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2025年2月4日星期二

Stray animals

User Research and Product Definition

Duration:7 weeks

产品2302(A504)

Support organizations:

带它回家无锡三国城流浪动物保护基地

中国小动物保护协会联盟无锡梅园基地

杨柳风艺文空间

书本放映

Coordinator:朱令仪

Aims:

-to unpack mutuality as it manifests in interactions between human and nonhuman stakeholders

-to imaginatively “explore a radically better future without attempting to define it”

Schedule:

W1-2: Lecture1 (UR)

Exercise1: The User Clock Sketch

很简单有效的工具,值得反复应用。

(1)focus group 的游戏道具;

(2)设计研究小组用来做问题假设。

Exercise2: Stakeholder map

Exercise3: Stakeholder theatre

流浪动物基地利益相关者分析;

基于桌面调研的戏剧表现,呈现不同利益相关者的关切与忧虑。

W3-4: Field research

Mar. 5, 2025 (惊蛰) 三国城基地;梅园基地。

Stakeholders: the bases in Wuxi, pet café, pet owners, pet shops, pet care, pet hospitals, pet market, volunteers...

Data collection: field notes, photos, audio recordings, and artifact collections that included flyers, catalogues, and booklets, community-building activities and events, to learn how activities and interaction unfolds in the base and how interface with others outside the base.

Data analysis: explication de texte. Seeking to find “fragments” or “glimmers” of that world worth pursuing—even if those fragments were partial, flawed, or incomplete.

Mar. 14, 2025 Presentation1 (secondary research, also known as desk research, online survey, field research)

W5-6: Lecture2 (PD), Design strategy

Mar. 19, 2025 书本放映,杨柳风艺文空间(阮夕清、蒋钺、朱令仪),三国城基地(志愿者:婵娟)

倾听柳风37

倾听柳风36

1) Who is the user(s)?
(the public? the founders? the government? abandoners? adopter? or those animals? their psychological trauma)
双向测试(personas-pain points; pain points-personas)
2) Putting the pieces of the puzzle together. (designer's adventure, discovering acupuncture points)
3) Spotting and addressing customer pain points. (problems occurring at the different levels of the customer experience: interaction level, customer-journey level, or relationship level.)
radar chart
4) Identifying touchpoints. (elements of the user journey in which the user interacts with the brand or product.)
5) CJM as a strategic innovation tool
Rosenbaum, M. S., Otalora, M. L., & Ramírez, G. C. (2017). How to create a realistic customer journey map. Business horizons, 60(1), 143-150.

W7: Output:
Design for Coexistence:animal identity, base planning, service, operation, ecosystems……
Apr. 2, 2025 Final presentation (ur&pd, movie) 季挺,苏令辉,尤秀媛,阮锡青,蒋钺,朱令仪
柳风谈47设计是被风筝线拴住的天马

Rerference:
Animal Welfare in Hong Kong
Bardzell, J., Bardzell, S., & Light, A. (2021, May). Wanting to live here: Design after anthropocentric functionalism. In Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems (pp. 1-24).


Symbiotic methods: more-than-human companions for knowing

Despite aspiring otherwise, too often more-than-human research superficially engages with other organisms and treats them as subordinate to social theorising. We are influenced by scholars who remain curious and in touch with the lives of their nonhuman companions, and the socio-ecological worlds they dwell in. Other beings are more than merely good to think with - their biological, relational, fleshy and creative capacities can carry and augment our thoughts. A scholarly indebtedness and ethical obligation that requires we seriously acknowledge how their lives and deaths compose our conceptual activities.

... explore how our other-than-human intellectual partners inspire us towards other-worldly methods. Their unique modes of breathing, eating, sensing and connecting offer instruction for knowing, and open challenging conversations about how we conduct research. By following and corresponding with the bodies and behaviours of other beings we can generate new questions, processes, and techniques. For example, what can moles teach us about digging and accommodating to fuzziness (Parreñas 2023), or fungi and bacteria about collaboration (Tsing 2015; Benezra 2023)? How do eels help us understand transformations (Kaishian 2022), or how are plants entangled in knowledge-making (Kimmerer 2003, 2013)? And what do porcine tastes tell us about the omnivorous intellectual consumption of scholars?

... to propose novel ways of doing research beyond routine academic paradigms. ...for thought-provoking insights into living organisms, ones that think through the ethical, political and epistemological possibilities of research. How can a symbiotic, methodological conversation generate new reflections on our more-than-human companions and what they do to our ways of knowing?

