One of dragking Damians looks. Picture by @norigineel
The past couple of post are part of the project “Damians Dressing Table”, but who is Damian? Damian D. Doggy is the drag persona of designer and researcher Danielle Roberts, the creator of this blog. Damian was born a couple of years ago. He is a dragking and helps Danielle to explore their gender and sexuality. Damian can be any kind of male: sissy, tough, classy or vulnerable. For more information you can check out his Instagram page.
The project
In the Damians Dressing Table project Roberts combines their design research practice with their drag performances. The mail goal of the project is to explore if and how self-transcendent experiences [1] can be evoked during the act of preparing for a performance. The focus is on the two main components of self-transcendence: loss of sense of self and a greater connection with the environment. To this end Roberts is design-researching a dressing table with (interactive) objects using the somaesthetic design method. This project is part of the Soft Spaces project by the Design Museum Den Bosch in collaboration with Drag Up Family. It consists of four parts:
The table & objects: an interactive installation with (interactive) objects which Damian uses to put on make-up
A performance: a live lip-sync performance
An exhibition: visitors can view the installation and watch a video of its use
Audience participation: visitors can try the table and participate in an exploratory experiment on the effects of using the table
Documentation
This blog will track the somaesthetic design research progress of the project. The first posts about this project were of an exploratory nature. Followed by a post on the table cloth design and the table layout. The next groups of posts will focus on one of the interactive elements.
References
[1] D. Roberts, A. de Rooij, “Exploring Embodied Interaction to Support Self-Transcendence in the Art Installation ‘ Magic Tea ,’” xCoAx, Jun. 2023, doi: 10.34626/xcoax.2023.11th.292.
Experiments with table lay-out, embodiment and interaction.
The main goal of these experiments was to gain insights into how changes in table lay-out may increase the sense of connection between the actor, the action (putting on schmink) and the objects. Seventeen different lay-outs were tried.
There is a limited amount of objects of which the use is clear. Calm may be created through a clear suggestion of order and a balanced composition on the surface [a].
The lay-out invites interaction and use when the order in which the objects are placed [a], their the survey-ability [c] and the way interaction is suggested is clear and makes sense [c]. A playful lay-out which has a certain logic and natural feel to it helps to sustain attention and curiosity [c]. Contrast and residual space play an important role in providing meaning. A chaotic scene is less inviting [b].
In pictures under [c] a setting is created which has the potential for positive interaction: it suggests two playful steps to help set up the table. By transferring the objects from one part of the table to another, designated part the actor adds a layer of meaning to the activity [d]. These actions promote attention and strengthen the connection between the actor, the objects and the activity which is about to start. This small ritual also provides pleasure and playfulness.
In this setup it is important that the objects are within reach otherwise the opposite effect is created: less connectivity, feeling dis-empowered. Interaction may be explored by moving and using the objects per action. This makes the objects seem more important, even magical [d]. It also helps to increase focus on the action.
The main goal of these experiments was to get insights into the role of the table surface in strengthening the connection between the actor, the action (drinking tea) and the objects. Eight variations were tried.
Using the tablecloth to enhance the sense of connection.
To create a sense of connection with the table and the objects the texture and colour of the cloth is important [a]. Smooth materials with a lighter colour work best because the contrast with the objects is minimized [b].
The sense of connection increases with the visibility of the connection points [b,c]. This works best in experiments where the actor literally steps into the tablecloth [c,d]. The whole setting becomes an embrace of the objects and the activity. Maintaining focus on the scene is very easy and comes naturally.
The non-stretch cloth however, limits the movements while performing the actions which creates a sense of distance [c]. Parts of the tablecloth should stretch to provide more freedom of movement.
The main goal of these experiments was to get insights into how changes in the use of tableware might increase the sense of connection between the actor, the action (drinking tea) and the objects. Eighteen different constructions were tried.
Figure 1. Four examples of tableware constructions
The choices for the configurations were initiated by the visual appeal. Most constructions are visually pleasing but this is no guarantee for interesting or satisfying interaction. For the interaction to be successful (an increase the sense of connection) perceived accessibility and autonomy in grabbing and placing the cup are important [a].
Space and stability are important themes in this experiment. Space in and around the objects create a sense of calm and possibilities. This must be balanced with enough stability for performing the activity and not cause worry [b].
