This document discusses research methods in art, design, and inclusive design. It provides an overview of different research traditions, including the fine arts, applied arts, computer science, and other fields. It also discusses tensions between art/design and academia, and how design operates within a broader research ecosystem. The document outlines a framework for understanding how graphic representations cause effective reactions through emulation and simulation. It also discusses the evolution of effective graphic representations over time in response to selection pressures.
Toward A Constraint-Oriented Pragmatist Understanding Of Design Creativity
KMD Class, Oct 29, 2012
1. Research methods, inclusive design,
Introduction
Background
design, science, engineering, and fine art
Problem
“Hunch”
MyPeter Coppin
Research
Methods
Assistant Prof., Fac. of Design, OCAD University
Design
Science
PhD Candidate, Faculty of Information, University
Inclusion
of Toronto
Art
Discussion
(Inclusive)
The Fine Arts
Design
Qualitative Research Quantitative Research
2. Today’s discussion:
Introduction
Background
Problem
“Hunch”
How does art, design, and inclusive design operate
My Research
in an ecosystem with science, engineering,
Methods
Design
humanities and the social sciences?
Science
Inclusion
Art
Discussion
(Inclusive)
The Fine Arts
Design
Qualitative Research Quantitative Research
3. Introduction
Background
Outline
Problem
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
4. Introduction
Background
Background: KMD
Problem
“Hunch”
My Research
Methods
Design
• A design program in a university
Science context. Intersecting traditions from :
Inclusion
Art • The fine arts,
Discussion
• the applied arts and design,
• computer science
• ergonomics,
• Education, and
• information studies.
5. Introduction
Background
Background: Design in the
Problem
“Hunch”
applied arts tradition
My Research
Methods
Design
(e.g., OCADU)
Science
Inclusion
Art • OCADU: An old art and design
Discussion
institution but a new university
– Studio style learning vs. lecture style
learning
– E.g., Cost, relevance, practice vs.
theory,
6. Proto-writing
Introduction
The alphabet
BackgroundLiteracy 700 BCE–400 CE
Classical
Medieval Letterforms and Book Formats 400–1450.
Problem
Renaissance Design: Standardization and Modularization in Print
“Hunch”
My Research
1450–1660.
MethodsTypography
Modern
The Graphic Effects of Industrial Production 1800–1850
Design
Mass Mediation 1850–1900s
Science
Inclusion
Digital Interfaces: technology perspective 1970s-2000s
Art
Discussion
Basic interactions
-Direct manipulation of graphical objects
-The mouse
-Windows
-Herb Simon: social sciences meetings applied math
----the rise of cognitive science
----critiques of cognitive science
----the field of ergonomics and cognitive ergonomics, cognitive task analysis
-educational psychology, infovis, visual programming languages, visual modeling langauges
7. Introduction Gregor (2006): The Nature of
Background
Problem
“Hunch”
Theory in IS Research
My Research
Methods
Design
Science
Inclusion
Art
Discussion
8. Introduction
Background
Design’s tense relationship
Problem
“Hunch” with academia
My Research
Methods
Design
• Art and design remain in a tense
Science relationship with academia
Inclusion
Art • Art and design have used the tools,
Discussion
products, and processes of science and
engineering as a material and process
for art making (e.g., see Subtle
Technologies, ISEA, or ArsElectronica)
• An emerging area of interest is using
science to understand art and design
(this is my research)
9. Introduction
A preliminary account (the “hunch”)
Background
Problem
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art (Inclusive)
Can proceed
Discussion The Fine Arts
without a question Design Responds to a
or problem problem
More effective for More effective for
developing an testing an
explanation (that
Qualitative Quantitative explanation (that
responds to a Research Research responds to a
question) question)
10. Introduction
Background
Problem
Why figure this out?
“Hunch”
My Research
Methods
Design
• Helps us redefine what research is
Science within the university ecosystem
Inclusion
Art
Discussion
• Discussion is very preliminary. This is
more of a conversation than a lecture
11. Introduction
Background
Problem
My research: a Preface
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
12. Introduction My research: a preface
Background
Problem
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
13. Introduction My research: a preface
Background
Problem
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
14. Introduction
Background
Applied Art-Design
Problem
“Hunch”
My Research
Methods Typically:
Design
Science •focused on techniques.
