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As We May Feel Interpreting The Culture of Emerging  Personal Affective Mobile Media PHD DEFENSE  MARTIN SØNDERLEV CHRISTENSEN ITU 29.SEP 2006
Overview of the Thesis ,[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],Overview of the Thesis
[object Object],[object Object],[object Object],[object Object],Overview of the Thesis
[object Object],[object Object],Overview of the Thesis
[object Object],[object Object],[object Object],[object Object],Overview of the Thesis
CULTURAL / HISTORICAL MOBILE MEDIA / MOBILE IMAGE PHENOMENOLOGICAL DESIGN DISCUSSION 1 2 3 4 MATERIAL CULTURE OF AFFECT PERSONAL AFFECTIVE MOBILE MEDIA PAMM - TYPOLOGY HUMAN TECHNOLOGY RELATIONS
METHOD / CRITIC Self-reflective EXCLUSIVE Interpretation ephemeral ORIGINAL Example driven promotional
MOTIVATION?
[object Object],[object Object]
[object Object],[object Object],Martin S. Christensen “As We May Feel”  2006 MOBILE images ,music, digital
[object Object],[object Object]
HUMAN TECHNOLOGY RELATIONS
AFFECTIVE HCI ,[object Object],[object Object]
AFFECTIVE HCI ,[object Object],[object Object],Before the computer or its designer can adapt an interaction to better serve an individual user, feedback from that  user must be associated with the actions of the machine:  did a specific computer action please or displease the user?
AFFECTIVE HCI ,[object Object],[object Object],Before the computer or its designer can adapt an interaction to better serve an individual user, feedback from that  user must be associated with the actions of the machine:  did a specific computer action please or displease the user? ,[object Object]
EXCITABILITY?? FUNOLOGY Blythe & Overbeeke 2005 NORMAN 2004
THE SHIFT affect as an aesthetics of cultural actions with technology   affect as an aesthetics of interaction  with technology
MOTIVATION ,[object Object],Sengers, P. Gaver. B. Designing for interpretation 2005
MOTIVATION ,[object Object],Sengers, P. Gaver. B. Designing for interpretation 2005 This move is a  historical development,  of course, but we believe it also represents a  qualitative shift in the role and purpose of computers : as computers enter everyday life, everything changes.  Most fundamentally,  their purpose can no longer be expressed simply in terms of utility, efficiency and usability,  and their success no longer simply evaluated along those dimensions.
MOTIVATION ,[object Object],Sengers, P. Gaver. B. Designing for interpretation 2005 This move is a  historical development,  of course, but we believe it also represents a  qualitative shift in the role and purpose of computers : as computers enter everyday life, everything changes.  Most fundamentally,  their purpose can no longer be expressed simply in terms of utility, efficiency and usability,  and their success no longer simply evaluated along those dimensions.  Values such as enjoyment, status, aesthetics and expressivity become increasingly important, and success must be assessed along such “subjective” dimensions as well.
MOTIVATION ,[object Object],Sengers, P. Gaver. B. Designing for interpretation 2005 This move is a  historical development,  of course, but we believe it also represents a  qualitative shift in the role and purpose of computers : as computers enter everyday life, everything changes.  Most fundamentally,  their purpose can no longer be expressed simply in terms of utility, efficiency and usability,  and their success no longer simply evaluated along those dimensions.  Values such as enjoyment, status, aesthetics and expressivity become increasingly important, and success must be assessed along such “subjective” dimensions as well.  Moreover, traditional concepts of functionality founder as it becomes clear that successful systems may not be for anything in the traditional sense, but instead  resources for playful exploration and curiosity-driven engagement  The result is that the  experience and meaning of computational systems is increasingly complex , and may be perceived and enacted in very  different ways  by different people in  different situations .”
AFFECT DEFINTIONS AFFECT IN COGNITION AFFECT AS CULTURE “ AFFECT” AS EXPERIENCE AFFECT IN MEDIA MASSUMI DELEUZE GROSSBERG MERLEAU-PONTY FORGAS DAMASIO NORMAN PICARD DON IDHE GROSSBERG BURNETT
EXAMPELS THE CULTURE OF AFFECT
THE CULTURE OF EFFECIENCY IBM 1979
CULTURE OF AFFECT 1984
CULTURE OF AFFECT 2004
THE MOBILE DEVICE ,[object Object]
THE MOBILE DEVICE ,[object Object],This means that the newer technologies of the late twentieth and early twenty-first centuries are no  longer just extensions of human abilities and needs; they are enlarging cultural and social preconceptions of the relationships between body and mind.   [Burnett: How images think 2004:XIX]
MIND+BODY TECHNOLOGY SOCIAL CULTURAL MOVEMENT
USERS? ilounge.com
ilounge.com
MATERIAL  CULTURE  ? ilounge.com
WHO MAKES WHO MOBILE? CYBORG? EVERDAY LIFE
TECHNOLOGICAL FORMS OF LIFE flickr.com “ Whats in your bag” group
CAPSULATION The Hood Jacket - Instructions 1. In this jacket there is a mobile phone 2. In order to answer the phone, close the hood completely 3. The phone call continues, as long as you don't try to open the hood.  [Courtesy: Mass Distraction – www.mass-disstraction.org]  MASS DISTRACTION
THE MOBILE DEVICE PERSONAL AFFECTIVE MOBILE MEDIA
Personal Affective Mobile Media_  ,[object Object],[object Object],[object Object],[object Object],P A M M
“ user” driven media? ,[object Object],[object Object]
EXAMPEL MOBILE IMAGE
MOBILE IMAGE
MOBILE IMAGE
 