Some constructions evoke playfulness. Different types of marbles were introduced. Interacting with them distracts from the main activity but this needn’t disrupt the connection with or attention for the activity [c]. Most connecting is playing with the liquid in the bowl. This evokes interesting layers of association while reinforcing the attention on drinking the tea. This was experienced while using the bigger bowls [d].
Differences in temperature are helpful in focusing on the activity [d]. To much vibration from the marbles is too distracting. For this experiment functional plates were used which didn’t always make sense or didn’t support play in an optimal way. The next step could be to use abstract objects (used in earlier experiments, view Figure 2.) in combination with functional tableware to achieve maximum connection.
The main goal of these experiments was to get insights into how changes to the surface of the table might increase the sense of connection between the actor, the action and the objects. Nine different materials were tested during the activity of peeling an orange.
B and D, the most promising materials for creating a sense of connection
Sounds play an important role in these tests. Sharp sounds [a] create too much distraction and stand out too much from the activity. Soft or muffled sounds or the absence of sound seems to draw you in to the experience [b,d].
Materials which decrease contrast [d] work very well in connecting to the activity and experiencing a sense of calm and just being there. Contrast can be reduced in temperature (the surface takes on room temperature) [d], matte (darker) colours [b,d], a reduction of glare [b,c,d], no sharp edges and evenly distributed pressure (on elbows for example) [b,d]. Unexpected or incongruent sensory experiences [c] have an alienating effect which heighten attention but reduce a sense of connection with the activity.
Soft, mat materials create calm and relaxation which seems to help to open towards the experience and feel more connected to it [b,d].
The rubber [d] and fleece materials [b] show the most promise to increase connection. A next step could explore which of these features can be transferred to sleeves of a costume and which can be part of the tabletop.
This experiment explores the effect of interventions on touch of hands and fingers on the sense of connection between the actor, the action and the objects.
This image illustrates the main finding.
Without gloves [a] the direct touch of the fingertips gives a sense of direct connection. However, the clear difference between the skin and the surface of the objects creates a sense of distance.
There appears to be a difference between wearing the gloves and acting with them. A comfortable glove is pleasant to wear and feel on the skin [d]. It promotes relaxation and sometimes even abandonment. It gives a sense of satisfaction and connection just to be there with all the objects.
When it comes to actually performing the action, connection with the objects is promoted by a glove with a good fit which reduces over extreem sensations of temperature and structure. The glove shouldn’t be so present as to hinder the activity [c], obscure all sensations of the objects [d] or draw too much attention to itself. The thin leather glove [b] matches these criteria. An immobilizing or restricting glove [c] could be worn before performing the actual action to facilitate attentive awareness of the situation.
This post introduces four technology-free experiments to explore embodiment using a table. From the observations described in the previous post an ideation process is started which uses estrangement or defamiliarization as its main mechanism. Estrangement is about making the familiar strange [1] by using the body, context, routines, materials or props in unfamiliar ways [2]. Defamiliarization disrupts the usual way of doing something and destabilizes our way of thinking about and acting in common situation. From destabilization may emerge insights and ideas. This creates a new space for designing for everyday engagement [2].
Experiments
The experiments are conducted by the design researcher and describe their first person perspective. Strategies of changing bodily sensations through artefacts (for example tableware) and altering the material (for example the surface of the table) [2] were used. The main goal of the experiments was to get insights into how different interventions might increase the sense of connection between the actor, the action and the objects. The descriptions focus on the bodily sensations and the emotions which are evoked. In each experiment different variations were tried and described. Every post gives a summery of the most relevant findings and how they may be used in a next prototype or design. The images with each experiment (a,b,c,d) support the main findings.
This image gives an overview of all four experiments
Follow the links to read more about the individual experiments, over time more links will be activated.
