Reprioritizing the Relationship Between HCI Research and Practice: Bubble-Up and Trickle-Down Effects [Full Presentation]
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There has been an ongoing conversation about the role and relationship of theory and practice in the HCI community. This paper explores this relationship privileging a practice perspective through a tentative model, which describes a “bubble-up” of ideas from practice to inform research and theory development, and an accompanying “trickle-down” of theory into practice. Interviews were conducted with interaction designers, which included a description of their use of design methods in practice, and their knowledge and use of two common design methods—affinity diagramming and the concept of affordance. Based on these interviews, potential relationships between theory and practice are explored through this model. Disseminating agents already common in HCI practice are addressed as possible mechanisms for the research community to understand practice more completely. Opportunities for future research, based on the use of the tentative model in a generative way, are considered.
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Critique has long been considered a benchmark of design education and practice, both as a way to elicit feedback about design artifacts in the process of production and as a high-stakes assessment tool in academia. In this study, I investigate a specific form of critique between peers that emerges organically in the design studio apart from coursework or guidance of a professor. Based on intensive interviews and observations, this informal peer critique appears to elicit the design judgment of the individual designer in explicit ways, encouraging peers to follow new paths in their design process, while also verbalizing often-implicit design decisions that have already been made. Implications for future research in academic and professional practice are considered.
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When engaged in design activity, what does a designer think about? And how does she draw on disciplinary knowledge, precedent, and other strategies in her design process in order to imagine new possible futures? In this paper, we explore Design Heuristics as a form of intermediate-level knowledge that may explain how designers build on existing knowledge of “design moves”—non-deterministic, generative strategies or heuristics—during conceptual design activity. We describe relationships between disciplinary training and the acquisition of such heuristics, and postulate how design students might accelerate their development of expertise.
Normativity in Design Communication: Inscribing Design Values in Designed Art...
The design community has discussed issues of ethics and values for decades, but less attention has been paid to the question of how an ethical sensibility might be developed or taken on by design students. In this analysis, we explore how normative concerns emerge through the process of design reviews—where a developing designer’s normative infrastructure is engaged with the artifact they are designing. We focused on the normative concerns that were foregrounded by two undergraduate and two graduate industrial design students across a series of five design reviews, addressing the possible relationship between the emergence of normative concerns and the inscription of norms in the final designed artifact. We used several critical qualitative techniques, including sequence analysis and meaning reconstruction to locate areas where normative concerns were addressed.
Normative concerns only arose in explicit form in the earliest review sessions on the graduate level, if they were going to arise at all, and end-user research appeared to be the primary mechanism for introducing norms into the design process. Neither instructor actively engaged or foregrounded the normative infrastructure of the design students, and all of the normative concerns discussed in the four cases were brought to the conversation by students. Implications for including awareness of normative concerns as part of a student’s developing design character are considered as part of a systemic approach to ethics and values in design education.
Reprioritizing the Relationship Between HCI Research and Practice: Bubble-Up ...
There has been an ongoing conversation about the role and relationship of theory and practice in the HCI community. This paper explores this relationship privileging a practice perspective through a tentative model, which describes a “bubble-up” of ideas from practice to inform research and theory development, and an accompanying “trickle-down” of theory into practice. Interviews were conducted with interaction designers, which included a description of their use of design methods in practice, and their knowledge and use of two common design methods—affinity diagramming and the concept of affordance. Based on these interviews, potential relationships between theory and practice are explored through this model. Disseminating agents already common in HCI practice are addressed as possible mechanisms for the research community to understand practice more completely. Opportunities for future research, based on the use of the tentative model in a generative way, are considered.
What Problem Are We Solving? Encouraging Idea Generation and Effective Team C...
Idea generation has frequently been explored in design education as an exercise of students’ “innate” creativity, and few tools or techniques are offered to scaffold ideation ability. As students develop their design skills, we expect them to demonstrate increasing ideation flexibility—a cognitive and social ability to see a problem from multiple perspectives, and to create more varied concepts within the problem space. In this study, we introduced three tools— functional decomposition, Design Heuristics, and affinity diagramming—to aid students’ ideation in a three-hour workshop. Participants included 20 students in a junior industrial design studio arranged in five pre-existing teams. These participants first decomposed the functions within an existing set of concepts they had generated, then selected a specific function and generated additional concepts using the Design Heuristics ideation method. Finally, teams organized these concepts using affinity diagramming to find patterns and additional concepts. Our findings suggest that this process encouraged students to try multiple ways of examining the existing problem space, resulting in a broadened set of final concepts. More striking, the instructional activities served to foreground differences in team members’ understanding of the problem they were addressing, fostering alignment of their problem statement and aiding in its further development.
Informal peer critique and the negotiation of habitus in a design studio (AEC...
Critique is considered to be a central feature of design education, serving as both a structural mechanism that provides regular feedback, and a high stakes assessment tool. This study utilizes informal peer critique as a natural extension of this existing form, engaging the practice community in reflection-in-action due to the natural physical co-location of the studio environment. The purpose of this study is to gain greater understanding of the pedagogical role of informal critique in shaping design thinking and judgment, as seen through the framing of Bourdieu’s habitus. The methodology of this study is informed by a critical theory perspective, and uses a combination of interview, observation, and stimulated recall in the process of data collection. Divergent viewpoints on the role of informal v. formal spaces, objectivity v. subjectivity of critique, and differences between professor and peer feedback are addressed. Additionally, beliefs about critique on the individual and group level are analysed as critical elements of an evolving habitus, supported by or developed in response to the culture inscribed by the pedagogy and design studio. This form of critique reveals tacit design thinking and conceptions of design, and outlines the co-construction of habitus by individual students and the design pedagogy.
