U-CrAc - Applied ethnography

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Søren Bolvig Poulsen, U-‐CrAc ‘11

design applied video ETHNOGRAPHY


ETHNO & DESIGN

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. What to look for and how? (Liz Sanders 2002)

. “Don’t go to the Zoo, go to the jungle.” (Ann Kirah, 2007) . Ethnography. A research framework the goal of which is to understand people’s everyday life as a social phenomenon Typically used in anthropology and a qualitaWve method: fieldwork –Field notes –Interviews –ObservaWons

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Ethnography*:

-‐ an in-‐depth, descrip.ve study of a culture; part of the subfield of socio-‐cultural anthropology

-‐ descripWon of a culture based on observa.on of and interac.on with living people

-‐ an approach to analyzing users' needs involving in-‐depth study of users, their pracWces, and their artefacts, in the context of their exis.ng work environment

Fieldwork is not a rigid step-‐by-‐step “how to” prescripWon, but rather a set of techniques which can be applied according to the individual project. About the qualitaWve research methods -‐ “They are intended to allow researchers to follow a suitable course of inquiry rather than to dictate in advance what that course should be.”

Wolcod, 1995 in Sperschneider

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Engage in the ac.vi.es to observe the ac.vi.es, people, and physical aspects of a given situa.on.

Spradley, 1980

. ”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 sWmulus to intellectual

work analysis.”

Barth in Sperschneider, 2000

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Balancing the dynamics of going na.ve

Wolcod, 1999: parWcipant observaWon is “hang out, talk to folks, and try to get sense of what is going on.”

. The ethnographer looks for generali;es;

the designer looks for specifics. . The ethnographer avoids making judgments;

the designer is required to make judgments. . The ethnographer looks at a prolonged ac;vity;

the designer requires informa;on quickly. . The ethnographer is concerned with analysis;

the designer is concerned with synthesis. (Amy McCleverty, 1997)

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. Hvor er læringen i feltarbejdet?

Learning

Time

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Problema;kkerne som designere oKe adressere er ’wicked’, hvilket

naturligvis hæmmer planlægningen -‐ ”the irrita;ng thing is that, depending

on the state of the solu;on, the next ques;on for addi;onal informa;on is

unique and dependent on the state of solu;on you have already

reached.” (RiPel 1972, s. 392)

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Ylirisku et al, 2007

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METODER

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•  Start med lette og åbne spørgsmål

•  Anvend dine observationer til reflektion undervejs

•  Brug konteksten aktivt I jeres interviews

•  Get a real user (elderly / disabled)

•  Sikre god lyd!

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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 continuously (do not stop the camera when surprised) •Allow the “user” to control what can be videotaped

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HVORFOR VIDEO?

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”Only film or video can record the realism of .me and mo.on or the pshychological reality of varie;es of iterpersonal rela;ons... In anthropology film or video is not only the complete way of recording choreography, but also the most direct way of analyzing communica;on, dance, or ceremony, where so many elements are in mo;on together. In this situa;on human memory and notebook recordings become wholly inadequate and highly impressionis;c. The special value of film lies in their ability to record nuances of process, emo.on, and other subtle.es of behavior and communica.on...” (Collier & Collier 1999, s. 144)

(Jensen, M. V. 2007)

Hvorfor arbejde med video i brugerorienteret design?

”Video-‐observa;on formår at gribe hverdagen og fæstne processer i håndterbare

teknologier, der dag for dag bliver stadig mere ;lgængelige for den enkelte. Video-‐

observa;on dokumenterer et udsnit af virkeligheden og kommunikerer budskabet på

en umiddelbar og forståelig måde ;l modtageren. Video-‐observa.on er situa.v,

par.cipatorisk og demokra.sk i sit væsen...”

(BoWn et al. 2007, s. 131)


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Hvorfor arbejde med video i brugerorienteret design? Video er ikke alene et godt redskab ;l registrering og analyse, men har ligeledes designmæssige kvaliteter: Anvendelsen af video i design fordre ’focus -‐ reflect -‐ reframe’ situa;oner (More et al. 2005) i hvilke designere ak;vt anvender deres tavse og kropslige viden (embodied knowledge)

(Poulsen 2008) ”Video as designer clay” (Ylirisku et al. 2007) ”Video as social glue” (Ylirisku et al. 2007) ��

Video kameraets rolle •  Sørg for at have deltagerne i billedet hele

;den

•  Følg med brugeren og hold øje med hvor vedkommendes opmæksomhed er

•  Brug dine fødder ;l at zoom •  Husk at hvis du ikke kan høre noget, så kan

kameraet heller ikke •  Lad video kameraet køre kun;nuerligt •  Tillad at brugeren bestemmer hvad der skal

og må filmes

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QUESTIONS?

“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) ��Men designers traditionelle redskaber har begrænsede egenskaber i forhold til registrering af brugerobservationer og håndtering af brugerorienterede elementer, såsom interaktioner, følelser, oplevelser, m.m. �


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Literature quoted: Hughes, King, Rodden& Andersen (1994) Moving Out from the Control Room: Ethnography in System Design. CSCW 1994: 429-‐439. Chayutsahakij, P. (2003): Human Centered Design InnovaWon hdp://www.idemployee.id.tue.nl/g.w.m.rauterberg/conferences/CD_doNotOpen/ADC/final_paper/353.pdf Jordan, B. & Henderson, A. (1994): InteracWon Analysis: FoundaWons and PracWce. Palo Alto: InsWtute for Research on Learning Norman (2007) The Design of Future Things. Basic Books: New York. Plowman(2003) Ethnography and CriWcal Design PracWce. In Laurel (ed.) Design Research. Methods and PerspecWves. Cambridge: MIT Press. Poulsen, S. B. (2008):”Brugerorienteret design i praksis”, Aalborg Universitet Raudaskoski& Rasmussen (2003) Cross Media and (Inter)AcWve Media Use. A Situated PerspecWve. In Lowe & Hujanen(eds.) Broadcas;ng & Convergence. Nordicom: Göteborg. Shove, Watson, Hand & Ingram (2007) The Design of Everyday Life. Berg: Oxford. Ylirisku& Buur(2007) Designing With Video Focusing The User-‐Centred Design Process. Springer: London.

Case og metodebeskrivelse��

Video registrering �-  visuelle antropologi ��Uge 1.�Etnografiske studie med videokameraet �som dokumentationsredskab �

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Video Card Game �-  brudstykker af virkeligheden ��Uge 1 & 2.�Content logging og analyse af video �sekvenser i workshop format.��


Video sketching �- "idé generering og detaljeret visualisering ��Uge 2.�Ideer udvikles, illustreres og dokumenteres �med video ��

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Koncept visualisering �-  detaljeret visualisering i ’kontekst’��Uge 3.�Koncept visualisering, hvor nogle studerende involverede �brugerne fra deres etnografiske studier ��