Hacking for Intimacy by acerinidesigns

ARIELLE CERINI PRATT MFA GRADCOMD 2017 HACKING FOR INTIMACY

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“Frankenstein Syndrome: One creates a machine for a particular and limited purpose. But once the machine is built, we discover—sometimes to our horror, usually to our discomfort, always to our surprise—that it has ideas of its own; that it is quite capable not only of changing our habits, but as Innis tried to show, of changing our habits of mind.” 12 - Neil Postman CREATIVE AUTOMATICITY: the act of creating while using minimal mental processing. Creative automaticity is made possible through the implementation of tools and systems that take-away from the role of the designer in the creative process.

MAN-MACHINE SYSTEMS: processes that are reliant on the symbiotic relationship between humanity and technology. These processes typically exist to maximize efficiency and userability and minimize errors and confusion.

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Figure B: Storm on The Sea of Galilee One of these images is a Rembrandt and the other was created from 247 stock images. While both images required a particular skill set, the Rembrandt painting allowed for more emotional expressivity providing a different interpretation of ‘truth’ from the artist. In the Rembrandt, there was a greater level of consciousness needed to effectively execute the artists perspective. The recreated image was a part of a series of works commissioned by Adobe where they asked artists to use stock images to recreate lost or destroyed masterpieces.13

DESIGN

ACTIVISM

Design changes the world.

Activism fights for betterment.

It is a powerful tool that shapes our reality and how we precieve it.

It is the gathering of people with the same beliefs togather to contend for change.

COMMUNICATING

Graphic design is the universal language. It speaks without words, and i s able to transcend l anguage barriers.

Activism i s a channel where voices are amplified to great scales, reaching beyond communities t o authorities and even past national borders.

SOLVING PROBLEMS

Designers are problem solvers —effectively rethinking situations and reframing them so that they meet their needs.

Activismis a platformwhere individualsor groups can share their concernseither to provide a resolution o r gain support (help).

GATHERING SUPPORT

Designers attract attention, evoke emotions, and establishes connections. They bring people together and create identities.

Activism helps neglected parties’ voices t o reach out and connect—working to enact change for the better o f humanity.

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HOW TO HACK DESIGN PROCESS

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HOW TO HACK DESIGN PROCESS

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HOW TO HACK DESIGN PROCESS

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HOW TO HACK DESIGN PROCESS

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HOW TO HACK DESIGN PROCESS

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HOW TO HACK DESIGN PROCESS

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HOW TO HACK DESIGN PROCESS

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HOW TO HACK DESIGN PROCESS

CAPSTONE: THE ‘WHAT’ DESIGN SELF-PORTRAIT

Our society has been so systematized and conditioned, that greater importance is given to what a person is saying, rather than why they are saying it, and the same is true for design. Look at how the field is shaped. Within design we are organized by the ‘WHAT’—Fashion Designers, Communication Designers, Interior Designers, etc. But, what if we were to change all of that, and instead of being organizing by the ‘WHAT’ we become organized by the ‘WHY’ becoming Design Activists, Commercial Designers, and Design Entertainers? As designers, we would no longer be limited by the ‘WHAT’ and could instead move fluidly throughout the field, using whatever tools necessary to accomplish our ‘WHY’.

TONE PR PROJECT INFO: FORM: Installation that serves as a ‘Mood Board’ of myself, focusing on the expression of my identity through different mediums embodying Hacking for Intimacy.

WHAT: An in progress 'mood board’ entitled Hacking for Intimacy: Breaking Systems to Allow for Intimacy and Expressivity. This exhibition serves as an exploration of the process of designing through a philosophical framework. Seeking to overcome the confines of present day publishing technologies, hacking for intimacy is explored as a means of re-inserting 'self' into the creative process through different mediums. This entire body of work serves as a 'design self-portrait'. The intricate details of my identity are augmented and abstracted throughout the space, allowing the viewer to intimately experience who I am.