Inclusion
Art
•Less focus on understanding how and
Discussion why graphic representations cause
effective reactions (Jenkenson, 2007; Ramadas, 2009;
Gibson, 1960).
Rules of thumb: Expressed need for a Some progress
•Information design: Tufte, Bertin scientific approach: toward a scientific
•Illustration: McCloud (1993) •Carpendale (2006) approach
•Fine arts: Gombrich •Ramadas (2009) •Ware
•Visual languages: Green and •Moody (2007, 2008, •Cohn
Blackwell 2009) •Kennedy
•Gibson
•B. Tversky
15. Introduction
Background
Framework
Problem
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
16. Introduction
Background
Problem
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
17. Introduction
Background
Problem
Emulation vs. Simulation
“Hunch”
My Research
Methods
Design
Science
Simulation
Inclusion
Art
Discussion
Individual
Emulation
• “Bottom up” sensations: I refer to this as
emulation.
• “Top down” filling in: I refer to as simulation.
• All perception requires both emulation and
simulation.
17
18. Introduction
Background Pictorial information:
Problem
“Hunch”
My Research
makes use of emulation
Methods
Design
Science
Inclusion
Art
Discussion
Audience
• (Associated with “bottom up” sensations:
emulation.)
• Pictorial information is “emulated”
information from a graphic representation.
18
19. Introduction Symbolic Information: makes
Background
Problem use of simulation
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
The ball
fell.
Audience
• (Associated with “top down” filling in or mental simulation
(e.g., ability to see distant things as 3D objects). I refer to
this as simulation (following Barsalou, 2009)).
• Symbolic information is simulation created during
emulation of a graphic representation.
19
20. Introduction
Background
Problem
Framework
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
More perceptual More conceptual
(Note individual differences)
(Note groups)
21. Introduction
Background
Problem
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
22. Introduction
Background
Problem
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
23. Introduction
Background A story of an effective graphic
Problem
“Hunch” representation.
My Research
Methods
Design
Science
•Consider the bar and pie chart,
Inclusion
Art
invented by William Playfair.
Discussion •An “effective” graphic representation
(Spence, 2006).
24. Introduction
Background How did Playfair create an effective
Problem
“Hunch” graphic representation type?
My Research
Methods
Design
• Playfair copied successful techniques
Science from the field of cartography and map
Inclusion
Art making (Spence, 2006).
Discussion
25. Introduction
Background
Problem
Artifact evolution
“Hunch”
My Research
Methods • Environments with high selection
Design pressures lead to “optimized” or
Science
Inclusion “effective” artifacts relative to a
Art purpose, and within a particular
Discussion
context (Simon, 1996; Kirsh, 2009).
• Can be understood through a
biological metaphor…
26. Introduction
Background
Problem
Biological metaphor
“Hunch”
My Research
• A surviving organism is assumed to be an effective
Methods
Design organism.
Science • A biologist focuses on trying to understand why and
Inclusion
Art how those biological structures enable survival.
Discussion
[[[boiling water
example]]]
27. Introduction
Background
Observe graphic representation
Problem
“Hunch”
evolution in “artificial”
My Research environments…
Methods
Design
•where graphic representations perform
Science functional roles, & are shaped by selection
Inclusion
Art
pressures.
Discussion •E.g., design (next)
28. Introduction
Background Example: graphic
Problem
“Hunch”
My Research
representation use in
Methods
Design
software design
Science • Representations perform functional roles
Inclusion
Art
in design, and
Discussion • the perceptual-cognitive properties of
these representations correspond to
different phases of design.
29. Introduction
Background
Problem
A project with two parts
“Hunch”
My Research
Methods 1. Pilot study “idea probes”
Design
Science 2. Analytic framework development
Inclusion
Art
Discussion Inductive Analysis
Evaluation
Exploration Application
30. Introduction
Background
“Research Methods”
Problem
“Hunch”
My Research • In ‘science,’ a research method
Methods
Design produces an explanation
Science
Inclusion • Let’s think about what an
Art
Discussion explanation is…
[[[to do citation]
31. Introduction
Background
“Theories”
Problem
“Hunch”
My Research • Theories are akin to predictions
Methods
Design • Investigations respond to research
Science
Inclusion problems:
Art
Discussion – (We could think of a problem as a
discrepancy between a situation and
our understanding of the situation)
32. Introduction
Background
Problem
Norman (2012)
“Hunch”
My Research
“… before the yelling starts, the scientific
Methods
Design
method is an overarching philosophy. It gets
Science
executed very differently in the many
Inclusion
Art
disciplines and sub disciplines, but the
Discussion
overarching principles still remain. And they
are very simple, having two major principles:
Principle One: reproducibility.