References
[1] Genevieve Bell, Mark Blythe, and Phoebe Sengers. 2005. Making by making strange: Defamiliarization and the design of domestic technologies. ACM Trans. Comput.-Hum. Interact. 12, 2 (June 2005), 149–173. https://doi.org/10.1145/1067860.1067862
[2] Danielle Wilde, Anna Vallgårda, and Oscar Tomico. 2017. Embodied Design Ideation Methods: Analysing the Power of Estrangement. In Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems (CHI ’17). Association for Computing Machinery, New York, NY, USA, 5158–5170. https://doi.org/10.1145/3025453.3025873
This is the first post for a new project called: Damian’s Dressing Table. The project builds on insights gained from the Magic Tea project [1], [2]. It’s objective, therefore, is still the same: to explore how technology can promote self-transcendent experiences (STEs) during everyday activities using interactive technology. The Magic Tea project started from the everyday activity of drinking tea, this project starts from an object often used in everyday activities: a table. From the embodied experiences at the table one activity will be chosen which can then be enhanced with technology to promote STEs.
Somaesthetic Design
In this project the main methodology used to for research and design is Somaesthetic (or Soma) Design. This is a design (research) approach which emphasizes first person, lived experiences with a focus on attention for bodily sensations and aesthetics [3]. This post describes observations of activities performed by the author. They form the starting point for experiments which are more embodied. The main objectives for the observations were to find out how the body moves and feels during some common activities performed at a table. Which parts of the body are used most often. It also explores skin contact with objects during the activity.
Figure 1. Stills with heat maps for five everyday activities.
Recording actions
To this end a small home studio was set up with a video camera (phone) on a tripod and a table. This was a way to study myself while performing activities which regularly take place at this table. Later the video was analysed and key movements of every activity were captured as a still. The still was overlaid with a heat map which was created manually (view Fig. 1). This map indicates touch and pressure points on the skin.
Conclusions
From the observations it becomes clear that the fingertips are very important for all actions which require precision. Only in a few cases the whole hand is involved. The lower arms often come into contact with the table. Hands and fingers often touch each other between actions. One hand is often used to steady the objects, this is done in various ways.
[1] D. Roberts. “Wisdom Interface.” Tools for Awareness. http://awarenesslab.nl/blog/category/wisdom-interface/ (accessed Aug. 26, 2024).
[2] D. Roberts, A. de Rooij, “Exploring Embodied Interaction to Support Self-Transcendence in the Art Installation ‘ Magic Tea ,’” xCoAx, Jun. 2023, doi: 10.34626/xcoax.2023.11th.292.
[3] Kristina Höök, Steve Benford, Paul Tennent, Vasiliki Tsaknaki, Miquel Alfaras, Juan Martinez Avila, Christine Li, Joseph Marshall, Claudia Daudén Roquet, Pedro Sanches, Anna Ståhl, Muhammad Umair, Charles Windlin, and Feng Zhou. “Unpacking Non-Dualistic Design: The Soma Design Case.” ACM Trans. Comput.-Hum. Interact. 28, 6, Article 40, Dec. 2021, doi: 10.1145/3462448
Magic Tea (MT) is an interactive art installation with which users can prepare and drink tea (Fig.1). It aims to invite self-transcendent experiences (STE) during this activity.
Figure 1 | Overview of the Magic Tea installation
The installation uses tangible
connected objects and the users own biometric data to blur the boundaries
between the user and the objects used in the installation. The activity itself
has been turned into a ritual by manipulating tempo, aesthetics and
transparency of all the steps of the activity. The goal is to create a shift in
the users’ perception of the world around them and how they are connected to
it.
The test of the effectiveness of the
MT prototype version 2 is divided into two stages: 1. Test its usability
without an STE measure. 2. Test for the occurrence of STE using validated
measures. This post describes the usability test and its results. The focus of
the test is on the usability of the system, it’s manual and the awareness of
the stimuli. The main goal of the test is to find out if the current design and
interaction has the right balance between challenge and user-friendliness. A
lack of usability may hinder the occurrence of an STE.
Method
After filling in the consent form participants are asked to make tea with MT using the manual. They are instructed to: put their phone in a signal-blocking purse, take off their shoes, put on the wearable, attach the ear clip (for measuring heart rate) and find a comfortable position using the stool or cushion. They are then invited to read the manual and start the process without further instructions. If they get stuck or if a dangerous situation occurs the experiment leader will intervene. The following methods are used to gain insight into the understandability and comfort of use of the installation.
Think aloud. Throughout the
activity, users are invited to express their thoughts and associations. The
experiment leader will not reply or start a conversation. The main purpose is
to gain insight into what goes on in the users head. The experiment leader will
take notes.