Interspecies agencies: controversies, ontologies and new forms of cohabitation 

2024年2月21日星期三

Hear My Voice

用户研究与产品定义/(1-2节)1-7周/ 设B510/张宪/(2023-2024-2)-N0650080-03/产品2203(29人)/考查
(Supported by: 德勝社工; 無錫市太湖技工學校; 原石劇社)

“我的電波”:太湖技工學校與江南大學的共創項目。

Exercise1: Data analysis on a user's routine (by using 'A Day in the Life' tool)

1. Background
1) Education system 'creates losers'
2) Loser Psychology and Depression

2. Workshop1: "On the Playground" 

Date: March 14, 2024

Time: 13:00 pm-16:00pm

Location: Taihu Vocational School

1) Icebreaker: Sticker, Nickname, Circle, Flowing Dialogue, Grouping (simple, low-cost, fast)

2) Focus group

3. Workshop2: "Drama Healing & Paper Cup Interview"

Date: March 21, 2024

Time: 13:00pm-16:00pm

Location: Taihu Vocational School

Materials: paper, marker

4. Sound installation

(courage / confidence / happiness / peace ...
blue / black / memories / death / fantasy...
game / theatre / installation
mirror / childhood / life & death / holiness / Zen / nature ...)

5. Process

1) W1~4: Co-creation (co-design and co-production: shared ideation, joint problem-solving, transfer of skills)
Grouping: working together with users  (3+2) or (4+2)
Stage1: Engage (learn from each other; set the challenge)
Stage2: Understand (focus on user needs; gather key insights through workshops)
Documentary: Room Tour / Routine / Stories / Workshops

March 14, 2024. The first visiting, grouping, focus group, on the playground at Taihu Vocational School.

March 21, 2024. The second visiting, drama healing, paper cup interview, on the campus at Taihu Vocational School.

March 25, 2024. Paper cup phone weaving workshop

March 28, 2024. Field Research Presentation

2) W5~7: Product definition
Stage3: Ideate (market research and competitive analysis; design concepts; build prototypes)

paper puppet; sketch; sketchy model

Stage4: Validate (present; test; evaluate)
Stage5: Final Presentation

Reference:
How To Run A Design Thinking Workshop
Design Thinking workshop with Justin Ferrell of Stanford d. School at The Irish Times
Meet the Sonic Artist Making Music with Plants: Sound BuildersPass the Sound_Workshop

2023年2月11日星期六

Listen to your gut.

用戶研究與產品定義

照護你的胃

——以胃為中心的設計

周(01-07)

专业核心课程./4.0学分/80学时

产品2103

肠脑轴Gut-Brain Axis涉及胃肠道和神经系统之间发生的化学信号。研究表明,肠道微生物群在这里特别有影响力,通过多种生理途径与大脑交流。未来,许多心理健康状况可能会通过改善我们的肠道微生物群来治疗。
常说我们该听从内心,当谈到身体健康时,我们应该听从胃。那是因为肠道中发生的事情会影响整个身体的健康。这是为什么?因为70% 的免疫细胞都存在于肠道中。有趣的是,肠道和大脑健康之间的联系并不新鲜。 100 多年前,患有抑郁症、焦虑症和精神病的患者通过结肠冲洗和腹部手术“净化”了他们不平衡的心理状态。当时人们的想法是,源自肠道的毒物是这些心理健康问题的根本原因。如今,现代医学已将这些毒素确定为某些细菌种群的代谢副产品(废物)。许多这些不利的肠道微生物会产生直接影响大脑活动的神经活性化合物(包括血清素、褪黑激素、组胺、乙酰胆碱和 γ-氨基丁酸 (GABA) 等神经递质)。
肠道微生物被认为会在以下情况影响大脑:
• 自闭症
• 焦虑
• 双极
• 沮丧
• 失眠
• 精神分裂症
• 注意力不集中、有攻击性、脾气暴躁、难以放松
• 压倒性的紧张和压力感
• 大量其他行为问题,例如拖延症、磨牙症和烦躁不安等等。
You are what you eat.「胃為心之窗」,意思是指,胃能反應出人本身的疾病,同時也會反應出人在情緒上、精神上的狀態。胃潰瘍、胃癌等胃病源於消化道結構出問題,胃功能失調則难以找到病因。

一,討論:

1,文化

中西醫/東西方

消化系统中的神经细胞比周围神经系统中的还要多。大脑中发现的主要神经递质,包括血清素、多巴胺、谷氨酸、去甲肾上腺素和一氧化氮,也存在于肠道中。消化系统健康不佳会导致情绪障碍和其他神经系统疾病。

胃部如「小腦袋」 情緒壓抑可致胃痛。腦部與腸胃分裂自同一組細胞,共用同一類神經傳遞物質,因此胃部是「小腦袋」;當壓力大、情緒差時,胃就成為「出氣袋」。

「功能性腸胃病」與「情緒病」有著非常密切的關係。腦部分泌的「血清素」有控制情緒的作用,研究指出,腸胃不適跟血液裡的「血清素」含量有莫大的關係。事實上,一般人在受壓或緊張時也容易會腸胃不適,因此,「功能性腸胃病」患者的病情亦可能會受生活壓力或情緒所影響。

Pay attention to your gut-brain connection – it may contribute to your anxiety and digestion problems

The gastrointestinal tract is sensitive to emotion. Anger, anxiety, sadness, elation — all of these feelings (and others) can trigger symptoms in the gut.

