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A bit better Jeff? I think I am focusing on what would make a good celebratory tech but also to get there what would be a good process. The critiques I think I will do will probably focus on the process of how the artefact (goals seem to fit celebratory tech but they don’t always achieve it) came about and because of the process, if it ends up as a good celebratory tech or not. Hope this is an OK line of thought.


Human-food interaction benefit from Third Wave HCI/Experience Design

Human- food interaction emphasize fixing problems

  •  “That work which has been done has focused primarily on the problems that people have planning meals and preparing and consuming food.” – Andrea Grimes et al
  • …points to the possibility and necessity to see technology and design interventions in this space as more than simply corrective.”  – Rob Comber
  • “We certainly agree that individuals do encounter problems in their interactions with food, but…they enjoy their food, relish the practice of making it, and above all celebrate the sharing of it.” – Andrea Grimes et al

Human- food interaction should also focus on positive experiences and connecting people

  • “Food is, and always will be, something that connects people together and which has the potential to inspire and engage us in new and exciting experiences.” – Rob Comber

  • “…our goal is to explore a different path for food research in HCI, one that focuses not on the problems that individuals have with food, but rather on the ways in which people find pleasure and success in their interactions with food.” – Andrea Grimes et al

  • “Human-food interaction requires much more attention to the people and the ways in which they engage with food than efficiencies and novelties new technologies may provide.”  – Rob Comber


Framework [Celebratory]

  • “This design space is characterized by what we call celebratory technology; technology that celebrates the positive and successful aspects of human behavior.” – Andrea Grimes et al

  • “By drawing from social science research on how people live with, consume, and conceive of food, we come to suggest six positive aspects of human-food interaction that can be designed for… creativity, pleasure and nostalgia, gifting, family connectedness, trend-seeking behaviors, and relaxation.”  – Andrea Grimes et al
  • I’ll explain each section
  • This is a framework that can be used to look at design, help design for positive experiences

Projects that want to design for experience (Critiques if they succeeded or not, why)

Food Media/CoDine is concepted as a celebratory tech but fails at it through the process of its creation (celebratory framework eval throughout, look at process to see why did or did not achieve)

  • “Food Media” is “an intuitive multimodal interaction platform to engage remote people into social communication and entertainment within the telepresent family dinner context.” – Jun Wei et al
  • “…CoDine system, a dining table embedded with interactive subsystems that augment and transport the experience of communal family dining to create a sense of coexistence among remote family members.” – Jun Wei et al
  • “CoDine connects people in different locations through shared dining activities: gesture-based screen interaction, mutual food serving, ambient pictures on an animated tablecloth, and the transportation of edible messages.” – Jun Wei et al
  • “Rather than focusing on functionality or efficiency, CoDine aims to provide people with an engaging interactive dining experience through enriched multi-sensory communication.” – Jun Wei et al
  • They are two different papers about the same design
  • They want to create an experience with their prototype but their process was not best way to design for experience
  • Reasons why: prototype, test prototype, assume target audience will feel the way they want them to feel, next step is user study to make sure they feel the way they feel (lots of quotes and annoyed critiques about this)
  • “Compared to interacting in a virtual environment, we believe these physical movements of plates or cups physically on dining table convey more delicate human emotions and stronger feeling of warmth, which contributes to the enhanced sense of co-presence when user take the served dish from their remote dining partner, even though they do not share the same physical dining table.” – Jun Wei et al [My comments: They did not test this on their audience to see if they really do think this, it is them speculating.]
  • [prototype first than see if your users will feel the way you want them to feel, they built elaborate hi-fi prototype, how much are you willing to change if people don’t feel the way you want to?] “While we have conducted prototype tests during the implementation to verify the CoDine modules function, our next step is a user study to assess whether CoDine enhances engagement between fellow co-diners.” – Jun Wei et al
  • [the design is not everyday habit, design not shown how people react to it in home] “Our research explores how interaction with familiar but intelligent everyday environment and artefacts can be used to enhance meaningful interactions in dining situation, going beyond ambient sensing and computing, to the level of subconscious connection between human beings.” – Jun Wei et al
  • [more features = people feel more connected, that is what this says to me] “In the future, more interaction channels can be included to increase the feelings of connectedness, awareness and playfulness, to enhance the shared social entertainment experience beyond verbal or video communication.” – Jun Wei et al