Checklist observation. During
the process the participants will be observed during all eight steps of the
intervention: intentions writing, entrainment, water tapping, water boiling,
rinsing tea, steeping tea, drinking tea, writing reflection and also the
reading of the manual. The focus will be on movements and expressions which
indicate understanding and comfort or lack thereof. The experiment leader will
take notes.
Semi-structured interview. In
the interview users are asked to 1. indicate if they noticed the stimuli during
the different phases of the experience: intention writing, entrainment, water
tapping, water boiling, rinsing tea, steeping tea drinking tea and reflection
writing and how this affected them emotionally. 2. Give an account of their
experience and comment on the design. The interview will be recorded with the
users’ permission.
System Usability Scale (SUS)
(Brooke, 1996). This is a ten-item questionnaire using a 5-point Likert scale
from 1: Strongly disagree to 5: Strongly agree. It is used to test various
kinds of interactive systems. Although Magic Tea is not designed to be
efficient, it should not be so hard to use that it would make users feel
anxious or insecure because this might be an obstacle to experiencing STE.
In total 7 participants (M = 4, F = 3, other = 0) took part in the test. The mean age was 38, with a minimum of 22, and a maximum of 56. The test was spread over 3 days and two locations (Fig. 2).
Figure 2 | Lab setup at two locations
Results
Observation, think aloud and interview
Figure 3 | Table layout displaying the steps and objects. During the entrainment (step 2) the light below the objects moves from a to g. During step 1, intention and step 8, reflection an electrical candle burns. Drawings by Elja Rutters.
The Magic Tea ritual consists of eight main steps (Fig 3). The following table lists these steps, the main insights and possible improvements that emerged from user observations, their thoughts and the interviews. For every stimulus, it states how many out of the persons asked noticed it (e.g. 4/6 means, 6 participants were asked about this stimulus during the interview and 4 have noticed it. The stimuli have different aspects e.g. sound may have a rhythm, may change in volume and represent a sound from nature. It will be stated which aspects were noted by the participants.
Table 1 | Summary of results from observation, think aloud and interview methods
General remarks
Participants found the installation
pleasant, calming and friendly to use. They enjoyed the
“digitalisation” and the novel tea-drinking process. Positive
comments were made on the colour and transparency of the materials used. They
enhanced the calming effect of the experience. Participants also enjoyed the
diffuse lights. One participant associated the blue light with a laboratory and
less with tea drinking.
The interaction was perceived a
pleasant, clear and for the most part intuitive. The more the ritual advanced
the better user understood the pattern and the trust in the system grew. They
understood that the system would guide them but also appreciated the granted
autonomy. The system waits for the user to start the next step. They determine
the pace of the ritual.
Apart from the omissions and additions
mentioned above the manual caused stress in some users. The long text and the
detailed instructions felt taxing. The layout which split the text and the
images were hard to use. But overall participants did find it helpful and
clear. The manual should be used to build trust in the system, explain steps
that are less know and be used only as a backup when users fail to understand
the interaction signals.
Not all the stimuli are noticed and
interpreted correctly with first-time use. 3/7 users pointed out that it is a
layered experience that people would like to come back to and discover more
each time they use it.
System Usability Scale (SUS)
This scale was included to gain
insight into the user-friendliness of MT and its learning curve. A quantitative
measure provides another way to learn about how the system is used and
perceived. As a ritual MT wasn’t designed for ease of use or efficiency. It
should be challenging enough to keep users attentive and engaged. However, if
the system should be too cumbersome or stressful to use this might impair the
chances for users to experience STE. Therefore the hypothesis was that the
score wouldn’t be very high but also not poor. The score was calculated using
the standard method (Thomas, 2015).
Figure 4 | Graph showing individual SUS scores. The red line marks the average score.
The mean SUS was 59 which is rated as
okay (Brook, 2013). Scores below 51 indicate a poor system, 73 and above
indicate good and excellent (Ibid.). These scores confirm the hypothesis: the
usability of the system falls between good and poor. This suggests the right
amount of user-friendliness.
Question 7 ‘I would imagine that most
people would learn to use MT very quickly.’ scored highest. This suggests good
learnability. Question 8 ‘I found MT very cumbersome to use.’ scored lowest.