Principle Two: Replication, confirmation or
disconfirmation.”
33. Introduction Gregor (2006): The Nature of
Background
Problem
“Hunch”
Theory in IS Research
My Research
Methods
Design
Science
Inclusion
Art
Discussion
[note KMD context]
34. Introduction
Background
Problem
Example: Galileo's Laws of
“Hunch”
My Research
Motion
Methods
Design
• Aristotle’s explanation could not
Science explain what Galileo saw
Inclusion
Art
Discussion
• Initial observations: inductive,
qualitative, exploratory
• Initial explanations: annotated
pictures, sentences
• The algebraic system emerged much
later
35. Introduction
Background
Problem
Stages of theory development
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
36. Introduction
Background
Problem
[Homeostatic metaphor]
“Hunch”
My Research
Methods
Design
Science
Inclusion
Art
Discussion
37. Introduction
Background
Problem
Organism and environment
“Hunch”
My Research
Methods
Design
Science
Inclusion Environment
Art
Discussion
Organism
38. Introduction
Background
Problem
Change vs. reaction
“Hunch”
My Research
Methods
Design
Science Environmental
Inclusion change
Art
Discussion
Organism’s reaction to
change
39. Introduction
Background
Problem
Change vs. reaction
“Hunch”
My Research
Methods
Design
Science Environmental
Inclusion change
Art
Discussion
Organism’s reaction to
change
40. Introduction
Background
Problem
Perception-reaction
“Hunch”
My Research
Methods
Design
Science Environmental
Inclusion change
Art
Discussion
Organism’s capability to react to
change via perception
41. Introduction
Background
Problem
Next half of presentation:
“Hunch”
My Research
Methods
Design
• Design is pre-scientific
Science
Inclusion
– Note: It is possible to develop a
Art solution without an explanation (e.g.,
Discussion
Playfair example)
…I used the term "pre-science" to indicate an aspect
[of design] that I thought would some day be
amenable to the scientific method but where today's
scientific understanding was not sufficient to make
that possible (Norman, 2012).
42. Introduction
Background
Problem
[Say a few words about
“Hunch”
My Research
design research]
Methods
Design
Science
Inclusion
Art
Discussion
43. Introduction
Background Quantitative Research (in Education)
Problem
“Hunch” Notions of:
My Research • “statistical significance” and a threshold of “statistical
Methods power”
Design
Science
• “the confidence [that] one has in a given result
Inclusion
depends on the signal-to-noise ratio and the sample
Art
size”
Discussion • “ensuring homogeneity in your sample”
• “classifying subjects by dependent variables”
• “ignoring the outliers”
• “generalizing to a population”
Adapted from slides originally created by
JuttaTreviranus
44. Introduction
Background
Problem
But....
“Hunch”
My Research
• the “subjects” we are interested in
Methods
are currently the “noise” in research
Design
Science sets (from a statistical
data
perspective)
Inclusion
• we are researching the “outliers”
Art
• our
Discussion“subjects” are the opposite of
homogeneous - we are designing for
diversity
• in most cases we are dealing with a
population of one which has no
“statistical power” - these
populations of 1 will soon
collectively reach the size of the
population of China
Adapted from slides originally created by
JuttaTreviranus
45. Introduction
Background
Subjects of Quantitative
Problem
“Hunch”
Research (in Education)
My Research • the population is by definition heterogenous, despite
Methods this they have been lumped together or divided into
Design medical categories
Science
Inclusion • “any classification scheme, and especially a formal
Art one, will inevitably ‘do violence’ to its subject ... any
Discussion act of classification fails to do justice to at least some
dimensions of that which is classified, [which can]
have serious ethical, economic, political and other
consequences”Brian Cantwell Smith
• special education, qualification, classification,
stigmatization...
Adapted from slides originally created by
JuttaTreviranus
46. Introduction
Background
Alternative to Quantitative
Problem
“Hunch”
Approaches
My Research
Methods
Design
The main virtue of ethnography is its ability to make
Science visible the ‘real world’ sociality of a setting. As a
Inclusion mode of social research it is concerned to
Art
Discussion
produce detailed descriptions of the ‘workaday’
activities of social actors within specific contexts
[20,18]. It is a naturalistic method relying upon
material drawn from the first-hand experience of
a fieldworker in some setting (Hughs et al., 2009,
p. 430).