WHERE: Brooklyn, New York [rented gallery space] WHEN: March 5th, 2017

23 ft 4 3/8in 16 ft 7in

13 ft 10in

13 ft 3in

Exhibition Floor Pla n

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46 ft 2in

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EXHIBITI

CAPSTONE: THE ‘WHAT’ DESIGN SELF-PORTRAIT

ION SPACE

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Evaluation and Conclusion Within my thesis I sought to gain insight on ‘How to add humanity to technology?’ Based on the literature it was hypothesized that in order to add humanity to technology, there needs to be a desystemization of the creative process, diminishing creative automaticity and allowing for the resurgence of creative consciousness. My initial experiments were focused on the technology, seeking to gain an understanding of where the systemization existed, however I soon realized that in order to add intimacy to information sharing and allow for the presence of self, I was going to need to understand who I am. Therefore, I shifted my focus, and instead worked on self-awareness. Within my course work it became clear that I was going to need some framework to explain and shape my design processes. People were not very receptive to the idea of designing without any system, it was not something that they could conceptualize. I, therefore, decided to create a philisophical framework to design through—a manifesto. The manifesto was constructed using a series of key-points that I identified as ‘essential’ in my early experiments, some of these being: self-awareness; redefining of your reality, and knowledge of technology. The capstone installation served as an in-progress mind-map of myself, which

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was meant to represent the depiction of the process â&#x20AC;&#x2DC;Hacking for Intimacyâ&#x20AC;&#x2122;. While the manifesto has not yet been tested in man-machine systems, where there are more rigid confines, the manifesto did appear to be successful in the work I created within my exhibition. The exhibition embodied the entirety of who I am, not just on the surface, but also in a deeper more emotional sense. Ultimately, no conclusion can be made in regards to whether or not my hypothesis can be proven, additional testing would be needed to reach a more conclusive response, however it was understood that an answer would not be reached by the end of my thesis process. Instead, it was my hope that this thesis would work to start a series of dialogs surrounding the purpose of the designer and the desystemization of the creative process.

Commentary on the Process Capstone: If you find yourself in a similar situation to me and are motivated by wanting to desystematize present day society and design, let me start by saying: I feel your pain. Explaining to people what my thesis was and more specifically what my capstone was, was the most stressful and frustrating aspect of this process. The nature of a thesis is others need to see where you are going, so that they can help you get there, but this thesis is rooted in the unknown, and by knowing or trying to know, you hold yourself back. I am the type of person who works non-stop. I am crazy motivated and focused, and I found myself not wanting to work at all. I thought I was broken. The constant need of having to explain this unknown and give answers that I didn’t have, was exhausting. The more I tried to foresee the future, the further I drifted off-track, conforming to everything I was trying to ‘rebel’ against. It wasn’t until I decided to free myself from expectations and limitations, and do what I wanted to do, that I truly began to discover what this idea of ‘Hacking for Intimacy” really was.

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I share this because I think it is essential to my process. This overcoming of a societal obstacle represents a shift from looking for external acceptance, to looking for internal. In doing this, I no longer was focused on the ‘WHAT’ I was creating, but rather the ‘WHY’ I was doing it and I let that shape the ‘WHAT’ and everything started to fall into place. Rather than construct an application or experiment with Hacking for Intimacy in one outlet, I decided that it would be more useful to do a series of experimentations around this concept on a larger scale, so that I could gain a deeper understanding of what Hacking for Intimacy was and show others a variety of different directions this ‘thing’ can take. I chose to do a mood-board because of the affordances it offered to this ‘in progress’ state of my discovery.

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Why:

This concept of ‘WHY’ and self-journey was difficult for me to do. Coming from an academic background, the exposure of self and vulnerability that was needed for me to truly discover my ‘Why’ and progress to the ‘How’ was not easy to muster up, but I think I have become a better designer because of it. While my thesis process was successful at helping me to construct my ‘WHY’ it is difficult to assess how well it will work to educate other’s on the importance of ‘WHY’ and how it will aid in them creating their own path of discovery. It is my hope that in reading my thesis more designers will feel motivated to ‘get to know themselves’ and discover what their design purpose is.