Telematic Dinner Party is a celebratory tech but still lacked some experience they wanted to achieve (celebratory framework eval throughout, look at process to see why did or did not achieve)

  • “Here we consider, among the others, the creativity, togetherness, pleasure and playfulness, associated with food and mealtime.” – Pollie Barden et al
  • “The Telematic Dinner Party (TDP) aims to support remote guests in experiencing a sense of togetherness, and playfulness and sharing in a dinner party.” – Pollie Barden et al
  • Their process better than above
  • They tested with their audience
  • They held activities with audience to see if they get the goal experience
  • They were iterative: traditional dinner party, pilot study, hi-fi prototype
  • Still found issues with experience and how people felt with prototype that they have to address
  • They built it all but some experience they wanted to achieve didn’t work
  • “Our observations of the TDPs and guest feedback indicate that the social structure is central in creating a sense of social presence between participants, and that this cannot be achieved by the quality of the technology platform alone.” – Pollie Barden et al

Inform future experience design for Human food interaction

Food Journey (Capstone Process): a way to design for experience first

  • Want to “support relationship-building activities and extend them to distant dining situations… support [couple] bonding, communication, and social togetherness.” (CoDine, 23) Minus the remote participants

o   See how people act together collocated first before remote

  • What: design for the experience

o   Focus on the positive experience instead of technology

  • Tech mediator
  • Comber: Human-food interaction requires much more attention to the people and the ways in which they engage with food than efficiencies and novelties new technologies may provide.” (182)

o   aim for overall positive experience

o   make sure it is there before higher fidelity

o   couples are unique and will interact and respond different

  • Why: technology is just the mediator [unremarkable computing (Grimes)]
  • Concept

o   people grow up with different preferences and tastes

o   relationship together

  • bring their backgrounds together
  • possible to explore their preferences together
  • try new things
  • fun experience together

o   Food Journey helps initiate this experience to bring two people closer together [celebratory technology]

  • 6 postive aspects
  • don’t know where journey take them
  • aim, prompt conversation, expand horizons, develop positive food practice
  • Five parts: exploration, Adventure: The Hunt, Adventure: Create, Adventure: Eat, Keeper
  • How: low fidelity prototype, paper prototype with post its

o   simulate the journey

o   so far with three young couples (various status, various pickiness and control)

  • young couple already use smart devices like smartphone on regular basis

o   Allow focus on how couple interact with each other and engage with activities, how felt throughout the experience

o   Less focus on technology breakdown

o   Next step would be higher fidelity prototype to look at UI


Something light-hearted today’s class reminded me of.  A parody or spoof about the idea cities are becoming more and more like museums.  What if everything became what they call an art project?

So, I have been in somewhat confused state lately. Since the semester is coming to an end, I am preparing my final capstone document; framing and re-framing things so that it makes sense to Eli and people who might read it.The journey of capstone is organic, the research phase never ends technically. But for presenting the project, I need to break things down , more specifically in PRInCiPleS format for the final deliverable.

Jeff shared an amazing framework of ‘What, How and Why’ to think about a paper or a design project. It totally made sense to me. I documented my capstone thought process in that flow. But as I was presenting it to Eli, I felt I was struggling a little bit. So, I mapped these two frameworks to understand how can they be related and came up with this:Image

What do you guys think ? How are you bridging this gap between documenting a process and presenting it? Would really appreciate some feedback..