This indicates that even though the tea preparation is unusual participants
didn’t find it cumbersome.
There are interesting differences
between two group characteristics: gender and age. Male participants scored an
average of 65 while the female participants only scored 51. The same pattern
can be seen with regard to age. Participants aged under 50 scored 63, those
above scored 50. But there is an overlap between gender and the age: mean age
for the men is 31 against 47 for the women. From this small sample, it is hard
to tell if the differences in scores are related to age or gender. However the
three youngest participants, all male score 68. One older male scores 55 which
is more in line with the female scores. But the sample is too small to draw any
conclusions from the data.
Conclusion
In general, the seven participants found using MT a novel, pleasant and calming experience. The interaction was mostly clear and the design was helpful to the experience. This is confirmed by the SUS which was sufficient. Improvements to the electronics and measurements will improve the quality of the experience. The more unusual steps in the ritual will benefit from clearer instructions. An improved manual that will instil trust in the system from the start will help users surrender to the system and stay more focused on the actions.
References
Brooke,
J. (1996). SUS—a quick and dirty usability scale. Usability Eval. Ind.
189(194), 4–7.
Brooke,
J. (2013). SUS – a retrospective. Journal of Usability Studies, 8(2), 29-40.
This event on June 14th finalized the residency period of Danielle Roberts at Baltan Laboratories. During the residency Danielle improved and tested the research prototype Magic Tea, an interactive art installation aimed at inviting self-transcendent experiences (STEs) during the act of preparing and drinking tea.
The aim
of this meetup was to introduce the thinking behind the Magic Tea design to a
broader public and to discuss with a group of experts the possibilities and
pitfalls of using technology to invite STEs.
Organisers and panel members
Introduction
The event started with a presentation by Danielle. It was an in depth explanation of her approach on merging the ordinary and the extraordinary through the use of technology. Danielle explained how she came to choose tea as an everyday activity. She elaborated on the role of rituals as a way to make the everyday more meaningful and how the combination of ritualisation and tangible Internet of Things technology may invite an STE and lead to a feeling of reduced self and increased connectedness in the user. The different steps of the Magic Tea ritual were illustrated as well as the promising results of the first prototype. The Everyday Transformative Interfaces Framework is introduced as a tool to help designers create STE inviting interventions.
Presentation slide showing the most recent Magic Tea prototype
After the presentation Rens van der Vorst moderated the questions of the audience and invited the panel members to reflect from their own perspective on what they had heard and/or experienced about Magic Tea.
Panel
member perspectives
Somaya
Ben Allouch researches the interaction between ubiquitous computing,
human-computer interaction and health. In my culture tea (green tea with lots
of sugar) is used in various ceremonies e.g. weddings, funerals. There are
strict rules on tea recipes for these events they have a huge impact on how
people experience them. Magic Tea was interesting because of the devised steps
and the role of technology, the interaction design. Some parts were intuitive and
others weren’t so much. The order in which to start the boiling process for
example seemed illogical and I started thinking about that which took me out of
the relaxation mode. The meaning of the vibration in the cup is ambiguous. This
took me out of the experience but also increased my awareness and made me
reflect. But do we need technology to enhance rituals and who would benefit
from that?
Michel
Decré is a traditionally trained tea master and technologist and is very
interested in how technology may enhance these practices, even the most
traditional ones. Because in the 16th century Sen no Rikyū
introduced Zen into the tea ceremony and revolutionised is. Challenging
traditions is important to keep them alive. Magic Tea succeeded well invoking a
flow and it has potential to really work. But once you start thinking about the
technology the flow is interrupted and it should support the flow to fully
work.
Janienke
Sturm works at the intersection of psychology and technology and one of her
research topics is human centred design. Janienke sees a similarity with Magic
Tea and her own coffee ritual which she has handed over to a modern machine
which only requires you to put in a pad. She misses the richness of the
experience and stresses the importance of rituals to create meaning and order. She
encourages any attempt to introduce rituals. The HCI field traditionally was
focussed very much on functionality and efficiency and has moved on to a more
experience based approach. Magic Tea is taking this a step further.