Limitations: I had hoped to do my initial experimentations at the beginning of the semester and then have the remainder of the semester to really commit to understanding what Hacking for Intimacy was and how it could be applied to different types of systems, but unfortunately due to changes in the thesis schedule and time restrictions this was not possible, and I had to change my plans. Perhaps I am too bogged down in the notion that this solution cannot be a system, to find a true solution This may have been too large of a task to take on for the time allotted for an MFA thesis project Maybe there is no real solution that exists and due to the dichotomy, that exists between humanity and technology humanity will always have to compromise Maybe as technology has evolved with humanity, the definition and potential of humanity has changed with it limiting the spontaneous and expressive potential of humans, making us a more naturally systematized species

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Further Directions Additional testing of the effectiveness of the manifesto as a means of creating through, both in digital and physical environments, is needed. As well as a comparative study of designs created with a system vs. designs created with a manifesto. In addition, the only forms of creative dissonance explored in this thesis were alteration of the creative process and the augmentation of the repetitiveness of the user interface. It could be useful to test other forms of creative dissonance on design and see what has the strongest effect, if there is an effect at all. Some additional areas of research that emerge from this topic are: • How has technology impacted the definition of ‘truth’. Within my historical context I mention how publishing is defined different on Google Knowledge Graph than its definition has been through history, so what is the correct definition? Have we moved towards more of a communal truth? • What are the effects of the loss of the presence of the author/ designer in their message on individual identity constructs? What societal effects have they had—i.e. the recent election?

Contribution While my thesis does not provide a solution for a problem or an answer to a question, it begins a series of dialogs. Seeking to resurge the spontaneity/organic components of humanity within technology, my thesis raises the question of what makes us human. By identifying this distinction through the exploration of our history of communicating—a crucial component of human culture—and the evolution of tools—what has been identified as the separation between man and animal—I can offer new information that has the potential to diversify how we approach human centered and human computer interaction design. The question of “How to add humanity to technology?” is becoming increasingly more important with the exponentially growing rate that technological advancements are occurring. While my exploration of this question is not a new one, my approach offers a new and unique perspective to answering the question—focusing on making humans more present rather than making technology more human. Previous design efforts have sought to add humanity to technology by introducing more information about a person within digital systems or by making technology more like humans, however humanity is more than facts and systems, it is the absence of systems. By de-systemizing the creative process, we can remove the automaticity within design systems, allowing for more consciousness and thought while designing. Ironically enough, I aim to use a discipline centered around systems—design—to break them, but I think this adds a contribution in itself, redefining the idea of what design really aims to do. Rather than constructing a methodology for creating, instead my thesis and exploration is rooted in the formation of a manifesto and philosophical perspective to create through, increasing the necessity of abstract thought and design thinking within the creative process.

COMMUNAL KNOWLEDGE: knowledge that most educated people know or can find out easily in an encyclopedia or dictionary

collective knowledge

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pg: 17

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CREATIVE AUTOMATICITY: Automaticity: is the ability to do things without occupying the mind with the low-level details required, allowing it to become an automatic response pattern or habit. It is usually the result of learning, repetition, and practice. Creative Automaticity: the act of creating while using minimal mental processing. Creative automaticity is made possible through the implementation of tools and systems that takeaway from the role of the designer in the creative process. pg: 18

CREATIVE CONSCIOUSNESS: Consciousness: is the set of shared beliefs, ideas and moral attitudes which operate as a unifying force within society.

Creative Consciousness: the state of complete awareness and control of the creative process. Creative Consciousness can be obtained through internal effort or by adding disfluency to your design process pg: 40

CREATIVE EMPOWERMENT: authority or power given to someone to do something.

tools and systems that give those who normally would not be able to, the capacity to create pg: 17

DESIGN: Design: purpose, planning, or intention that exists or is thought to exist behind an action, fact, or material object

DESIGN INDIVIDUALISM: Individualism: a social theory favoring freedom of action for individuals over collective or state control

Design Individualism: the philosophical belief that the evolution of design and technology should focus on the needs of the individual, rather than the human species; the belief that designers should create for the individual, allowing for freedom of creation and personalizationâ&#x20AC;&#x201D; giving consideration to the impact of the technology on individuality pg: 17

DESIGN PHILOSOPHY: the study of assumptions, foundations, and implications of design. The field is defined by an interest in a set of problems, or an interest in central or foundational concerns in design.

the exploration of the motivations behind design and methodologies; the larger reasoning behind different technological and design systems. pg: 40

DESIGN SOCIALISM: Socialism: a political and economic theory of social organization that advocates that the means of production, distribution, and exchange should be owned or regulated by the community as a whole

Design Socialism: the philosophical belief that the evolution of design and technology should focus on the needs of the human species, rather than the individual; the belief that designers should create systematized interfaces that allow for increased usability pg: 17