The study of ubicomp (particularly Mark Weiser’s vision for an interconnected workplace) has always been one of my favorite topics in my study of UX. But one thing I’ve always found lacking in ubicomp is a greater discussion of the political implications of ubiquitywhat the ramifications of embedding computers are in the scope of everyday life. Yvonne Rogers approaches this discussion  from the perspective of “calm computing,” and makes the argument that we need to move towards a more proactive form of ubicomp that does not explicitly rely on technology to catalyze creativity:

Instead of augmenting the environment to reduce the need for humans to think for themselves about what to do, what to select, etc., and doing it for them, we should consider how UbiComp technologies can be designed to augment the human intellect so that people can perform ever greater feats, extending their ability to learn, make decisions, reason, create, solve complex problems and generate innovative ideas. (Rogers, p411)

DiSalvo’s approach to ubicomp through adversarial design seeks to accomplish many of the same goals as Rogers, albeit by utilizing the technologies themselves (in the form of articulative collections) to facilitate more holistic approaches to design:

Within the frame of adversarial design, the tactic of articu- lation constructs linkages between objects, people, and actions that transform them into an agonistic collective—an open space of contest in which the elements gathered together are able to act out a plurality of conflicting practices, values, and beliefs. (DiSalvo, p96)

The articulation of different devices within a collective of interconnected technologies allows for a new form of politics to emerge, and prompts the people using it to think more critically about its implications. I feel that as our lives become increasingly connected with the Internet, it is easy to lose sight of the consequences of our actions, both in the real and online spaces. Rather than merely rejecting ubicomp’s proposition of interconnectivity, DiSalvo instead introduces the idea of a countercolletive, which “[unhinge] the joints that bind another collective together…by leveraging qualities of connectedness and the interrelated dependencies that characterized connectedness.” (DiSalvo, p109) The result is an almost critical perspective on ubicomp; a sort of introspective that brings users into the discourse through its experience. Through articulation, we can better understand both how elements fit together in an ubicomp interaction, and the implications of the interaction of those elements on the world at large.

From the very beginning of the movie I just knew: if I hadn’t being doing all of these readings about embodiment and lived experiences, and most certainly if I hadn’t read Kickasola’s review, I would have been lost. in. the. sauce.

I believe this quote is attributed to Aldous Huxley, although I couldn’t find very much proof on the interwebs to back that up, but: “The more you know, the more you see”. Knowing, the little that I know, I enjoyed the movie. I wouldn’t be surprised if  the Hollywood style of storytelling has dulled my perception, and Double Life was certainly an exercise in perception. The symbolism and foreshadowing was very subtle, to my eyes, at least (thanks Kickasola!), but having spent nearly the past year learning about lived experience, I felt the sensory depictions in the movie were particularly strong.

I know they say that when you’re performing a play on stage, there should be no extraneous action or prop, everything should contribute to the story. What I really appreciate about Kieślowski is that he embeds the symbolism in a lot of actions that could be dismissed as extraneous, in that they don’t obviously tell a story. That technique really emphasizes the extraordinary in ordinary everyday things — and really heightens the sense of significance when you realize, for example, that when Weronika turns her little ball in her hand, she’s literally crossing the stars that are embedded in it. She’s holding an ill-fated life-world, symbolically and literally.

It’s striking how ordinary everything is. The most significant hints of the supernatural are expressed through the camerawork and the film score (which plays its silences just as well as it does its melodies). But apart from these cues, there’s very little else that says “Hey! Pay attention to me, the string Weronika’s wrapping around her finger — I’m a portent!”; well, except maybe the literal mirroring of Véronique that happens throughout the film, but you’re probably already primed to notice that from the title and the first bit of the film. And on that note, I’ll sign off — or I’ll be late to class.


I must admit todays reading ‘The later features: The double life of Veronique’ was one of the most engaging readings I have done for this class. The verbal richness describing the character, her experiences and intricate details of her feelings and conflicts blew my mind. I watched the film first and then did the reading. As I was reading, the entire film flashed through my mind subtly pointing out the scene details and connections between them. Elliot W. Eisner describes criticism as ‘the art of disclosure’. In his article ‘Connoisseurship, criticism and the art of education, he quotes Dewey – ‘Criticism, as Dewey pointed out in Art as Experience, has at is end the re-education of perception… The task of the critic is to help us to see.’  I believe this nature of criticism of the film ‘The double life of Veronique’ was very well done by Kickasola. ( Though I didn’t get all his points, I experienced some ‘ah-ha’ moments while I was reading).

