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Frames: Notes on Improvisation and Design

by Liz Danzico on Feb 07, 2010

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Social spaces, private spaces, unfamiliar spaces—no matter where, people can detect even subtle frameworks and etiquettes. As our relationship to products, services, and to one another has been ...

Social spaces, private spaces, unfamiliar spaces—no matter where, people can detect even subtle frameworks and etiquettes. As our relationship to products, services, and to one another has been transformed over the past few years, entirely new frameworks have emerged.

These conditions signal a shift. People are being asked to improvise, to frame their own experiences. The designer merely sets out opportunities for people to use—to perceive connections and take advantage (or not) of a framework. But how do people know how to improvise?

Drawing on improvised models from urban planning to jazz, we investigate improvisation at work and illustrate directions interactions designers might take in understanding how frameworks take hold.

http://interaction.ixda.org/program/sessions/interaction-and-improv/

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Frames: Notes on Improvisation and Design Presentation Transcript

INTERACTION 10 FEBRUARY 5 2010 FRAMES: NOTES ON IMPROVISATION AND DESIGN LIZ DANZICO MFA INTERACTION DESIGN / SCHOOL OF VISUAL ARTS

How can we create meaning?

Where is the balance?

What if we allow improvisation?

We create FRAMES that allow people to IMPROVISE.

DEFINITION FRAME Unstated rules implicitly set by the character of some entity where the interaction occurs

DEFINITION IMPROVISE Creating in the moment in response to environment; results in invention of new patterns, practices, structures, behaviors

IMPROVISATION CREATOR CONSUMER

TODAY History Relevance Improv in practice Meaning for design Future contributions

01 Some history, borrowed

1970s

NYC 1959

JOHN COLTRANE, MILES DAVIS, 1959

MILES DAVIS, 1959

Classical notation:

Jazz notation:

GIANT STEPS Courtesy Dan Cohen

Modal jazz:

4 g4 qq qq qqqq

MUSIC FRAMES Classical Leaves no room for participation Requires prior knowledge Judged on “right way” Evaluated as fixed in time Viewed as sets of “original works” Stability

MUSIC FRAMES Classical Jazz Leaves no room for participation Based on participatory methods Requires prior knowledge Requires little prior knowledge Judged on “right way” Judged on deviation from original Evaluated as fixed in time Evaluated as interactive Viewed as sets of “original works” Viewed as “interpreted works” Stability Creative instability

DESIGN FRAMES Closed Required specialized knowledge Judged on “right way” Left no room for participation Evaluated as fixed in time Viewed as original work

DESIGN FRAMES Closed Emergent Required specialized knowledge Requires no specialized knowledge Judged on “right way” Judged on deviation from original Left no room for participation Based on participatory methods Evaluated as fixed in time Evaluated as interactive Viewed as original work Viewed as mediated content

SHIFTS Closed Emergent Artifacts Behaviors Predetermined Present

ORAL TRADITION Orality + Literacy

MILMAN PARRY

02 What does improv look like?

“improvisation”

“throw together”

“speak off the cuff”

“whip up”

“off the top of my head”

“without a net”

“fly by the seat of my pants”

4 PATTERNS Attributes Present Involves the audience Detectable Requires no pre-knowledge Responsive Defines parameters Additive Accepts all offers

3 people 1 sentence “Yes, and...”

“OVERTHINKING”

03 Why is improv relevant today?

TRADITIONAL PRACTICE CONSUMER CREATOR

TRADITIONAL PRACTICE CONSUMER CREATOR Design Release Use

EVOLUTION WITH USE CO-CREATOR CREATOR Design Release Use

PRINT VERSUS DIGITAL CONSUMER CREATOR Compose Transmit Interpret

ORAL TRADITION ORAL POET AUDIENCE Compose Interpret Transmit

DESIGN PRACTICES Traditional: Emerging: designing products designing for a purpose vis communication design for experiencing interior space design for emotion product design for interacting information design for sustainability architecture for serving planning for transforming SOURCE: Liz Sanders & Pieter Jan Stappers

Designing for improvisation

04 What does improv suggest for design?

4 PATTERNS Attributes Present Involves the audience Detectable Requires no pre-knowledge Responsive Defines parameters Additive Accepts all offers

1 Present: Involve the audience

STREET VENDORS

2 Responsive: Define parameters

hello health

3 Detectable: No pre-knowledge

JETBLUE STORY BOOTH

4 Additive: Accepting all offers

POP-UP LUNCH

ZERO ENERGY MEDIA WALL

05 What can designers contribute?

Facilitators of improv?

POSSIBLE FUTURES ?

POSSIBLE FUTURES

PHOTO CREDITS flickr.com/photos/kazzajimmy/ jazzloftproject.org/ scientificblogging.com/news_releases/ greenpix.org/ “YES, AND:” flickr.com/photos/opalsson/ flickr.com/photos/arcticpuppy/ flickr.com/photos/kaeru/3133393620/ flickr.com/photos/27052570@N03/ flickr.com/photos/21204781@N07/ flickr.com/photos/watz/ flickr.com/photos/diebmx/ flickr.com/photos/matrixsynth/ flickr.com/photos/sigma/ PAPERS: maketools.com/pdfs/CoCreation_Sanders_Stappers_08_preprint.pdf

THANK YOU. LIZ DANZICO MFA INTERACTION DESIGN / SCHOOL OF VISUAL ARTS @bobulate

Objective Digital at Objective Digital Great show, realy made me think. I look forward to the vid! 3 years ago

Are you sure you want to

Liz Danzico at Studio For anyone who's going to follow along with the notes to this talk slide by slide, they're all out of synch. Something with the way they were translated with the upload.

The video will be out soon. 3 years ago