What Happens when Creativity is Exhausted? Design Tools as an Aid for Ideation
Numerous studies have shown the value of introducing cognitive supports to encourage the development of creative ability, using both convergent and divergent methods to develop and synthesize ideas. As part of this iterative idea generation process, design students often struggle to explore new ideas after their initial ideas are exhausted. Yet, there is little instructional guidance on how to productively use the exhaustion of ideas as a way to encourage the development of creative ability, particularly in relation to creativity support tools. In this study, an idea generation tool called Design Heuristics was employed in an industrial design course at a large Midwestern university. Students were given a simple design task, and 30 minutes to generate concept ideas on their own; then, after ten minutes of instruction on the Design Heuristics tool, students generated more ideas for an additional 30 minutes using the same problem. Working on their own, students generated an average of 6 concepts, and generated 2.7 additional concepts while using the Design Heuristics tool. Even though the initial ideation session resulted in more concepts, once their ideas were exhausted, the students were able to continue creating more concepts using Design Heuristics. Concepts created in this second session were rated as higher in their novelty, specificity, and relevance. These results suggest the advantages of introducing creativity support tools following a period where students can work using their own ideas; once exhausted, they may be more open to adopting the method or tool introduced, and may produce more creative outcomes.
Locating the Emerging Design Identity of Students Through Visual and Textual ...
Reflective activities have the potential to encourage students to develop critical skills and awareness of mental models. In this study, I address the emerging identity of early design students as they externalize their evolving conceptions of design through visual and textual reflection. Forty-three students in an introductory human-computer interaction (HCI) course completed weekly textual reflections on a course blog, and completed visual reflections at the conclusion of each of three projects. The weekly blog reflections were intended to document their experience as a developing designer, while the visual reflections represented their personal conception of design within HCI—their rendering of the “whole game”. Through this process of reflection, students externalized their transformation as designers, including an awareness of the pedagogical, social, and cultural factors shaping them, and a growing sense of their personal and professional design identity. Through interviews and additional analysis of eight of these students, a disjuncture was found between conceptions of design in visual and textual reflections, with visual reflections forming a professional, generic design identity, and textual reflections more congruent with the student’s personal identity. Issues relating to lack of representational skill and how these forms of reflection externalize a student’s evolving design philosophy are addressed.
Studio Teaching in the Low-Precedent Context of Instructional Design
Instructional design (ID) has been a scientized field of design for half a century, which means that models and principles have been emphasized in ID education over other forms of design knowledge, including precedent. In the study of design broadly defined, precedent is well established as a form of knowledge essential to competent practice. It is plentiful and made available through multiple channels, by practitioners as well as educators. This 7-year study examines the challenges for students in learning to recognize, appreciate and use precedent in designing images to support learning. These include the need to develop analogical thinking related to the use of precedent in their own work, to recognize precedents they already use without explicit awareness, to attend to precedent and seek it independent of its immediate use. Methods used in the studio course under study are discussed, together with examples of students' design activities at each stage in the evolution of the course. Data for this study comprise detailed field notes from each class period, student work, and reflections assigned as part of the regular class assignments.
Evolution of Design Competence in UX Practice
There has been increasing interest in the adoption of UX within corporate environments, and what competencies translate into effective UX design. This paper addresses the space between pedagogy and UX practice through the lens of competence, with the goal of understanding how students are initiated into the practice community, how their perception of competence shifts over time, and what factors influence this shift. A 12-week longitudinal data collection, including surveys and interviews, documents this shift, with participants beginning internships and full-time positions in UX. Students and early professionals were asked to assess their level of competence and factors that influenced competence. A co-construction of identity between the designer and their environment is proposed, with a variety of factors relating to tool and representational knowledge, complexity, and corporate culture influencing perceptions of competence in UX over time. Opportunities for future research, particularly in building an understanding of competency in UX based on this preliminary framing of early UX practice are addressed.
[Presented at CHI'14, Toronto, ON, Canada]
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Design-Based Research: A method for achieving impact in the real world
Design-Based Research: A method for achieving impact in the real worldGenevieve Lacerte Beninger, MBA
An overview of design-based research, design experiments, educational design research. What it is, where it came from, and how to apply it to improve teaching and learning.Exploring Feminisms Through Design in HCI Education
I propose the use of feminism as design material, pointing toward the possibilities that feminisms can offer us across multiple roles for HCI and design scholars, educators, and practitioners. I present four angles of provocation for feminisms through design (FtD): knowledge, methodology, self/community, and artifact. I will discuss each of these angles BY PROVIDING EXAMPLES FROM my own classroom and teaching practices , providing concrete means of implementation of the ftd framework or into my teaching philosophy.
I propose HCI educators to reflection on two main questions (worksheet provided) :
1) Based on these feminist values, what do you want to share, incorporate, or practice as an educator?
2) Based on these feminist values, what do you want your students to take on in future design practice?
Presented as a Master Class in EDUCHI'22.
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A Socio-Technical Study Of Design Management Performance In A Construction Co...