Another thing that struck me was the subtleness of the clues in cinematic techniques and narration that contributed to the film experience. In designing user experiences, I believe we can take some inspiration from Kieslowski by making careful and subtle choices regarding design elements. For a ‘happy’ experience, the design need not scream ‘and now it’s time to be happy’ (hopefully this makes sense). The point I am making is by downplaying some elements or giving indirect clues, designers can craft more meaningful and deep experiences that can have a lasting impression on people.


Instead of using design as a means of providing a solution, it uses design to problematize the situation.

This line from DiSalvo’s chapter on Device of Articulation really jumped out at me. It made me think of Jamaica’s National Development Plan, “Vision 2030“, and how it’s being approached. Now let me confess: I am not as intimate with the details of this plan as I should be, I suspect, especially in regards to the research that undergirds its implementation. That being said, I strongly suspect that this long-term socioeconomic development plan is being implemented on the basis of public consultations and expert advice. The immediate problems I can see from these tactics are that people often can’t or don’t articulate what they want; what they want isn’t often aligned with what they need (or what will benefit others); and that research for the development plan is reduced to a grand requirements-gathering session. The ultimate problem I fear, is that they’ll implement, at great expense, static solutions that won’t grow with the population’s changing needs and desires, or worse, will limit potential futures.

This chapter really gave me concrete examples of how the Vision 2030 team could get closer to real desiderata, and really start to tease out the connections and nuances in our socioeconomic problems (I’m thinking particularly of the Natural Fuse project). The people could literally get hands on with the explication and exploration our problems and potential solutions, and, most importantly own the process.

P.S: I wish I’d read this paper before the PIT Crew hackathon. The Natural Fuse really inspired a perspective on the prompt that I think would definitely have been more effective (and appropriate) than a game.


Taking a quick break from reading and this happens.

…Attack on Titan meets Pokemon…

A) I loved this and rofl
B) Thought everyone might enjoy this “break”

We’ve been talking a lot about characters, specially monsters, crossing different genres of film and I started to think about how video game characters and their representations, expectations, become twisted when they enter into a different world (take Mario and Super Smash Brothers) or when someone alters (Mods) their aesthetic/function/representation in a game. There are so many mods to cover, but the feelings of laughter to OMG I can’t believe someone did this is very interesting and shows similarity to what Noel Carroll is discussing in “Horror and Humor,” in Beyond Aesthetics.

…back to my readings (sighduck)



‘Film instances as a rhetorical devices to explore social and cultural issues with a technology.’

This is inspired from Pastiche scenarios that draws on fiction as a resource to explore the interior ‘felt life’ aspects of

User experience and complex social and cultural issues raised by technological innovations. There is a detailed and very interesting paper written by Mark A. Blythe and Peter C. Wright on the topic ‘ Pastiche scenarios: Fiction as a resource for user centered design’.

Pastiche scenarios as described in the paper can be generated by ‘ cutting and pasting lines of source text and then modifying the story line to allow for the introduction of the technology in question.’ For my final paper, since I am focusing on films which is rich media in terms of visuals, I have decided to use film instances (screen shot of film scenes) to explore the social and cultural issues. I am not sure if these instances can be called as pastiche scenarios.

Also, I have picked ‘Indian films’ as a case study for my capstone (final paper is derived from it) and I am choosing films based on Mumbai culture, specifically those scenes that I believe have captured the context and cultural specificity very well. (I am placing myself as a strong subject in this.)


  1. Films meant more to me than a just another source of entertainment. I feel deeply moved after watch some of the Indian films mostly due to the richness of context portrayed in it. It’s the groundedness of these films, story lines, music and actors acting in it that left a long lasting impression on me. I knew I had to do something about it in my capstone.
  1. Almost in all of my RDSC projects, I have used stories to communicate design. These story, I felt, weren’t very rich. Of course , user experience designers are not graphic artists but I thought we could still stretch our imagination to think about different ways a technology could be used/adapted by people considering different social and cultural context during ideation.
  1. Expansion of third wave HCI that stretched beyond workplace and started considering user experience holistically.

