By Morten Kyng, Lars Mathiassen
Too frequently, designers of desktops, either and software program, use versions and ideas that target the artifact whereas ignoring the context within which the artifact may be used. in accordance with this e-book, that assumption is a tremendous cause for lots of of the mess ups in modern computers improvement. it's time for designers and clients to hitch forces within the layout of machine systems.The participants to this ebook tackle either the pragmatic technique of direct collaboration among designers and clients (known as participatory layout) and the extra conceptual procedure that includes complementary views to aid designers get a hold of higher ideas. the quantity brings jointly various computer-related examine disciplines, together with computer-supported cooperative paintings (CSCW), human-computer interplay (CHI), and software program engineering, in addition to social technology disciplines taken with the layout and use of laptop artifacts.The booklet is equipped into elements. the 1st, "Artifacts and Use," makes a speciality of the context of utilizing laptop artifacts. the second one, "Process and People," specializes in the context of designing machine artifacts.Contributors : Colin Beardon, Jeanette Blomberg, Kristin Braa, Tone Bratteteig, Paul Dourish, Pelle Ehn, Sue Gollifer, Kaj Grønbaek, Peter Holm, Mark C. Jones, Morten Kyng, Jan Ljungberg, Tom McMaster, Theis Meggerle, Anders Mørch, Preben Mogensen, Michael J. Muller, Torbjörn Näslund, Christopher Rose, ordinary Steen, Erik Stolterman, Markus Stolze, Lucy Suchman, Tamara Sumner, Micke Svedemar, Kari Thoresen, Randall Trigg, Richard Vidgen, Trevor Wood-Harper, Suzette Worden.
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Additional info for Computers and Design in Context
We attempt in this chapter to describe how individual artists and designers use their computer systems and h ow this is changing their working practices. We then use our o bservations to draw a number of comparisons between the two practices of design. Art and Design Practice We are concerned with how a certain group of artists and designers use computers. We use the term "artist" for those individuals involved in activities like painting, printmaking, and sculpting, and we use the term "designer" in a restricted sense to refer to those involved in the planning Copyrighted Material 28 Beardon, Gol/iter, Rose, and Worden and production of individual objects, such as jewelry and furniture, within what is essentially a craft tradition of designer/makers.
They question the process whereby inconsistencies in software products are gradually removed through the release of successive versions. This leads to a complex, comprehensive, and consistent product that, they argue, is undesirable. Such polished products are no longer tools under the control of the user but opaque windows through which it becomes impossible to obtain a dear view of the work at hand. Such an approach to interface design reflects Kristina Hooper's objec tive that the screen should indicate what is "inside the system" (Hooper 1986).
PEO rel ies on PD pr a ctitioners who have acquired additiona l skills and prac tices that allow them to play a different role in the development process (table 1. 1 ). Below we will discuss in more detail the new sk ills and prac tices this model requires from PD practitioners. Participatory evolutionary development supports d o m a in pro fessi onals in e volv in g their tools, representations, and practices in appropriate ways. PD p rac tition er s need to acquire knowledg e about the a v a i lab i l ity, Table 1 .
Computers and Design in Context by Morten Kyng, Lars Mathiassen