Pierre Lévy researches how to enchant the everyday by design which is informed by Japanese philosophy. Routines focus on the result while in a ritual the whole process is important. Japanese philosophy introduces the concept of irregularity (imperfection). Irregularity make us question things and make us wonder about our lives. If things are seamless and perfect one doesn’t question what is going on irregularity however, can start a transformation process. This is a first person experience as an onlooker you will perceive it differently.
Presentation slide showing the differences and similarities between the Japanese tea ceremony and Magic Tea.
The
discussion
Michel:
the Japanese tea ceremony framework states that every ritual has to have at
least one imperfection, by design. Within the rules every ritual is breaking at
least one of those rules. Even the most formal one needs imperfection to be
perfect.
Pierre responds to a question from Sietske (in the audience) about how different perspectives could influence the way Magic Tea works for users: behavioural economics research shows that the first person perspective is unique, one can gain insights you can’t get any other way. Observing during a tea ceremony is still part of the ceremony and therefore first person engagement. Second level perspective requires a form of communication. Magic Tea is a small, personal ritual, not a social one. How can even more people enjoy it? (third person perspective). How is what you created received by others? You never get what you want because people appropriate. It will be a different experience for everybody but as long as it is in some way enjoyable you have succeeded. Sietske: The experience can be considered a gift. Pierre: The maker is embedded in the installation and can therefore be thanked for the experience.
Janienke:
who is the owner of the traditional tea ceremony? Is it the tea master, the
visitors or both? Michel: In Zen they say: no host, no guest. Which is about
non-duality and unity which is the main goal of STEs. Janienke: Does the
introduction of technology instead of a tea master change that? Does it
increase the gap between the first and second person perspective? Michel: there
is growing evidence that current technologies (e.g. gaming) have a similar
effect on the brain as certain brain altering chemicals. We just have to get
used to the new role technology can play. With more knowledge of their effects
they can be conducive to these types of mental states.
Somaya: the current technology used in Magic Tea is very transparent for the user. What if there was an algorithm to create the perfect tea experience (with irregularities) using large datasets and AI? Could this type of technology improve the chances of experiencing an STE? Danielle: would Magic Tea be perfect if everybody always had an STE while using it? STEs can only be invited and the unexpected is part of that experience. Pierre: if we only look at the results of a ritual that it becomes a routine again. The process should remain interesting for the user in order to have the benefits of the ritual. Looking at an activity through the lens of the result or the experience are two completely different things. If were are interested in the latter it is dangerous to make everything opaque and ungraspable.
Rens: Danielle, you are interested in supporting ordinary people reach their exceptional potential. How do you envision this? Is there a way to stop the de-ritualisation in our lives? Danielle: I could tour around with Magic Tea (like the Spacebuzz project ) and I train designers to help turn our environments into Transformative Interfaces which could be experienced throughout our day. Janienke suggests a pocket size Magic Tea experience. She sees opportunities for a number other returning everyday activities all of which could be turned into potential STEs with a suit of devices. Pierre: routines are important for our mental health and structuring our lives. They give you time for daydreaming. If we question all the aspects of everyday activities we open up opportunities for ritualising routines. But we don’t want everything to be a ritual because it would be to effortful.
Closing
remarks
Michel: after a lot of training and repetition it is the unrepeated that triggers the transformative. Can we create a space for that?
Janienke:
I gained insight into how to invite transformative experiences into my life: by
looking at what can be done differently so they can be invited. But do we need
digital technology to do that?
Somaya: tech can make us look differently at everyday activities and it can serve in a reciprocal relationship between you and the world and challenge existing relationships. The Everyday Transformative Interfaces Framework is a useful tool to explore this further.
Panel
Members
Prof. Somaya Ben Allouch – Leading expert on the interface of ubiquitous computing, human-computer interaction and health.
Dr. Michel Decré – Decré is an official tea master for Japanese tea ceremonies with a background as physics engineer.
Dr. Pierre Lévy – Lévy is interested in applications of philosophy on interaction design, especially of applying embodiment theories and Japanese philosophy and culture to the everyday.
Dr. Janienke Sturm – Sturm is a language and speech technologist with an expertise in the field of user-oriented design, playful interactions and influencing technology.
Rens van der Vorst – Van der Vorst runs the platform technofilosofie.com and researches ways to make people think about their relationship with technology.
Supported by Baltan Laboratories and Avans University of Applied Sciences, Centre of Applied Research for Art
