor/balloon)

water type

TYPE DESIGN in different place in water / surface / air / ice

Tech Support:
water effect, vapor effect,
buy ishowU program

moment of contact//what is interface (WATER IN THE BALLOON with 3 STATUS/ICE+WATER+VAPOR at once)

Square shaped balloon//odd shaped balloon

online (digital, virtual) open space/community//air balloon
off line (digital, virtual) closed space/private//water balloon
our world (analog, physical)/home//iced balloon

bubble//water//ice

small balloon or chuck volume or mud

ocean//universe//home space//

weekly//monthly//seasonally

P4_2, W11, Rough Idea II

Project 4
Design Six Dynamic Interface Moments

1. Determine three motivations for a person to interact with an interface.
2. Determine three different possible attributes of experience a person might have interacting with an interface.
3. Using stop-frame animation, video, Flash, or mechanical means, combine a motivation with an experience in six different combinations.
4. Design six interactive moments.
5. The outcomes should afford user surprise, delight, and/or reflection.

Scenario 1
I am motivated by
to fall, flow, dive, expand, see, be safe, hold, try to do, find

An attribute of Experience is
peeking
transforming,

Scenario 2
An altered attribute of Experience that alters the motivation is
awakening
discovering
want to believe what I see

P4_2, W11, Rough Idea

Motivation:
unbalance, asymmetry
Insecure
Embrace
flood, out of control
out of focus

Experience:
energy, empowerment
moment of motion,
greed, possession
capturing, peek
violation,
transforming,
shadows,
colors,

Moment of interaction:

where: scanner.
what: silhouette of thing. form of object. on various colors
how: die-cut slow movement

Reference:
Golan Levin
silhouette
die cut

P3, W8, Due

A Crit Day, Week Eight, Project Three

P3, W8, Writing, Revised Text & Visualizing Text

Ever since the accident, all of my senses are awake—except my eyes.

Over the loudness of my heartbeat and breath, I hear a motor running—the refrigerator echoes off the hard floor. The arms of the clock scrape together on the wall behind me. A water droplet splashes on a pan in the sink. Outside, a dog barks in the distance. An ambulance siren swing by my house. A gust swirls oak leaves in my backyard. I feel brave. I feel alive.

An earthy smell teases my nostrils. Is it mushroom? Potato? Onion? An onion is a good way to start. I must find it.

I move to the counter, looking with my hands until my fingers and ears find the onion’s papery surface. Now I need a knife. My right hand recognizes the steel handle instantly.

My heart beats louder as I feel for the cutting board. By the time I make the first slice, my ears pounding so loudly that I can’t even hear the blade pass through the skin.

I am exhilarated. I am panicked. I feel the sting as darkened eyes fill with tears.

P3, W8, Class, Discussion and Reflections

Discussion:
(this=thing=interface)
- what make a participant motivate into this experience? how can this hook a potential participant?
- think about “what can we do with this?” rather than “what it is?”
- how do we read a thing as a text or see this as a type?
- what if we break the convention in hierarchy?
- what is difference between
metaphor and Metonymy
ambiguous and vague
reading and seeing (motivator vs onlooker)
- how can we change a default setting? what do we do with this type?
- “generative” keeps interface to run continuously

Next:
what is an essential aesthetic in this? focus/distill values
what is a questions and suggestions? potential critical position

Lesson:
circulate a participant through this text/type
distill a stigmatic code and other key codes in text
represent a spatial depth in type
represent a multi-track interaction in type
personify ambiguous meaning to overlapped body

challenge is not sweet but bitter. a bitterness disturbs a hidden sense. a hidden sense exhilarates me

P3, W8, Writing, Untitled

Ever since the accident, all of my senses are awake—except my eyes.
Over the loudness of my heartbeat and breath, I hear a motor running—the refrigerator echoes off the hard floor. The arms of the clock scrape together on the wall behind me. A water droplet splashes on a pan in the sink. Outside, a dog barks in the distance. An ambulance siren swing by my house. A gust swirls oak leaves in my backyard. I feel brave. I feel alive.

An earthy smell teases my nostrils. Is it mushroom? Potato? Onion? An onion is a good way to start. I must find it.

I move to the counter, looking with my hands until my fingers and ears find the onion’s papery surface. Now I need a knife. My right hand recognizes the steel handle instantly.

My heart beats louder as I feel for the cutting board. By the time I make the first slice, my ears pounding so loudly that I can’t even hear the blade pass through the skin.

I am exhilarated. I am panicked. I feel the sting as my darkened eyes fill with tears.

W7, Lecture, Literature in digital media

Meeting with Kate Hales and Stephanie Strickland at Duke was a fascinating experience to me in terms of developing my interest in current project, “Design a Typographic Interface.” I am inspired by their exploration in digital media through literature which is alike designer‘s exploration in digital media through design. Learning digital literature done by literature academia might reduce my struggles to find a path in design research. However, I wonder how can I distinguish two different fields. I need to analyze priorities, specialties, and possibilities between literature and design. And what can be a better scenario of collaboration in order to facilitate a multidisciplinary investigation. I think understand other field with an assistant of digital technology help. And open discussion and exchange are crucial in progress.

I have to learn how to write in design and develop own voice in writing to communicate visually in digital media.

Reference:
web supplement: user’s guide in writing machines
Technotexuality: An Interview with N. Katherine Hayles and Anne Burdick, author and designer of Writing Machines

P3, W7, Rough, A Moment

In order to find a searchlight in my dilemma, I would like to describe a moment earlier to be stuck in between darkness and cooking. It must be a moment earlier. It might be a second before happening. It should be a part of a spot of an edge of a cliff.

P3, W7, Rough, Cooking without Seeing

An idea from cooking in the dark, I try to describe a cooking moment in terms of sensory experience without seeing/tasting.

> the smell of cooking (or kitchen):
spicy, sweet, hot, smoky, flowery, fresh, alcoholic/fermented, green, citrus, savory, buttery, earthy, sour, fruity, burnt, acrid, pungent, garlicy, clean, rotten


> the texture of cooking (or kitchen):
smooth, rough, creamy, chewy, crunchy, soft, fibrous, tender, tough, pasty, sticky, oily, slimy, fluffy, jelly, crisp, hard, liquid, rotten or rotted, wet, dry, flaky, cold, hot, frozen, stuffy, stifle, crumble, rub


> the sound of cooking (or kitchen):
chopping, grinding, dishes, smoke alarm, sizzling, scraping, stirring, cabinets, opening/closing, pots and pans clanking, gas stove makes a sound when you turn it on, timer, microwave, water running, water boiling, steam from kettle or through the lid of a pot (hiss), crackle, fizz, splatter, clang of spoon on pot, clamp of lid on pot, sounds of refrigerator or ice maker in freezer, whisk, cracking an egg, simmering sound of a stew or something thick (different from water boiling), pouring liquid ingredients

Questions:
How can I visualize a behavior of experience of cooking without seeing?
recall:
blur a boundary of things, fuzzy edge, pixelation, finger tip senses, sound, atmosphere, spatial depth, trials, flow of slow motion, breathe slowly, survival game (have a fun in desperate condition), increase complexity (humidity/heat/ingredients mixing)
forget:
worrying, time, people, logic, speed, distractions, perfection, success/failure, good/bad, knowledge, information