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
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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
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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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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
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Artifacts
Interviews
Blogs
DeviantArt
Flickr
Etsy
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Case Study:
Steampunk
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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.
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Fleming ModelIdentificationEvaluationCultural AnalysisInterpretation
Fleming, E. 1974. Artifact study: a proposed model. In Winterthur Portfolio 9 (1974), 153-173.
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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.
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Insights
Affordability
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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.
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Insights
AffordabilityExperimentation
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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.
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Insights
AffordabilityExperimentationLearning
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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.
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Insights
AffordabilityExperimentationLearningModification
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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.
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Insights
AffordabilityExperimentationLearningModificationSuggestion
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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.
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Insights
AffordabilityExperimentationLearningModificationSuggestionTransparency
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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.”
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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.”
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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, 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
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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
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Personal Identity
Appropriation Steampunk Maker
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In short…
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Designing for design empowers appropriation. Let’s create a dialogue with which makers can engage.
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Designing for design empowers appropriation. Let’s create a dialogue with which makers can engage.
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Designing for design empowers appropriation. Let’s create a dialogue with which makers can engage.
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Designing for design empowers appropriation. Let’s create a dialogue with which makers can engage.
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Acknowledgements
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Thanks.
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Questions?
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Existing Examples in the Wild• Utilize• Interpret• Alter• Adapt• Explore
• Amazon.com• Twitter• Gmail, iGoogle• Adobe toolbars• Wikipedia
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Limitation of the Study
• 9 interview subjects• Approximately 15 artifact analyses