Sensory Ethnography Gallery: 四月 2021

工作坊项目实践
产品1802

偶物质（object puppetry）

"万物皆偶"是迷人的看待世界的视角，回到原初生命状态的最短路径，一种懵懂的对话方式，撞击心灵的交互，纯净精神，抚慰人心。工作坊引入Puppet，并将此元素与身体连接，从偶、偶剧思维训练到偶与身体的互动实验，忽略问题导向及以人为中心的工作习惯，转向偶物质为重心，以及其与身体的戏剧性互动，期翼创造新的感官交互美学。

W10 Speech: About puppet, puppet object and its value to designers
Game1: Breath/trash puppet

W11 Drama Thinking/Back to childhood

Game2: Exchanging childhood memories/paper puppet

W12 Puppet objects with body/human-puppet interaction

Training1: Hand magic/left-right hand interactions

W13 Making a product into a puppet or vice versa

Game3: Object theatre

Three elements: Table/Puppet/Fun

Sketch-Storytelling-Concept

W14 Testing/collecting feedback/improving

W15 Final presentation

Refer:

Object Theatre
Master puppeteer Hobey Ford's magical creations inspire children & adults alike.
The Puppeteer Film with Igor Fokin
Puppeteer Basil Twist at his studio in the West Village - Profiles - The New Yorker
Basil Twist, Stickman and Christopher O'Riley Perform ‘Symphonie Fantasique’ in The Greene Space
Suspension of disbelief through puppetry | Dadi Pudumjee | TEDxIIMIndore
A Portrait of the Puppet Master as a Young Man

骷髅幻戏图

山本由也

TEDxDirigo - Figures of Speech - The Puppet As Metaphoric Being

Turning objects into puppets with Lori Hopkins

Paul Zaloom

Charlot Lemoine

用户研究与产品定义
产品1903

W9 User Research

*Futures/{people, communities, and society}/Ethics/Arts

Futures: long-term effects
Ethical Discussion:
...acknowledge the interdependency of social, cultural, physical, technological, and economic systems, respect the beliefs and privacy of individuals, and avoid damage to the biosphere.

*People: users, employees, owners, bystanders.../non-human stakeholders as well as future generations of humans and non-humans
...what we are still lacking are the means of embedding these learnings deeply into our decision-making processes – towards a mutually beneficial coexistence.

*always in a process of creative feedback, in an organizational encounter and dialogue, in constant world-making

W10 Product Definition
Design as an expanded ethical and professional practice.
*Accountability: technological feasibility, economic viability, organizational scalability, environmental sustainability, cultural sensitivity, physical accessibility, social equity, and ethical responsibility.

* Academia, industry, and end-users can better co-design the processes of imagination, technical implementation and evaluation.

*Opportunities and challenges on cross-disciplinary collaborations, the disciplines of engineering, science, art and creative design, social science and philosophy.

*The perspective of a new materialism. The Object Oriented Ontology of Harman enshrines the secret life of things, removed from our human understanding (even equipped with our technical prostheses). His theoretical approach has indeed inspired the speculative work of contemporary artists. This renewed relationship to matter, what it constitutes and how matter matters, also guides reflections on new approaches to materialism in the fields of Consumer Culture.

W11 Project Brief

虚实交错：筛选生活方式迥异的两个对象，无所谓年龄职业性别，差异在各自对线上线下生活的依赖程度（非指对科技的依赖），基于调研提取关键词作为评估参数，做图示化分析；提取样本组织工作坊；继而以之为素材以科幻为底色设想杂交型态的第三人，最终以艺术装置呈现出场景故事意象。
Background: 2.5次元

LGBT/ACGN/同人创作/耽美文化/社恐

宅舞/唱见/配音/鬼畜/COSPLAY
游戏社交/圈地自萌/代际鸿沟

W12 Field research

Observation/Interview/Game

W13 Sample workshop：

蒙太奇的叙事拼接

W14 Script to storyboard
W15 Stage setting (sound/light)
W16 Final

Process：
Stage 1: Grouping(角色分工：沟通/记录/影像)
Stage 2: Choosing 2 people_ Primary Research(访谈/观察_同理心地图)
Stage 3: KJ 3D Cards (空间卡片)
Stage 4: Story Weaving Workshop (卡片编织故事)
Stage 5: Persona（塑造角色）
Stage 7: Scenario-based Design (剧本：椅子，回到一手资料的样本卡片)
Stage 8: Wire Sketch（线条画：2D）

Stage 9: Wire Space（线条空间+第三个人偶的活动）

注：

*2次元: ACGN，即动画（Animation）、漫（Comic）、游戏（Game）、小说（Novel）
*2.5次元: 日本內容產業生產者所塑造的跨媒體環境、消費者期待文本重現的體驗需求，導致介於現實生活世界(3次元)與文本虛擬世界(2次元)之間的「2.5次元」建構成形，並於2010年代後逐漸廣為人知。角色扮演、聖地巡禮、VOCALOID等重視場域氛圍、消費者想像力以及體驗的樣態皆屬此類範疇，且成為佔有日本內容產業一定比例產值之重要商品。現今日本2.5次元市場的主力重心之一的「2.5次元舞台劇」，早期利用IP及角色等跨媒體策略吸引劇作的消費者；累積並形塑一定客群與體系規則後，則呈現出與過往一般商業舞台劇所不同的多樣化活動，更以此成為市場區隔的一大利器、發展出另一以自身為中心的跨媒體形式。

Refer:

Future of Design Education

Design Futuring: Sustainability, Ethics and New Practice