conceptualizing the maker - presentation

MAKEREmpower ing persona l ident i ty through creat ive appropr ia t ion

Binaebi AkahAdvised by Shaowen Bardzell

April 20, 2010HCI/d, School of Informatics and Computing, Indiana University

Conceptualizingthe

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“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.”

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

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“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.”

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

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“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.”

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

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“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.”

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

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“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.”

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

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“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.”

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

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Framework

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“Designers are seen as creative people, often indistinguishable from artists.”

Gross, M. D. and Do, E. Y. 2007. Design, art, craft, science: making and creativity. SoD '07, vol. 364. ACM, New York, NY, 9-11.

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Perfect designs = perfect users

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Who is this “Maker?”

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Personal Identity

Appropriation

Steampunk

Maker

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Personal Identity

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

Self

“Person”

“Personality”

Self-as-subject

Self-as-object

Self-as-doer

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

Self

“Person”

“Personality”

Self-as-subject

Self-as-object

Self-as-doer

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Self-as-

object

Experiences

Characteristics

Thoughts

Behaviors

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

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

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.

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Appropriation

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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.

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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

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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

37

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

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

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“People show social relationships as well as their own history with the objects they own.”

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

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Appropriation The act of adapting an object to oneself in a way that not only redefines the object, but also relates the 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.

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Appropriation

Personal Identity

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Appropriation

Personal Identity

Case study: Steampunk

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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Case Study:

Steampunk

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Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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Fleming Model

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

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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Fleming ModelIdentificationEvaluationCultural AnalysisInterpretation

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

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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“Futuristic technological interpretation of the past.”

Steampunk costume player

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http://www.oldtimecomputer.com/oldtimecomputer/home.htmlFleming, E. 1974. Artifact study: a proposed model. In Winterthur Portfolio 9 (1974), 153-173.

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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Insights

Affordability

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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“Pull something out of the trash, experiment, rip out the parts until you know how to fix it.”

Steampunk inventor/artist

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http://www.nifnaks.com/chatterings-blog/rugged-femininity-my-new-work-corset-21.htmlFleming, E. 1974. Artifact study: a proposed model. In Winterthur Portfolio 9 (1974), 153-173.

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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Insights

AffordabilityExperimentation

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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“I can’t understand how a computer chip works. But I can conceptualize a watch, and it’s amazing.”

Steampunk digital artist

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http://www.instructables.com/id/steampunk-keyboard/Fleming, E. 1974. Artifact study: a proposed model. In Winterthur Portfolio 9 (1974), 153-173.

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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Insights

AffordabilityExperimentationLearning

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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“The Victorians made everyday objects beautiful.”

Steampunk seamstress

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http://steampunkworkshop.com/keyboard.shtmlFleming, E. 1974. Artifact study: a proposed model. In Winterthur Portfolio 9 (1974), 153-173.

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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Insights

AffordabilityExperimentationLearningModification

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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“The computer is this sad lump of beige plastic and metal. It should look like its importance.”

Steampunk inventor/artist

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http://steampunkworkshop.com/wooden-steampunk-keyboard-modFleming, E. 1974. Artifact study: a proposed model. In Winterthur Portfolio 9 (1974), 153-173.

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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Insights

AffordabilityExperimentationLearningModificationSuggestion

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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“Steampunk is growing to encapsulate the maker’s DIY creative grungy appreciation for tangible items.”

Steampunk costumer

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http://www.thebestcasescenario.com/forum/showthread.php?t=16924Fleming, E. 1974. Artifact study: a proposed model. In Winterthur Portfolio 9 (1974), 153-173.

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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Insights

AffordabilityExperimentationLearningModificationSuggestionTransparency

Artifacts

Interviews

Blogs

DeviantArt

Flickr

Etsy

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“The maker culture is bigger than and supersedes Steampunk.”

Steampunk inventor/artist

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Conceptualizing the Maker

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Makers see technological artifacts as “creative resources.”

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

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ArtifactUtilize

Interpret

Alter

Adapt

Explore

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Gross, M. D. and Do, E. Y. 2007. Design, art, craft, science: making and creativity. SoD '07, vol. 364. ACM, New York, NY, 9-11.

ArtifactUtiliz

e

“Knowledge of materials is fundamental to making.”

72

Janlert, L. and Stolterman, E. 1997. The character of things. In Design Studies 18, (1997), 297-314).

Artifact

Interpret

“Manipulate the [artifact] to

evoke emotions or induce beliefs.”

73

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, 4823-4826.

Artifact

Alter

“Improve rather

than deteriorat

e with age.”

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Galloway, A., Brucker-Cohen, J., Gaye, L., Goodman, E., and Hill, D. 2004. Design for hackability. DIS '04. ACM, New York, NY, 363-366.

Artifact

Adapt

“Create spaces for play.”

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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.

Artifact

Explore

“‘Unpack’ the parts or functions.”

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Summary

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Personal Identity

Appropriation Steampunk Maker

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Personal Identity

Appropriation Steampunk Maker

ExperiencesCharacteristicsThoughtsBehaviors

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Personal Identity

Appropriation Steampunk Maker

DeconstructsConstructsShapesConditions

81

Personal Identity

Appropriation Steampunk Maker

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Personal Identity

Appropriation Steampunk Maker

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Personal Identity

Appropriation Steampunk Maker

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Personal Identity

Appropriation Steampunk Maker

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Personal Identity

Appropriation Steampunk Maker

In short…

Designing for design empowers appropriation. Let’s create a dialogue with which makers can engage.

Designing for design empowers appropriation. Let’s create a dialogue with which makers can engage.

Designing for design empowers appropriation. Let’s create a dialogue with which makers can engage.

Designing for design empowers appropriation. Let’s create a dialogue with which makers can engage.

Acknowledgements

Thanks.

Questions?

Existing Examples in the Wild• Utilize• Interpret• Alter• Adapt• Explore

• Amazon.com• Twitter• Gmail, iGoogle• Adobe toolbars• Wikipedia

Limitation of the Study

• 9 interview subjects• Approximately 15 artifact analyses