《黄帝内经》"胃不和则卧不安"
「胃病三分治,七分養」

2,你的胃部或肠道问题(如胃灼热、腹部绞痛或稀便)是否与压力有关?又或和哪些生活習慣相關?通常飲食不節情志失調是誘因。

3,身體感的訓練

麻木;喚醒

4,生活習慣

二,調研

Persona1: 養生達人:民間養胃竅門

Persona2: 胃功能失調者/抑鬱症患者:壓力/飲食

思考設計如何介入失調者生活方式、生活習慣的改變。

三,數據分析

1,同理心地圖/人物志

文本爲主






































2,養胃/傷胃生活志

影像爲主

三個人物志擇一

螺旋綫影響因子圖










四,產品定義

1)什麽是data: 藥

2)定義角色,尋找機會:經幡:10張便簽,加入新數據,人物角色/名字who

3)探求意象:MOOD board: 'collage'(live in the moment),10張+便簽的意像,意象拼圖,塑造persona mood.
future的答案藏在過去。

4)產品定義:1)吃的意義why;2)吃什麽what;3)怎麽吃how/何時吃when/哪裏吃where;

關於吃:食物為中心/意義在吃之外(社交,任務,安慰,(毒)藥……),尋找重拾吃的意義。

怎麽樣——減輕社交壓力/邊走邊吃/安慰你的胃/控制、規律飲食?

5)Puppet theatre workshop

6)Multisensory mood board

1 minute multisensory mood movie

五,意義

基本設計訓練

理解本地文化

感知身体,与身體和解

Reference:

Gut Feelings and The Gut-Brain Axis

8 Ways To Boost Serotonin

Participant Observation and Structured Observation
Semi-structured interviewing as a Participatory Action Research methodHow To Run A Successful Focus Group in 5 Easy To Follow StepsUser story mapping

2022年3月4日星期五

P-book Vs E-book

用户研究与产品定义

Students: 產品2003,27+1

Schedule:
W1: design thinking/ HCD/UCD; tentative investigation(diary studies: reading behavior/family rubbish)
W2: user research myths and misconceptions/methods; tentative investigation discussion; primary field research
W3: design ethics/design fiction/mind mapping; primary research presentation

















W4: affinity diagram/pyramid flags; persona presentation















W5: puppet persona; 






















W6: space/time drawing:














































W7: Storyboard/Scenario prototype and final presentation

Design process:

1)分組(3~4人/組)
2)用戶調研
每人一個用戶嘗試同理心地圖和人物誌練習;
每組基於三個用戶建立一个人物誌。

3)主題調研
Old bookbinding
Modern bookbinding technologies
Historical contextualization: How technologies alter book Reading contents
Aesthetics

4) "what if"
5) Design fiction-making: what exists now vs. what could exist and why
Scenario2020 Vs. Scenario2050
6) Artistic outputs
Stop Motion

提交要求:
1)个人报告书:
(1)封面:标题(挑选一个用户角色作为封面标题);姓名;指导老师;日期;江南大学设计学院。
(2)目录
(3)内容
(4)课堂训练

2)小组报告书
(1)封面:标题(“如果……”);姓名;指导老师;日期;江南大学设计学院。
(2)目录
(3)内容
(4)总结

3)定格动画
封面或者封底:标题(“如果……”);姓名;指导老师;日期;江南大学设计学院。
时间限制2分钟内。
Speculative Everything Anthony Dunne at Resonate 2013
Inside Ikea's Secret Future Lab
Jensen, T., & Vistisen, P. (2017). Ethical Design Fiction: Between storytelling and world building. The ORBIT Journal, 1(2), 1-14.
Pasman, G., & Mulder, I. (2010, April). Bringing the everyday life into engineering education. In IEEE EDUCON 2010 Conference (pp. 1433-1440). IEEE.
Gill, P., & Baillie, J. (2018). Interviews and focus groups in qualitative research: an update for the digital age. British dental journal, 225(7), 668-672.
Vistisen, P. (2021). The design fiction matrix—a synthesis tool for grounding fiction scenarios in real facts.




2021年4月13日星期二

The Third Person

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。

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