This document summarizes a socio-technical study of design management performance in a construction company. The researchers are using ethnographic and qualitative research methods like observation, interviews and document analysis to study the organizational culture and behaviors of design managers. They have developed a conceptual framework that values, behaviors and systems/artifacts influence each other. So far, the researchers have conducted case studies on completed projects through document analysis and interviews to understand key events and decisions. They are also studying current projects to observe design managers' actual practices. The goal is to understand how culture impacts design management and project success in construction.
ASCILITE 2014. Three paths for Learning Analytics
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The Nature of Design Practice and Implications for Interaction Design Researc...
This paper examines the relationship between design practice and interaction design research. It argues that interaction design research aimed at supporting practice has not always been successful because it has not been grounded in an understanding of design practice. The paper compares the nature of complexity in science and design, arguing that approaches from science may not be suitable for design due to fundamental differences in complexity. It concludes that interaction design research needs a deep understanding of design practice in order to develop approaches that are useful for practitioners.
Not Design Thinking
One hour talk for Junior College students about design, creativity and innovation. Going beyond buzzwords and eye-candy, the aim of this talk is to motivate and inspire young people to understand and become aware of design. Delivered: 04/07/2013
Udlrevolution
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The wickedness of design research practice - IASDR 2013
In this paper we review existing literature in design research to see to what extent it provides a basis for meeting the methodological challenges that we encounter in our own practice- based design research. Seemingly, much attention is given to describing the results and types of knowledge that design research may provide, the purposes those may serve and by what yardsticks those results may be evaluated. Another focal area seems to be the form(-ats) in which the results of design research are presented and disseminated. What is often missing, however, are detailed accounts of the roles that design practice plays that can be picked up and used by others doing design research. This is unfortunate, as it is often such methodological structures that we struggle with. The emergence of ‘design research practices’ entails something more than mere combinations of design practice and academic research. Research typically has the objective of knowledge production; practice has the objective of creating the right thing by solving a set of problems. Considered a ‘new’ kind of design practice, design research practice seems to be more about problem finding through the design and creation of things that bring knowledge to expression. Thus, the process by which it achieves this must be uncovered and articulated.
Running head CMGT 555 WK 2 DQ 11CMGT 555 WK 2 DQ 14.docx
Running head: CMGT 555 WK 2 DQ 1
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CMGT 555 WK 2 DQ 1
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CMGT 555 Wk 2 DQ 1
Student’s Name
Institution
Main Post
What are 2 key attributes to well-written requirements?
There are several key attributes to well-written requirements for a system project. Two core attributes to well-written requirements are clarity and risk. A well-written requirement for a system project should be able to identify risks and threats that may compromise the project at hand. Having a clear and straightforward system project will enable the project team members to have an understanding of everything that is needed for the success of the project (Wiegers, K., & Beatty, 2013).
How do these attributes impact the quality of requirements? How might you assess system requirements based off these attributes?
Clarity will create awareness on what should be done regarding the project thus promoting its effectiveness for success. Identification of risks will also allow you to select the most viable alternative for preventing threats that may compromise the entire project. Through this, the project team will know the needs required for the project. I will analyze all the possible risks that are likely to affect the project and whether we as a team are ready to counter any threats that might arise.
Response to Peer 1
Hello, thank you for your significant contribution of the key attributes to well-written assignments and their impacts on the quality of requirements. I have read through your post and not only have I found it resourceful but it also captivating. Reading through the post has completely changed my perception, and this has made me understand the significance of ensuring well-written requirements. It is true that to ensure well-written requirements, some of the considerations have to be ensured. I conquer with you on the first attribute of clarity. A well-written requirement should be free from unnecessary information to ensure accuracy and validity. I think clarity also promotes soundness and makes the requirements easily understandable.
Another important quality that should be considered is feasibility. That is to say that, your requirement should be achievable within the available resources and budget. Clarity and Feasibility will enable the project team members and various stakeholders to understand what exactly is needed regarding a given project. It will also allow the project team to know the requirements for a particular project regardless of the situation.
Response to Peer 2
Hello, such a fantastic post made by you on the qualities t to well-written assignments. Requirement qualities are vital in ensuring that the person understands the information needed for a project to be undertaken. It is true that a key quality to a requirement that is well written is the one that makes good use of its resources. I conquer with you that risk is also another vital attribute to well-written requirements as this identifies what is at stake in case requirement.
Beth Higgins_Abstract Awareness_
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Developing a Socially-Aware Engineering Identity Through Transdisciplinary Le...
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Architectural Research & Design Research
The document provides an overview of different types of architectural research, including historical research, qualitative research, correlational research, and experimental research. It discusses the key characteristics, tactics, strengths, and weaknesses of each type of research. Historical research involves the systematic collection of data to explain events from the past. Qualitative research focuses on words and pictures to understand participants' perspectives. Correlational research examines relationships between variables, while experimental research uses treatment variables and control groups to test causality. The document also provides examples of how each type of research has been applied to architectural design problems.
Assignment 1 Project Proposal Initiating & PlanningNote This .docx
Assignment 1: Project Proposal: Initiating & Planning
Note: This is the first of three assignments which, as a whole, will cover all aspects of the project life cycle relevant to your selected project.