Adapted from slides originally created by
JuttaTreviranus
47. Introduction
Background
Goals of Inclusive Research
Problem
“Hunch”
Design
My Research
Methods 1. more inclusive of full diversity of learners
Design
Science 2. more relevant to educational demands of this age
Inclusion with respect to the need for diverse learners and the
Art skills and knowledge of value in a “knowledge
Discussion economy”
3. more timely and continuously renewable for
complex, changing context and age - immediately
implementable
4. contextualized or embedded in learner’s context
5. sustainable - cost, impact, resources
6. applicable to each learner, not abstract or generic
Adapted from slides originally created by
JuttaTreviranus
48. Introduction
Background
Blending teaching and research
Problem
“Hunch”
as an inclusive design method
My Research
Methods
Design
Science
Inclusion
Art
Discussion
49. Introduction
Background
Blending teaching and research
Problem
“Hunch”
as an inclusive design method
My Research
Methods
Design
The main virtue of ethnography is its ability to make
Science visible the ‘real world’ sociality of a setting. As a
Inclusion mode of social research it is concerned to
Art
Discussion
produce detailed descriptions of the ‘workaday’
activities of social actors within specific contexts
[20,18]. It is a naturalistic method relying upon
material drawn from the first-hand experience of
a fieldworker in some setting (Hughs et al., 2009,
p. 430).
Adapted from slides originally created by
JuttaTreviranus
50. Introduction
Background
Problem
Contact:
“Hunch”
My Research
Methods
Design
• Peter Coppin
Science
Inclusion
• pcoppin@faculty.ocadu.ca
Art
Discussion • 647 838 8545
• www.petercoppin.org
Notas del editor
IntroductionBackground and problemMy main conjecture (“hunch”)Gloss of my researchInclusive design methodsRelationship between design and science,Inclusive design and science, andArtOur ecosystem on Richmond St. and at OCADU
IAMD: A combined art and design program[Note the history of art-design education and singularities of the digital age]Both art and design are in a state of transitionIncreased academization[Parallel to the transformation in engineering in years past]How do art and design research methods relate to research methods from science, engineering, and the social sciences?Questions of craft vs. science
Art and design remain in a tense relationship with academia[Note the history of the MFA]Art and design have long used the tools, products, and processes of science and engineering as a material and process for art making (e.g., see Subtle Technologies, ISEA, or ArsElectronica)An emerging area of interest is using science to understand art and design (this is my research)[Note how this will be useful for the academization of art-design]
In art and designmost of the training, theory, and research focuses on the techniquesLess focus on understanding how and why graphic representations cause effective reactions It is within this gap that my project resides, and I’ll describe how I narrow the project in a moment.
For now, think of it as the bottom up sensation from an environment. This is EMULATIONI conceive of pictorial information as visual information, that makes use of less-learned perceptual capabilities to mentally emulate a current change in order to react to a current change.---What we refer to as emulation can loosely be described as the aspect of perception-recognition that is most closely coupled with the proximal stimuli and sensations that impinge upon an organism. With respect to vision, emu- lation would include the near isomorphic response of retinal receptors to the aspects of the optic array [9]
For now, think of it as the bottom up sensation from an environment. This is EMULATIONI conceive of pictorial information as visual information, that makes use of less-learned perceptual capabilities to mentally emulate a current change in order to react to a current change.---What we refer to as emulation can loosely be described as the aspect of perception-recognition that is most closely coupled with the proximal stimuli and sensations that impinge upon an organism. With respect to vision, emu- lation would include the near isomorphic response of retinal receptors to the aspects of the optic array [9]
I conceive of symbolized information as visual information, that makes use of more-learned recognition capabilities, to mentally simulate (“predict”) a possible change.---What we refer to as simulation is alluded to by various terms in the cognitive science literature, such as“filling in” [18] and “prediction” [3]. This is the aspect of perception that allows us to see distal things as three-dimensional objects, even when only some subset of two-dimensional surfaces are reflecting light to our eyes. In order to achieve this, our visual systems must be able to simulate things and events in the world, in some spatio-temporal sense. This has been shown to rely on experience/memory and learning [12]. Because of this, the range of possibilities for a simulation that is a response or reaction to an external change or variation is greater than for the emulated aspects. Unlike emulation, because structural correspondence (between the proximal stimuli/change and the reaction) is not a defining characteristic of simulation, it is not easy or even possible to directly map back from the reaction to the structure of the stimuli. Emerging from all of this, the key characteristic of simulation is (subjective) extrapolation from the proximal structure of stimuli to the recognition of the distal structure of the world.