MOBILE IMAGE
[object Object],SUSAN SONTAG 2005
[object Object],A digital camera is a common possession of most soldiers. Where once photographing war was the province of photojournalists, now the soldiers themselves are all photographers -  recording their war, their fun, their observations  of what they find picturesque, their atrocities - and swapping images among themselves, and emailing them around the globe. SUSAN SONTAG 2005
The  pictures will not go away .  That is the  nature of the digital world in which we live in .” SUSAN SONTAG 2005
IMAGES MOVE SUSAN SONTAG 2005
MOBILE IMAGE flickr.com
LOCATIVE/CORPOREAL CYBERPLACE CYBERSPACE INTERNET MOBILE image
?
 
Oneself ,[object Object],Walker, Jill, Mirrors and Shadows:  The Digital Aestheticisation of Oneself. In proceedings of Digital Arts and Culture, Pages 184-190.
Oneself I am a self. This is the first step in learning how to  express ourselves with digital technology , and the first step in choosing to express ourselves rather than simply allowing ourselves to be described by others Walker, Jill, Mirrors and Shadows:  The Digital Aestheticisation of Oneself. In proceedings of Digital Arts and Culture, Pages 184-190.
NETWORKS 1961 PAUL BARAN
A NEW MASS 2004 CHRIS ANDERSON
DIGITAL  HERMENEUTICS ,[object Object],[object Object]
THEORY PHENOMENOLOGY OF TECHNOLOGY
[object Object],technologies are non-neutral  in the human context function like forms of life or worlds,  although in different ways with different technologies, transform human experience .  [Ihde 1993:112]
TOOLS VS MEDIA
EMBODIED RELATION ,[object Object],   world. 
ALTERITY RELATION ,[object Object],   technology  [world]   
BACKGROUND RELATION ,[object Object],[technology – world] 
HERMENUETIC RELATION ,[object Object], [technology – world]      [    humans]
DESIGN RESEARCH TYPOLOGY PERSONAL AFFECTIVE MOBILE MEDIA
ATTACHMENT  AUGMENTATION AWARNESS ARTICULATION   ACTION  PAMM 5 VECTORS
[object Object],Lucid <> Ludic Information <> story Archive <> log  Transparent  <> Aesthetical  Information <> chronicling Word processing  <> narrative Goal oriented <> open-ended  Direct <> circulation Decisive <> Suggestive  Commands <> Conversations Controlled <> Flourishing
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],ATTACHMENT
[object Object],“ Brain machines”  <> “Heart Machines” Cognitive  <>   Perception Reasoning <> Emotion Ways of Working <> Ways of living   Desktop/office <> Urban space Interaction <> [inter] action Occupation <> habitation Immobility <> mobility
WHAT I SHOULD  HAVE DONE MORE! ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

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As we may feel - PhD presentation

Editor's Notes

  1. Defense manuscript Dear audience, Dear committee, Dear Friends, Dear Colleagues, thank you for allowing me to stand here today, I’m honored to present my work under these circumstances, and in this fora. The next hour I would like to take you on a journey that I have been on the last 3 years of doing my phD at this institution. I am there defend the written part of it. But is it all in here. NO. Therefore it is important to underline that it is also due to a process, that I have been through and this is why I would like to start by introducing, what went before this manifestation. however the product ends, but the process continues. In that context it is not always clear why and how things are shaped, formed and explained the way they are, even for the author. And perhaps that is ultimately a good thing. The process continues as I’m standing here before you to learn about my own product, to discuss and re-examine how it went about. already the committees preliminary report have highlighted for me, that most often and most importantly we learn from the process not the product. But first a little overview of what this thesis intends