You have been selected to be the Project Manager (for a project of your choice). The project that you decide to use should meet the key criteria of a project, such as (a) having a beginning and an end; (b) results in something being delivered to someone; (c) requires a series of activities that must be done to complete the project; and (d) requires resources (e.g., people, materials) to complete the work. The project must be one of a professional nature and must last for at least twelve months. NOTE: You are prohibited from using projects that can be found on the Internet, including projects found in places like CourseHero. All project submissions are submitted to Safe Assign for review.
Write a two to three page paper, in which you define the scope of your chosen project. In your paper you must:
1. Provide a brief summary of your chosen project.
2. Describe at least three (3) project goals and three (3) project objectives.
3. Identify the key customer(s) and at least two (2) stakeholders for your project. Remember, you are delivering the project to your customer(s); however, there are others (stakeholders) who have a vested interest in your project.
4. Describe at least three (3) key milestones and /or deliverables for your project.
5. Describe a high-level timeline that includes key tasks and deadlines.
6. Estimate the project’s overall cost and any key staffing and non-staffing resources needed.
7. Use at least three (3) quality resources in this assignment. Note: Wikipedia and similar websites do not qualify as quality resources.
Your assignment must follow these formatting requirements:
· Typed, double spaced, using Times New Roman font (size 12), with one-inch margins on all sides.
· Include a cover page containing the title of the assignment, the student’s name, the professor’s name, the course title, and the date. The cover page and the reference page are not included in the required page length.
The specific course learning outcomes associated with this assignment are:
· Evaluate corporate strategy and the project life cycle phases to define the project and initiate a project plan.
Points: 150
Assignment 1: Project Proposal: Initiating & Planning
Criteria
Unacceptable
Below 70% F
Fair
70-79% C
Proficient
80-89% B
Exemplary
90-100% A
1. Provide a brief summary of your chosen project.
Weight: 10%
Did not submit or incompletely provided a brief summary of your chosen project.
Insufficiently provided a brief summary of your chosen project.
Satisfactorily provided a brief summary of your chosen project.
Thoroughly provided a brief summary of your chosen project.
2. Describe at least three (3) project goals and three (3) project objectives.
Weight: 20%
Did not submit or incompletely described at least three (3) project goals and three (3) pr.
Assignment 1 Project Proposal Initiating & PlanningNote This .docx
Assignment 1: Project Proposal: Initiating & Planning
Note: This is the first of three assignments which, as a whole, will cover all aspects of the project life cycle relevant to your selected project.
You have been selected to be the Project Manager (for a project of your choice). The project that you decide to use should meet the key criteria of a project, such as (a) having a beginning and an end; (b) results in something being delivered to someone; (c) requires a series of activities that must be done to complete the project; and (d) requires resources (e.g., people, materials) to complete the work. The project must be one of a professional nature and must last for at least twelve months. NOTE: You are prohibited from using projects that can be found on the Internet, including projects found in places like CourseHero. All project submissions are submitted to Safe Assign for review.
Write a two to three page paper, in which you define the scope of your chosen project. In your paper you must:
1. Provide a brief summary of your chosen project.
2. Describe at least three (3) project goals and three (3) project objectives.
3. Identify the key customer(s) and at least two (2) stakeholders for your project. Remember, you are delivering the project to your customer(s); however, there are others (stakeholders) who have a vested interest in your project.
4. Describe at least three (3) key milestones and /or deliverables for your project.
5. Describe a high-level timeline that includes key tasks and deadlines.
6. Estimate the project’s overall cost and any key staffing and non-staffing resources needed.
7. Use at least three (3) quality resources in this assignment. Note: Wikipedia and similar websites do not qualify as quality resources.
Your assignment must follow these formatting requirements:
· Typed, double spaced, using Times New Roman font (size 12), with one-inch margins on all sides.
· Include a cover page containing the title of the assignment, the student’s name, the professor’s name, the course title, and the date. The cover page and the reference page are not included in the required page length.
The specific course learning outcomes associated with this assignment are:
· Evaluate corporate strategy and the project life cycle phases to define the project and initiate a project plan.
Points: 150
Assignment 1: Project Proposal: Initiating & Planning
Criteria
Unacceptable
Below 70% F
Fair
70-79% C
Proficient
80-89% B
Exemplary
90-100% A
1. Provide a brief summary of your chosen project.
Weight: 10%
Did not submit or incompletely provided a brief summary of your chosen project.
Insufficiently provided a brief summary of your chosen project.
Satisfactorily provided a brief summary of your chosen project.
Thoroughly provided a brief summary of your chosen project.
2. Describe at least three (3) project goals and three (3) project objectives.
Weight: 20%
Did not submit or incompletely described at least three (3) project goals and three (3) pr.
Connecting Chemistry and Engineering: A Technology-Supported Desalination Des...
This presentation will detail the implementation of a desalination project using an open-source online platform with 173 high school chemistry students. Participants will have the opportunity to use the online-platform and reflect on opportunities for technology-supported learning and assessment.
Scoping: The GO-GN Guide to Conceptual Frameworks
This document provides an overview of the GO-GN Guide to Conceptual Frameworks. It discusses the rationale for creating a conceptual frameworks handbook, including crowdsourcing insights from researchers. It outlines the production process and aims for an accessible presentation style. It presents next steps, which include distributing a survey on conceptual framework use, an online workshop, and publishing in 2021. The goal is to support doctoral research in open education through the Global OER Graduate Network.
Distinctions between the Communication of Experiential and Academic Design Kn...
