conceptualizing the maker - presentation
DESCRIPTION
This research thesis attempts to define an existing subset of end users as makers. These makers bridge the gaps between technological gadgets, creative appropriation, and identity through their bricolage of hacking, crafting, online tutorials, and the materials and knowledge ready at hand. Further, in studying makers this thesis refers to the exploding online and offline culture of Steampunk as a case study. What can the field of Human-computer Interaction learn from the Steampunk makers? What will you, as an interaction designer, do to empower and facilitate such personally identifiable creative acts? What will you do to make appropriation possible?TRANSCRIPT
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.
4
“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.
5
“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.
6
“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.
7
“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
29
Self-as-
object
Experiences
Characteristics
Thoughts
Behaviors
30
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
34
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.
35
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
44
Appropriation
Personal Identity
Case study: Steampunk
Artifacts
Interviews
Blogs
DeviantArt
Flickr
Etsy
45
Case Study:
Steampunk
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Artifacts
Interviews
Blogs
DeviantArt
Flickr
Etsy
Artifacts
Interviews
Blogs
DeviantArt
Flickr
Etsy
47
Fleming Model
Fleming, E. 1974. Artifact study: a proposed model. In Winterthur Portfolio 9 (1974), 153-173.
Artifacts
Interviews
Blogs
DeviantArt
Flickr
Etsy
48
Fleming ModelIdentificationEvaluationCultural AnalysisInterpretation
Fleming, E. 1974. Artifact study: a proposed model. In Winterthur Portfolio 9 (1974), 153-173.
Artifacts
Interviews
Blogs
DeviantArt
Flickr
Etsy
49
“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
55
“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
57
Insights
AffordabilityExperimentationLearning
Artifacts
Interviews
Blogs
DeviantArt
Flickr
Etsy
58
“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
60
Insights
AffordabilityExperimentationLearningModification
Artifacts
Interviews
Blogs
DeviantArt
Flickr
Etsy
61
“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
63
Insights
AffordabilityExperimentationLearningModificationSuggestion
Artifacts
Interviews
Blogs
DeviantArt
Flickr
Etsy
64
“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
66
Insights
AffordabilityExperimentationLearningModificationSuggestionTransparency
Artifacts
Interviews
Blogs
DeviantArt
Flickr
Etsy
67
“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
71
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.”
74
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
82
Personal Identity
Appropriation Steampunk Maker
83
Personal Identity
Appropriation Steampunk Maker
84
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