To foreshadow the sort of approach I am going to take, I am going to tell you a quick little story about a really successful type of graphic representation. This is the bar and pie chart, invented by William Playfair in the late 1700s or early 1800s.Dr. Ian Spence over in the psychology department has studied this kind of representation from a perceptual cognitive perspective, and found it to be extremely effective because it conveyed the authors intent and did not introduce distractions from that intent.
How did Playfair do this? Well, according to Spence, who looked at the history of the bar and pie chart invention, Playfair copied successful techniques from the field of cartography and map making. Cartography and map making:Techniques evolved for a long period of time and had undergone a lot of (economic-like) natural selection.because these are representations that people literally needed to survive. If you did not have a good map, and you were going out to sea during that time period, the effectiveness of the map would really impact your ability to survive and come home. So this is the sort of situation where there is a tremendous amount of selection pressure toward an optimized or effective representation type.
Now other people have looked at this “artifact evolution,” where artifacts undergo forces of natural selection, and have demonstrated that these environments lead to “optimized” or “effective” artifacts relative to a purpose, and within a particular context. I won’t go into this right now, but you can intuitively understand this idea by considering the way that a biologist approaches the study of organisms in an environment.
If the organism is surviving, the biologist typically assumes that the structure of that organism is “effective” relative to that environment, and the biologist can then focusing on trying to understand why and how those biological structures enable the organism to survive in that environment.
What this does for uschoose an environment that seems to have these selection pressures and that would cause this kind of evolution towards effectiveness or optimization, we can then look at the properties of the representation relative to the functional purposes that seem to be served by that representation, and also, the characteristics of the people using those representations. By looking at how the properties of those representations correspond to actions, we can gain an idea regarding their affordances.
So for example, I’ve done several pilot studies, and I am going to talk about one pilot study that I did that is a close approximation of what I would like to do for my fieldwork next, which is focused on the representations used in software design. This would involve looking at the representations used when designing interactive software, because, as I will show later, I have come up with a framework of representation types, and it seems that almost all of the representations that I am interested in looking at are within this environment, and the perceptual-cognitive properties of these representations seem to correspond to different phases of design.
Beetle metaphore
In the following, I will assume a roughly homeostatic conception of organism: i.e., I will view organisms as living (“surviving”) in an (external) environment, and maintaining the conditions of their own viability in the face of changes in that environment. In particular, I will talk of organisms responding to changes in their environment by taking actions that, on the one hand, change them (and possibly change the surrounding environment as well), but do so in ways that maintain their viability and their survival.—Note: by “environment” I mean, not everything else in the world, but that part of the world that is in the neighbourhood of the organism, and that causally impinges on the organism in ways that effect it (Figure 1).
Building on the homeostatic conception outlined above, here, I discuss a perception- for-action oriented conception of perception as a capability that evolved in order to maintain homeostasis for organisms and their ancestors: i.e., I will view per- ception as a step in a process that evolved such that an organism reacts to changes in order maintain its viability in a changing environment (Figure 2).
Building on the homeostatic conception outlined above, here, I discuss a perception- for-action oriented conception of perception as a capability that evolved in order to maintain homeostasis for organisms and their ancestors: i.e., I will view per- ception as a step in a process that evolved such that an organism reacts to changes in order maintain its viability in a changing environment (Figure 2).
Building on the homeostatic conception outlined above, here, I discuss a perception- for-action oriented conception of perception as a capability that evolved in order to maintain homeostasis for organisms and their ancestors: i.e., I will view per- ception as a step in a process that evolved such that an organism reacts to changes in order maintain its viability in a changing environment (Figure 2).
…I used the term "pre-science" to indicate an aspect [of design] that I thought would some day be amenable to the scientific method but where today's scientific understanding was not sufficient to make that possible (Norman, 2012).Relate to phases of theory developmentDescribe the relation between quantitative and qualitative inquiry
Dyslexia in education exampleStudio modelEthnographic approachesInsert the study of james