The document analyzes the distinct characteristics of communication of experiential knowledge compared to academic knowledge. It examines language variables and semantic categories across different knowledge sharing platforms, finding that experiential knowledge tends to use more informal language while academic knowledge emphasizes logical and hierarchical thinking. Expressions of knowledge on Stack Exchange show a tendency toward rigorous argumentation in knowledge building. Both practice and academic communities can build knowledge, and there is potential for generative conversation and collaboration between the two.
Conceptual Frameworks for Doctoral Research into Open Education
This document provides an overview of conceptual frameworks for doctoral research into open education. It begins with an introduction to the Global OER Graduate Network (GO-GN) and its goal of supporting doctoral research in open education. It then discusses the rationale for creating a conceptual frameworks handbook, including perspectives on conceptual frameworks from academic literature. Next, it explores appropriate applications of conceptual frameworks for doctoral research. The document also provides an overview of different conceptual frameworks contributed by GO-GN members. It concludes with next steps for future GO-GN publications.
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Assignment 1 Project Proposal Initiating & PlanningNote This .docx
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Connecting Chemistry and Engineering: A Technology-Supported Desalination Des...
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Presented at the Design Research Society 2022 Conference. Full paper available at: https://dl.designresearchsociety.org/drs-conference-papers/drs2022/researchpapers/34/
Abstract: Studio learning is central to the teaching of design. However, the disruption of the COVID-19 pandemic, alongside emerging and historic critiques of studio pedagogy, creates a space for critical engagement with the present and potential futures of design education in studio. In this paper, I outline historic critiques of studio pedagogy, drawing primarily from critical pedagogy literature to frame is-sues relating to disempowerment, student agency, and monolithic representa-tions of the student role and student development. I build upon this critical foundation to reimagine studio practices as pluriversal, recognizing the challenges and opportunities of bridging epistemological differences and facilitating the potential for pluralism in design curricula, our student experiences, and the fu-ture of design professions.
Critique Assemblages in Response to Emergency Hybrid Studio Pedagogy
Presented at LearnxDesign 2021
Paper available at: https://www.dropbox.com/s/w67bzn6awdkfkds/2021_Wolfordetal_LxD_CritiqueAssemblages.pdf?dl=0
Abstract: Studio education focuses on active learning and assessment that is embedded in students’ explora- tion of ill-structured problems. Critique is a central component of this experience, providing a means of sensemaking, assessment, and socialization. These critique sessions encompass multiple types of interactions among students and instructors at multiple levels of formality. In most design programs, these practices have been situated in a physical studio environment—until they were disrupted by the COVID-19 pandemic. As a group of educators and design students, we used this disruption as an opportunity to reimagine means of critique engagement. In this paper, we document the creation, piloting, and evaluation of new critique assemblages—each of which bring together a group of tech- nology tools, means and norms of engagement, and channels of participation. We report both on the extension of existing critique types such as desk crits, group crits, and formal presentation crits, describing both the instructional goals of the new critique assemblages and the students’ experience of these assemblages. Building on these outcomes, we reflect upon opportunities to engage with new hybrid critique approaches once residential instruction can resume and identify patterns of socialization and wellbeing that have emerged through these assemblages that foster critical reflection on studio practices.
Cross-Cultural UX Pedagogy: A China–US Partnership
This document describes a partnership between Purdue University and Beijing Normal University to establish dual degree programs in user experience (UX) design. It discusses the timeline of establishing the partnership from initial conversations in 2017 to welcoming the first dual degree student in 2020. Interviews with students and faculty from both programs revealed cultural differences that impact the educational experience, such as expectations of instructor roles and communication styles. Differences were also found in industry partnerships, course structures, and career expectations between the two programs. The partnership aims to advance cross-cultural UX education and identify opportunities to decolonize and pluralize HCI knowledge and practices.
Autono-preneurial Agents in the Community: Developing a Socially Aware API fo...
In this paper, we describe our efforts to appropriate an autono-preneurial agent—in this case, the Amazon Locust—through the development of an API that enables equitable and socially aware entrepreneurial decision making on the part of the Locust. We present a new API and our intended vision for this system, along with our proposed deployment plan for implementing appropriated Locusts in Midwestern USA suburban communities. These appropriated Locusts will allow community provisioning decision-making that moves beyond consideration of profitability to also include decisions based on equity, equality, community, and interpersonal relationships. We discuss the broader implications of this work and point toward future areas of inquiry.
A Practice-Led Account of the Conceptual Evolution of UX Knowledge
The contours of user experience (UX) design practice have been shaped by a diverse array of practitioners and disci- plines, resulting in a difuse and decentralized body of UX- specifc disciplinary knowledge. The rapidly shifting space that UX knowledge occupies, in conjunction with a long- existing research-practice gap, presents unique challenges and opportunities to UX educators and aspiring UX designers. In this paper, we analyzed a corpus of question and answer communication on UX Stack Exchange using a practice-led approach, identifying and documenting practitioners’ con- ceptions of UX knowledge over a nine year period. Specif- cally, we used natural language processing techniques and qualitative content analysis to identify a disciplinary vocab- ulary invoked by UX designers in this online community, as well as conceptual trajectories spanning over nine years which could shed light on the evolution of UX practice. We further describe the implications of our fndings for HCI research and UX education.
