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Culture Probes
  {   Dorian Lai
      User Experience Research Lab | INSIGHT Center
      August 1, 2011
A European Union–funded research project
    looking at novel interaction techniques to increase
    the presence of the elderly in their local
    communities.

    Three community sites:
       Majorstua, a district of Oslo

       Bijlmer, a large planned community near
         Amsterdam
       Peccioli, a small village outside Pisa.




Background
The cultural probes were designed to provoke
    inspirational responses from elderly people in
    diverse communities.




Purpose
   Understanding the local cultures was necessary so
        that our designs wouldn’t seem irrelevant or
        arrogant
       We didn’t want the groups to constrain our designs
        unduly by focusing on needs or desires they already
        understood.
       We wanted to lead a discussion with the groups
        toward unexpected ideas, but we didn’t want to
        dominate it.




Why Use Culture Probes?
   Maps
                    Postcards
                    Cameras
                    Booklets




Probe Packages
Example: Postcards
Example: Camera
We weren’t trying to reach an objective view of
     the elders’ needs through the probes, but instead
     a more impressionistic account of their beliefs
     and desires, their aesthetic preferences and
     cultural concerns.

     Role:
            Doctors(X)
            Servants(X)
            Provocateurs(√)




Inspiration, not Information
Sorting through the masses of maps, cards, and
    photographs that we received, strong and
    differentiated views of the three sites began to
    emerge. Some items acted as beacons for us

    Example:
          A photograph of friends at an Italian café
          A map of the Bijlmer with extensive notes about the
           “junkies and thieves” in the area
          A joke about death from Oslo.




The Returns
   In the Bijlmer, our ideas respond to the paradox
        of a strong community in a dangerous area: We
        have proposed building a network of computer
        displays with which the elderly could help
        inhabitants communicate their values and
        attitudes about the culture.
       The group in Oslo is affluent, well educated, and
        enthusiastic: We are proposing that they lead a
        communitywide conversation about social issues,
        publishing questions from the library that are
        sent for public response to electronic systems in
        cafés, trams, or public spaces.




From Probes to Designs
The probes didn’t directly lead to our designs. They
    were invaluable in making us aware of the detailed
    texture of the sites, allowing us to shape proposals
    to fit them.




User-Centered Inspiration
   What we learned about the elders is only half the
         story, however. The other half is what the elders
         learned from the probes.
        The probes helped establish a conversation with
         the groups.




User-Centered Inspiration (cont)
   Gaver, W., Dunne, T., and Pacenti, E. Cultural
        Probes. Interactions. Vol VI, No. 1
        January+February (1999), 21-29.




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Culture probes

  • 1. Culture Probes { Dorian Lai User Experience Research Lab | INSIGHT Center August 1, 2011
  • 2. A European Union–funded research project looking at novel interaction techniques to increase the presence of the elderly in their local communities. Three community sites:  Majorstua, a district of Oslo  Bijlmer, a large planned community near Amsterdam  Peccioli, a small village outside Pisa. Background
  • 3. The cultural probes were designed to provoke inspirational responses from elderly people in diverse communities. Purpose
  • 4. Understanding the local cultures was necessary so that our designs wouldn’t seem irrelevant or arrogant  We didn’t want the groups to constrain our designs unduly by focusing on needs or desires they already understood.  We wanted to lead a discussion with the groups toward unexpected ideas, but we didn’t want to dominate it. Why Use Culture Probes?
  • 5. Maps  Postcards  Cameras  Booklets Probe Packages
  • 8. We weren’t trying to reach an objective view of the elders’ needs through the probes, but instead a more impressionistic account of their beliefs and desires, their aesthetic preferences and cultural concerns. Role:  Doctors(X)  Servants(X)  Provocateurs(√) Inspiration, not Information
  • 9. Sorting through the masses of maps, cards, and photographs that we received, strong and differentiated views of the three sites began to emerge. Some items acted as beacons for us Example:  A photograph of friends at an Italian café  A map of the Bijlmer with extensive notes about the “junkies and thieves” in the area  A joke about death from Oslo. The Returns
  • 10. In the Bijlmer, our ideas respond to the paradox of a strong community in a dangerous area: We have proposed building a network of computer displays with which the elderly could help inhabitants communicate their values and attitudes about the culture.  The group in Oslo is affluent, well educated, and enthusiastic: We are proposing that they lead a communitywide conversation about social issues, publishing questions from the library that are sent for public response to electronic systems in cafés, trams, or public spaces. From Probes to Designs
  • 11. The probes didn’t directly lead to our designs. They were invaluable in making us aware of the detailed texture of the sites, allowing us to shape proposals to fit them. User-Centered Inspiration
  • 12. What we learned about the elders is only half the story, however. The other half is what the elders learned from the probes.  The probes helped establish a conversation with the groups. User-Centered Inspiration (cont)
  • 13. Gaver, W., Dunne, T., and Pacenti, E. Cultural Probes. Interactions. Vol VI, No. 1 January+February (1999), 21-29. Reference