ProPS to evoke ‘tHe neW’ By Staging tHe everyDay into fUtUre ScenarioS
ProPS to evoke ‘tHe neW’ By Staging tHe everyDay into fUtUre ScenarioS
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通过将日常生活融入未来场景来唤起“新”的道具
DOI：
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发表时间：
2011
期刊：
影响因子：
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通讯作者：
J. A. Graham
中科院分区：
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作者：
J. M. Davis;A. Jarabek;D. Mage;J. A. Graham
在整个设计过程中，设计工件的使用非常普遍，但是它们的目的和用途不同。在本文中，我们专注于使用技术探针在创建未来的场景。这些道具被用作共同设计工作坊的核心演员，以唤起未来并打开可能性的空间。我们分析了道具在老年人和项目合作伙伴之间的合作中的作用。通过工作坊的不同快照，我们展示了道具如何使参与者在已知的日常和未来的超越之间进行和穿越。最后，它说明了道具如何发挥核心作用，在介绍该技术的高级和它如何使他们反映的可能性，与自己的日常生活。西格内湖YNDIGEGN IT哥本哈根大学signelouise@itu.dk玛丽亚FOVERSKOV丹麦设计学院mfo@dkds.dk轨道2：舞台设计人类学106 2011年创新大会的讨论，挑战假设和扭曲熟悉的日常生活，以提高认识，往往是政治或技术问题。Dunne和Raby（2001）等研究人员设计了看起来像现有产品的工件，但功能更加模糊。在可访问性的意义上，provotypes和关键的设计工件不是面向用户的。它们是用真正的材料制成的高光洁度的静态物体。最后是props，它是一种设计工件，旨在将制定作为动作属性的表示。它与表演的传统有关，可以成为角色扮演的核心。Brandt和Grunnet（2000）描述了道具和戏剧如何一起不仅可以用作“思考的东西”，而且可以用作“表演的东西”。Iacucci和Kutti（2002）从他们的经验中报告了道具作为“魔法的东西”来闪耀想象力，并开辟了一个可能性的空间，用户根据某些情况定义使用。道具本身不被操纵，因为它们的意图是“原型动作”而不是“原型对象”的手段。对于像魔杖这样的道具，问题在于魔杖在哪里使用以及用于什么目的，而不是它如何出现在手中。在合作中，道具的使用是为了平衡科幻小说和似是而非的小说之间的关系。它们为绩效提供了约束，同时也能激发创新的想法（霍华德等人，2002）。eXpLorinG technoLoGiCaL
The use of design artifacts throughout the design process is widespread, but they differ in purpose and use. In this paper, we focus on the use of technological probes in creation of scenarios of the future. The props are used as a central actor in a co-design workshop to evoke the future and open up the space of possibilities. We analyze the role of the props in the collaboration between senior citizens and project partners. Illustrated by different snapshots from the workshop, we show how the props make the participants enact and traverse between the known everyday and the transcendence of the future. Finally, it is illustrated how props play a central role in introducing the technology to the senior and how it makes them reflect upon the possibilities in relation to their own everyday. SIGNE L. YNDIGEGN IT University of Copenhagen signelouise@itu.dk MARIA FOVERSKOV The Danish Design School mfo@dkds.dk track 2: Staging Design anthropology 106 Participatory innovation conference 2011 discussions, challenge assumptions and twist the familiar everyday to raise awareness, often of political or technological issues. Researchers as Dunne and Raby (2001) have designed artifacts that look like existing products, but have more ambiguous functionalities. The provotypes and critical design artifacts are not user oriented in the sense of accessibility. They are static objects made with a high degree of finish, in genuine materials. Finally, props, which are design artifacts that are designed to manifest enactments as a representation of the properties of actions. It relates to a heritage of performance and can be central in role-playing. Brandt and Grunnet (2000) have described how props and drama together can be used not only as “things to think with” but also as “things to act with”. Iacucci and Kutti (2002) have reported from their experiences with props as “magic things” to sparkle imaginations and open up a space of possibilities where users are defining usage according to certain situations. The props are not manipulated themselves since their intentions are the means of “prototyping actions” rather than “prototyping objects”. With a prop like a magic wand the issues regard where and for what purposes the wand is used not how it appears in the hand. The props are used in the collaboration to balance the relation between science fiction and plausible fiction. They provide the performance with constraints and at the same time they can trigger innovative ideas (Howard et al. 2002). eXpLorinG teChnoLoGiCaL