Analyzing Value Discovery in Design Decisions Through Ethicography
HCI scholarship is increasingly concerned with the ethi- cal impact of socio-technical systems. Current theoretically- driven approaches that engage with ethics generally pre- scribe only abstract approaches by which designers might consider values in the design process. However, there is little guidance on methods that promote value discovery, which might lead to more specific examples of relevant values in specific design contexts. In this paper, we elaborate a method for value discovery, identifying how values impact the de- signer’s decision making. We demonstrate the use of this method, called Ethicography, in describing value discovery and use throughout the design process. We present analysis of design activity by user experience (UX) design students in two lab protocol conditions, describing specific human val- ues that designers considered for each task, and visualizing the interplay of these values. We identify opportunities for further research, using the Ethicograph method to illustrate value discovery and translation into design solutions.
Ethical Mediation in UX Practice
This document summarizes a study on ethical decision making in user experience (UX) design practice. It documents three case studies of UX designers with different levels of experience and organizational roles. Through observations and interviews, it identifies themes in their individual practices, how organizational factors influence their work, and how they navigate ethical issues. It frames UX designers as "ethical mediators" who must balance multiple constraints and priorities. The study aims to understand designers' roles in ethical decision making and develop methods to strengthen ethical awareness and action in the field.
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This document analyzes self-disclosure in an online user experience (UX) professional community on Reddit from January 2016 to February 2017. It finds that UX professionals disclosed academic background, work experience, career plans, and expertise. Self-disclosure occurred in 31.7% of posts and supported online communication by attracting more comments and follow-up disclosures. Disclosure helped the UX profession by sharing knowledge, established credibility for opinions, and built professional identities. The study concludes self-disclosure informs lifelong professional practice and aids the development of the UX field.
Supporting Distributed Critique through Interpretation and Sense-Making in an...
Critique is an important component of creative work in design education and practice, through which individuals can solicit advice and obtain feedback on their work. Face-to-face critique in offline settings such as design studios has been well-documented and theorized. However, little is known about unstructured distributed critique in online creative communities where people share and critique each otherâs work, and how these practices might resemble or differ from studio critique. In this paper, we use mixed-methods to examine distributed critique practices in a UX-focused online creative community on Reddit. We found that distributed critique resembles studio critique categorically, but differs qualitatively. While studio critique often focuses on depth, distributed critique often revolved around collective sensemaking, through which creative workers engaged in iteratively interpreting, defining, and refining the artifact and their process. We discuss the relationship between distributed critique and socio-technical systems and identify implications for future research.
Generating Mobile Application Onboarding Insights Through Minimalist Instruction
Mobile application designers use onboarding task flows to help first time users learn and engage with key application functionality. Although some guidelines for designing onboarding flows have been offered by practitioners, a systematic, research-informed approach is needed. In this paper, we present the creation of a method for designing mobile application onboarding experiences. We used the minimalist instruction framework to engage twelve university students in an iterative set of design and evaluation activities. Participants interacted with a physical prototype of an educational badging mobile application through a semi-structured exploration and reflection activity, bookended by structured mini-interviews. We found that this method facilitated engagement with participants’ meaning-making processes, resulting in useful design insights and the creation of an onboarding task flow. Research opportunities for integrating instructional design and learning approaches in HCI in the context of onboarding are considered.
The Dark (Patterns) Side of UX Design
Interest in critical scholarship that engages with the complexity of user experience (UX) practice is rapidly expanding, yet the vocabulary for describing and assessing criticality in practice is currently lacking. In this paper, we outline and explore the limits of a specific ethical phenomenon known as "dark patterns," where user value is supplanted in favor of shareholder value. We assembled a corpus of examples of practitioner-identified dark patterns and performed a content analysis to determine the ethical concerns contained in these examples. This analysis revealed a wide range of ethical issues raised by practitioners that were frequently conflated under the umbrella term of dark patterns, while also underscoring a shared concern that UX designers could easily become complicit in manipulative or unreasonably persuasive practices. We conclude with implications for the education and practice of UX designers, and a proposal for broadening research on the ethics of user experience.
Forming A Design Identity in Computing Education Through Reflection and Peer ...
Presented at AERA'18.
Abstract: There is growing interest in reflection and the value of reflection activities in enhancing students’ metacognitive abilities. Reflection effectively connects thinking and doing, building students’ understanding both of what they know, and how to activate that knowledge in their future work. In this study, we explore the formation of students’ design identity as scaffolded by a reflection blog in a graduate human-computer interaction program. Data include 1619 posts and 2019 comments posted by 144 students across three consecutive semesters of an introductory graduate interaction design course. Our analysis demonstrates how designerly talk among students may influence understanding and performance in their future practitioner roles. Implications for professional identity formation, and the role of reflection in this process, are considered.
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Presented at AERA'18.
Abstract: Instructional design as a practice and set of knowledge has long claimed to exist at a level “beyond discipline”—where the principles that designers derive from instructional theory and learning theory are in certain ways “content-agnostic.” This has led to an understanding of instructional design practice that privileges theoretical abstractions of instructional design activities over what are often thought of as “selection of a model” or “modifications to the model.” In this proposal, we rely upon a case study to illustrate these tensions and facilitate a conversation about the limitations of current ID models and practices. In the case, we describe the interactions among instructors and program designers in an experimental undergraduate transdisciplinary degree program across multiple years of course and program development, productively complicating traditional notions of ID practice as model-directed and model-driven. Through this case, we identify multiple tensions in designing across disciplines or in discipline-agnostic ways, including multiple instances where traditional ID guidance or knowledge is currently entirely lacking or insufficient. We conclude with opportunities for inculcating a more expansive notion of design in instructional design and technology to meet the growing need of designing inter/trans-disciplinary educational experiences.