One of the quotes from ‘Critical and cultural approaches to HCI’ paper from Jeffery Bardzell –

‘Cultural HCI should have less to do with telling us about culture and more to do with helping us improve culture. It would be wrong, I argue, to see cultural approaches primarily as another research lens to tell us what is out there in the world; the social sciences are a better fit for this direction of inquiry. Cultural approaches should be used to help HCI improve our lived environment and improve ourselves.

Prior work/sub-domain of HCI

My research and audience group is hugely influenced by these two papers

  1. ‘Pastiche scenarios: Fiction as a resource for user centered design ‘ by Mark A. Blythe *, Peter C. Wright

In this paper, pastiche scenarios have been used to for three purposes and explained in details by three interesting case studies:

  1. Pastiche scenarios are used to explore ‘felt-life’ issues.
  2. Pastiche scenarios are particularly valuable in participatory design situations, since they engage users in the way that characters in novels might.
  3. pastiche scenarios can be used to explore social and cultural issues with imagined technology.

I am more interested in exploring the third purpose and appropriate it by using films.

  1. Design Documentaries: Inspiring Design Research Through Documentary Film by Bas Raijmakers, William W. Gaver, Jon Bishay

I liked how they started. Their approach really helped me articulate why I chose ‘films’ as a medium to understand and explore cultural and social issues.

One specific quote that resonated the most with me –

” We suggest that, for design research in HCI, film can be much more than a note-taking tool; we can use it as a means to explore, understand and present the everyday, and benefit from film’s capabilities to preserve ambiguities and paradoxes instead of resolving them into univocal conclusions.”


I am planning to make a card deck of film instances and conduct a small activity of ideating and exploring different possible technological solutions.

My intention is to help designers empathize with and consider different cultural and social issues that could shape the usage of the technology they design.

” It is possible for designers to shape how technology is used but not to determine it.” – Mark A. Blythe and Peter C. Wright in ‘ Pastiche scenarios: Fiction as a resource for user centered design’.

Besides these, few papers that I am planning to refer are:

  1. Critical And Cultural Approaches To HCI by Jeffery Bardzell
  2. ‘‘A great and troubling beauty’’: cognitive speculation and ubiquitous computing Jeffrey Bardzell, Shaowen Bardzell
  3. Interaction criticism: An introduction to the practice Jeffrey Bardzell
  5. Cinema and touch
  6. Crafting User Experiences by Incorporating Dramaturgical Techniques of Storytelling
  7. A User-Centric Adaptive Story Architecture – Borrowing from Acting Theories
  8. Carroll
  9. Elliot W. Eisner, connoisseurship, criticism and the art of education

These are some of the collection I have. I am going to refer readings from Foundations, Experience design and Interaction culture paper.

If you have some advice on the paper, or suggestions, or critique, I will be happy to receive it .. 🙂

Beetlejuice! Beetlejuice! Beetlejuice! 


I hadn’t thought of the movie Beetlejuice in years until Carroll. It opened my mind to the emotions that seem to be so far, but in actuality are so close together. Emotions do so much for us each day: waking up with a smile when the sun shines through the curtains, being discouraged when the rain ruins our plans, or being so overjoyed when a baby is born. What we often don’t think of, however, is fright and the various range of emotions that come with that feeling. Why would we though? That’s pessimistic.

Emotions that come with fright and fear can more powerful than anyone may imagine. That’s why we’ve taken time to diagnose many of them into “phobias”, right? Some individuals have such strong emotions for these specific actions that they affect their bodies, even. Can you imagine you feeling so, intensely, scared that your throat immediately begins to (or feels as if) it’s closing so as to cut off your chance to scream for help or even breathe? How about the feeling of fright being so intense that your legs give out before you can flee to safety? I don’t even want to imagine.

Fear and anxiety work closely hand-in-hand to produce physical and emotional responses that you may or may not be aware or familiar with. Check out more on how fear and anxiety affect the body and its responses here: This article allowed me to think about my responses to movies, but then what I would do if I were in those films or even horror films in general (that weren’t intended to be funny and were truly horrifying.)

Does anyone come up with “if that were me, I’d do…” scenarios for scary films like I do? If you stay ready you never have to get ready, right?

As for me…I’ll leave the light on.