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Anvendt etnonografi 2012


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Anvendt etnonografi 2012

  1. 1. 2012 ETHNOGRAFI design-anvendt- video- Brugerorienteret design
  2. 2. What is design?1. The result of design work;the change it creates (broader than ‘objects’)-an improvement; new appearance; anew way of functioning; or a completely new system, service, thing2. The conceptual idea of design/change = what is valuable for people3. The activity or process to create these changes “Much work of the designer is less concerned with finding a solution to a specific problem than with defining collectively what is the relevant problem and how to see it.” (Lanzara, 1983) “Don’t go to the Zoo, go to the jungle” (Ann Kirah, 2007)
  3. 3. Hvad skal I havefokus på & hvordan?(Liz Sanders 2002)
  4. 4. En iterativ proces (Ylirisku& Buur2007)From solving design problems to choosing a focus (Ylirisku& Buur2007)Wicked problems -the problems addressed by designers are not tame “The formulation of a wicked problem is the problem! The process of formulating the problem and of conceiving a solution (or re-solution) are identical, since every specification of the problem is a specification of the direction in which a treatment is considered.” (Rittel & Webber 1973)
  5. 5. Hvad er det vi tilstræber?Products are in a significant transition (Dourish 2001) - focus on the users experience of the productsDjajadiningrat and Overbeeke(2001) suggest: think of design as a‘context of experience’ rather than the design of products ‘Object centred‘ ‘Experience centred’
  6. 6. “. . . . social innovations spring from social needs, rather that from technology, and are related to new ways of social interaction, behaviour and function. According to Drucker (1985, p 126), social innovations may have an even higher impact than scientific or technological innovation.” (Darsø, 2001)“While a new idea is a thought about something new or unique, and making thatidea real is an invention, innovation is an invention that has a socioeconomiceffect; innovation changes the way people live.” (Chayutsahakij & Poggenpohl, 2002). “… to really succeed, these products must be reconciled to the needs and valuesof the individuals, societies, and cultures to which they are being target.” (Buxton 2007)
  7. 7. FeltarbejdetWhy ethnography in design?Replacing a mechanistic way of doing “requirements elicitation” (Hughes &al 1994)–Work and other life is more complex than in ‘flow charts’, procedural manuals or eveninterview accounts–From an individual to a member of society -> a social and political undertaking (Ylirisku&Buur2007)–Focus on practices, actions, doings rather than on categories and properties of objects,artefacts, designs
  8. 8. ”You want to go there with your mind as open as possible. You want to be surprised and you want to let yourself be surprised, and you want to put yourself where you can be as surprised as possible, and then you wonder what it is like, how does it hang together, what is the picture, and what should be your stimulus to intellectual work analysis.” Barth in Sperschneider, 2000You will become surprised . . . . and then you will know what your expectations were! •Surprise can be –Undesirable (for example, scary) –Desirable (for example, exciting) •No surprise can be –Undesirable (for example, boring) –Desirable (for example, comforting) (Ylirisku& Buur2007)
  9. 9. The ethnographer looks for generalities; the designer looks for specifics.The ethnographer avoids making judgments; the designer is required to make judgments.The ethnographer looks at a prolonged activity; the designer requires information quickly.The ethnographer is concerned with analysis; the designer is concerned with synthesis. (Amy McCleverty, 1997)The social scientist seeks to understand the world as it is; the designer seeks to understand the world as it can become.
  10. 10. Method: Situated inter view•Start with easy questions•Prime the inter view with self-documentation, or use observation as a help tobeing more reflective•Ask open questions rather than brief “yes” or “no” questions•Provoke details through details: Ask concrete questions and provide adetailed context•Get a real practitioner: Remember that someone who thinks s/he knows, suchas the superior, does not have the same relationship to the practice•Ensure good sound quality: Use an extra shotgun (or wireless) microphone in noisyenvironmentsSimulated use & Acting out (in native settings)•Frame the situation in a proper environment with appropriate tools•Prepare props if future-oriented acting is desired•Establish a relevant orientation: When, who, and what are usually goodfacilitating questions•Use video in the same way as in shadowing
  11. 11. Method: Shadowing (observing people while they move)•Keep the person in the picture all times•Follow what the user is doing and where his/her attention moves•Use your feet to zoom•Keep up with the pace of the user•Remember that if you cannot hear, neither can the camera•Let the video run continously•Allow the “user” to control what can be videotaped Apprenticeship & Co-exploring •For designers –Entering new realms of user contexts and practices –What is there, what may change in the future •For the users –Triggers a reflective process (and maybe change) – Enable them to see their practices in new light •A participatory task to move towards change
  12. 12. Feltarbejde med video
  13. 13. ”Only film or video can record the realism of time and motion or the pshychological reality of varieties of iterpersonal relations... In anthropology film or video is not only the complete way of recording choreography, but also the most direct way of analyzing communication, dance, or ceremony, where so many elements are in motion together. In this situation human memory and notebook recordings become wholly inadequate and highly impressionistic. The special value of film lies in their ability to record nuances of process, emotion, and other subtleties of behavior and communication...”Påvirker kameraet situationen?Hvordan skal man håndtere kameraet?
  14. 14. ”Video-obser vation formår at gribe hverdagenog fæstne processer i håndterbareteknologier, der dag for dag bliver stadig meretilgængelige for den enkelte. Video-obser vationdokumenterer et udsnit af virkeligheden ogkommunikerer budskabet på en umiddelbar ogforståelig måde til modtageren. Video-observation er situativ, participatoriskog demokratisk i sit væsen...” (Botin et al. 2007, s. 131)Look for the ‘good stuff’.... 1.27
  15. 15. What will you be recording it for ....What will you be recording it for ....
  16. 16. Tjek listen:- lav en interview guide og husk at øve den, men husk også atstille andre uddybende spørgsmål- lav roller hjemmefra inter viewer 1 & 2 kameraansvarlig note-tager billedetager .......andre roller?- husk at oplade video camera