What is the Nature and Intended Use of Design Methods?
Interest in the codification and application of design methods is rapidly growing as businesses increasingly utilize “design thinking” approaches. However, in this uptake of design methods that encourage designerly action, the ontological status of design methods is often diffuse, with contradictory messages from practitioners and academics about the purpose and desired use of methods within a designer’s process. In this paper, I explore the paradoxical nature of design methods, arguing for a nuanced view that includes the (often) conflicting qualities of prescription and performance. A prescriptive view of methods is drawn from the specification of methods and their “proper” use in the academic literature, while a performative view focuses on in situ use in practice, describing how practitioners use methods to support their everyday work. The ontological characteristics and practical outcomes of each view of design methods are considered, concluding with productive tensions that juxtapose academia and practice.
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There has been increasing interest in the work practices of user experience (UX) designers, particularly in relation to approaches that support adoption of human-centered principles in corporate environments. This paper addresses the ways in which UX designers conceive of methods that support their practice, and the methods they consider necessary as a baseline competency for beginning user experience designers. Interviews were conducted with practitioners in a range of companies, with differing levels of expertise and educational backgrounds represented. Interviewees were asked about their use of design methods in practice, and the methods they considered to be core of their practice; in addition, they were asked what set of methods would be vital for beginning designers joining their company. Based on these interviews, I evaluate practitioner conceptions of design methods, proposing an appropriation-oriented mindset that drives the use of tool knowledge, supporting designers’ practice in a variety of corporate contexts. Opportunities are considered for future research in the study of UX practice and training of students in human-computer interaction programs.
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A critical tradition has taken hold in HCI, yet research methods needed to meaningfully engage with critical questions in the qualitative tradition are nascent. In this paper, we explore one critical qualitative research approach that allows researchers to probe deeply into the relationships between communicative acts and social structures. Meaning reconstruction methods are described and illustrated using examples from HCI research, demonstrating how social norms can be traced as they are claimed and reproduced. We conclude with implications for strengthening rigorous critical inquiry in HCI research, including the use of extant critical research methods to document transparency and thick description.
Inverting Critique: Emergent Technologically-Mediated Critique Practices of D...
Critique is the primary method of assessment used in design education, yet is not well understood apart from traditional structures of institutional power and faculty initiation. In this study, we analyze the classroom presentations and critiques of eleven teams in a design-focused human-computer interaction graduate program, focusing on an emergent instructional design for technologically-mediated critique created by experienced students serving as peer mentors. Initial analysis suggests complex interaction between multiple modes of critique beyond the “traditional” critique: 1) public oral critique led by faculty, 2) a critique document authored in Google Docs by experienced students, and 3) backchannel chat in Google Docs by experienced students. These interactions indicate instructional affordances for including many simultaneous users within an existing critique infrastructure. Implications of this instructional design for expanding the capacity of physical critique events and the role of participation in student learning are considered.
Developing an Ethically-Aware Design Character through Problem Framing
Expert designers determine what problem needs to be solved—framing the design space, and not just designing an appropriate solution. In this study, undergraduate and graduate industrial design students at a large Midwestern university were engaged in a one-day workshop, focusing on designing products for natives of Sub-Saharan Africa to sell in their home nations. Participants worked in teams to generate a range of constraints and problem statements. Teams struggled to identify specific use contexts and users, even though these elements were present in provided research materials. They appeared to build distance between their own experiences and that of the users they were designing for, potentially bifurcating their sense of ethics and normative commitments that were actively being reified in problem statements and solutions.
Creativity "Misrules": First Year Engineering Students’ Production and Percep...
We report four cases from a larger study, focusing on participants’ self-identified “most creative” concept in relation to their other concepts. As part of an ideation session, first-year engineering students were asked to create concepts for one of two engineering design problems in an 85-minute period, and were exposed to one of two different forms of fixation. Participants worked as individuals, first using traditional brainstorming techniques and generating as many ideas as possible. Design Heuristics cards were then introduced, and students were asked to generate as many additional concepts as possible. After the activity, participants ranked all of the concepts they generated from most to least creative. Representative cases include a detailed analysis of the concept that each participant rated as “most creative,” idea generation method used, and relative location and relationship of the concept to other concepts generated by that participant. Across four cases, we identified a number of characteristic “misrules” or misconceptions, revealing that first-year students judge creativity in their concepts in ways that could inhibit their ability to produce truly novel concepts. We present Design Heuristics as a tool to encourage the exploration of creative concept pathways, empowering students to create more novel concepts by rejecting misrules about creativity.
Supporting Idea Generation Through Functional Decomposition: An Alternative F...