EFFICIENCY: the state or quality of being efficient; the ratio of the useful work performed by a machine or in a process to the total energy expended or heat taken in

potential of a message to lead to further innovations pg: 24

EFFECTIVENESS: the degree to which something is successful in producing a desired result; success.

measurement of the potential of a message to lead to further innovations and how the technology impacts that pg: 24

EXPRESSION: the process of making known one’s thoughts or feelings; the look on someone’s face that conveys a particular emotion

the inclusion of self within the components of publishing pg: 40

HACKING: cut with rough or heavy blows; use a computer to gain unauthorized access to data in a system

breaking ‘systems’ to allow for intimacy and expressivity pg: 32

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HUMANITY: Humanity is the human race, which includes everyone on Earth. It’s also a word for the qualities that make us human, such as the ability to love and have compassion, be creative, and not be a robot or alien.

“unique and authentic”—humanities individuality and diversity is what makes us the unpredictable and spontaneous species that we are.

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pg: 17

INTIMACY: close familiarity or friendship; closeness

the human component of publishing pg: 24

INNOVATION: a new method, idea, product, etc.

new technology that is created to further augment the potential of the human race pg: 21

MAN-MACHINE SYSTEMS: a system in which the functions of a human operator (or a group of operators) and a machine are integrated. This term can also be used to emphasize the view of such a system as a single entity that interacts with external environment.

processes that are reliant on the symbiotic relationship between humanity and technology. These processes typically exist to maximize efficiency and user-ability and minimize errors and confusion. pg: 18

MANIFESTO: a public declaration of policy and aims, especially one issued before an election by a political party or candidate.

a belief on a particular phenomenon—manifestos are the new ‘methodology’— rather than creating methodologies, designers develop manifestos and belief systems that can be used to create a multitude of methodologies. pg: 40

MEDIUM: an agency or means of doing something

the means by which a message is created—the tools involved in the creative process the tools and systems involved in creating a message pg: 26

MESSAGE: a verbal, written, or recorded communication sent to or left for a recipient who cannot be contacted directly

the content of published material pg: 26

METHOD: a particular form of procedure for accomplishing or approaching something, especially a systematic or established one

the way in which a message is disseminated to the public pg: 25

METHODOLOGY: a system of methods used in a particular area of study or activity.

system or set of instructions to design through pg: 30

ORATORS: a public speaker, especially one who is eloquent or skilled.

a public speaker who is well versed in the art and speaks eloquently pg: 25

PRODUCTIVITY: the effectiveness of productive effort, especially in industry, as measured in terms of the rate of output per unit of input.

measurement of the advancement of human beings pg: 24

PUBLISHING: (verb) to issue (printed or otherwise reproduced textual or graphic material, computer software, etc.) for sale or distribution to the public

the act of making information public pg: 24

RHETORIC: the art of effective or persuasive speaking or writing, especially the use of figures of speech and other compositional techniques.

the art of discourseâ&#x20AC;&#x201D;the study of language and how to effectively use it as a tool for persuasion pg: 25

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SOCIAL MEDIA: websites and applications that enable users to create and share content or to participate in social networking

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a platform created for systematized publishing; design direction follows that of design socialism and affords for creative automaticity

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SOCIALLY RESPONSIBLE DESIGN: is an attitude that emphasizes the needs and experiences of people over concerns of form or aesthetics.

a design approach that gives focus to shaping behavior to create a preferred or desired future; synonymous with human computer interaction, design activism, public interest design, social impact design, etc. pg: 30

TECHNOLOGY: machinery and equipment developed from the application of scientific knowledge; the branch of knowledge dealing with engineering or applied sciences

tools designed to augment the natural abilities of human beings. Been referred to as the differentiation between man and animal. Opposite of humanityâ&#x20AC;&#x201D;structural, systematized, predictable. pg: 17

UNINTENDED CONSEQUENCES: outcomes that are not the ones foreseen and intended by a purposeful action.

the unanticipated effects of a design pg: 21

VISUAL RHETORIC: a theoretical framework describing how visual images communicate, as opposed to aural, verbal, or other messages. Visual rhetoric generally falls under a group of terms, which all encompass visual literacy. the use of visual elements to support a message and better communicate an argument pg: 26

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