This study explored how guided ideation can support concept initiation and development. We conducted a set of in-class activities in a junior-level industrial design studio at a large Midwestern US university with 20 students. Participants generated concepts individually while working on a previously defined problem. They performed a functional decomposition of existing concepts, then used a self-selected function to rapidly generate ideas in three stages over 45 minutes, supported by Design Heuristics cards. Through analysis of eight cases, we found that generated concepts were consistent with the originally defined function. The students’ ability to create a range of solutions increased over time, and concepts became more divergent through each of the three stages. Use of Design Heuristics changed, beginning as a tool for divergent concept generation (ideation), moving to a more mechanical transformation of existing concepts (iteration), and concluding with a broader, more evaluative synthetic framing (recomposition). Based on these results, we offer implications for the integration of idea generation methods across multiple stages in design and engineering contexts.
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Reprioritizing the Relationship Between HCI Research and Practice: Bubble-Up and Trickle-Down Effects [Full Presentation]
- 1. REPRIORITIZING THE RELATIONSHIP BETWEEN HCI RESEARCH AND PRACTICE COLIN M. GRAY IOWA STATE UNIVERSITY ! ERIK STOLTERMAN MARTIN A. SIEGEL INDIANA UNIVERSITY Photo courtesy of Marcus Spiske https://www.flickr.com/photos/125167502@N02/
- 3. METHODS AREN'T MERELY ENACTED IN PRACTICE (Rogers, 2004; Stolterman & Pierce, 2012) WE DON'T STUDY DESIGN PRACTICE (IN GENERAL) (Goodman, Stolterman, & Wakkary, 2011; Stolterman, 2008)
- 5. ALL IS NOT AS IT SEEMS
- 6. (Roedl & Stolterman, 2013) "...the researchers in their descriptions of design practice commonly engage in an over-generalization of design situations. We found that the researchers consistently referred to 'designers' or 'the design process' in a vague and generic way." (p. 1952)
- 7. (Roedl & Stolterman, 2013) "...a lack of consideration for practical challenges in design work, such as working within limited time and resources" (p. 1953)
- 8. OUR STUDY Image courtesy of Sean Munson https://www.flickr.com/photos/83413148@N00
- 9. 13 UX PRACTITIONERS Conception and use of design methods Information about two specific methods
- 10. We define design methods broadly, as any intellectual or practical support that a practitioner might use to support the design process in a positive way, encompassing everything from everyday methods, techniques, and tools for idea generation and collaboration, such as the "pen and paper," whiteboard, brainstorming, dialoguing, to methods and applications for sketching and refining ideas. DESIGN METHODS
- 11. Image courtesy of Curtis Gregory Perry https://www.flickr.com/photos/curtisperry/62118986 Image courtesy of Sean Munson https://www.flickr.com/photos/83413148@N00
- 12. Yes No N/A Affinity Diagramming Concept 10 2 15% Historical Context 0 12 16% Affordances Concept 10 1 23% Historical Context 3 8 23%
- 13. Name (Pseudonym) Years of Experience Vocational Background Cheryl 10+ Business Abbie 20+ Computer Science Vicki 4 HCI Phil 2 HCI Jagdish 3 HCI
- 14. Too much "big language" and not enough "beer and steak" interactions with peers ABBIE
- 15. "scrappy" design methods v. "textbook" design methods VICKY
- 16. Designers want methods that are easy to explain to their clients and easy to visualize, for the purpose of assisting them in communicating their design ideas.
- 17. Image courtesy of See-‐Ming Lee https://www.flickr.com/photos/seeminglee/4556156477 UNDERSTANDING "CORES" OF METHODS & ADAPTATION AND APPROPRIATION IN USE
- 20. TRICKLE DOWN
- 22. BUBBLE UP (researcher led)
- 24. BUBBLE UP (practitioner led)
- 25. DIMENSIONS OF THE MODEL • Disseminating agents • Communities involved (and power relations) • Location of appropriation/abduction
- 26. Image courtesy of Mary Madigan! https://www.flickr.com/photos/marypmadigan/9505064987 TRICKLING DOWN
- 27. Image courtesy of Mary Madigan! https://www.flickr.com/photos/marypmadigan/9505064987 TRICKLING DOWN Slow & institutionalized Uni-directional Privileged
- 28. BUBBLING UP Image courtesy of mullenkedheim! https://www.flickr.com/photos/mullenkedheim/5101515763
- 29. BUBBLING UP Image courtesy of mullenkedheim! https://www.flickr.com/photos/mullenkedheim/5101515763 Practitioner driven Researcher driven
- 30. BUBBLING UP Image courtesy of mullenkedheim! https://www.flickr.com/photos/mullenkedheim/5101515763 Researcher driven STUDY OF DESIGN PRACTICE IN SITU ! VALUING PRACTICE ON ITS OWN TERMS
- 31. BUBBLING UP Image courtesy of mullenkedheim! https://www.flickr.com/photos/mullenkedheim/5101515763 Practitioner driven ENRICHING DISSEMINATION OF DESIGN KNOWLEDGE ! LEGITIMATING DESIGN KNOWLEDGE IN THE RESEARCH COMMUNITY
- 32. BUBBLING UP Image courtesy of mullenkedheim! https://www.flickr.com/photos/mullenkedheim/5101515763 Practitioner driven Researcher driven
- 33. CYCLE AROUND
- 34. CYCLE AROUND Tightly coupled Iterative and constructive Lessened power relations
- 35. WHAT'S NEXT? • Exploring paths for future research and dissemination • Partnering with practitioners and generating/ legitimating design and practical knowledge
- 36. THANK YOU NSF GRANT #1115532 ! ! UXDESIGNPRACTICE.COM | COLINGRAY.ME