Gaspar talks of the value of slow speed in terms of allowing someone to notice the banality of experience acting as a lens in the eye, which allows us to notice details. McCarthy and Wright seek to offer an approach to understanding human-computer interaction, which explores technology as experience in terms of the felt life of technology: 105 we should try to interpret the relationship between people and technology in terms of the felt life and the felt or emotional quality of action and interaction. Finally, the participant described a gadget as impersonal; whereas to him the chair had become personal in a way a gadget could not. By drawing on key philosophical positions to detail different forms of function, wearable computing, wearable digital objects, gadgets and digital jewellery can be contrasted. Technological innovation has to date been the dominant concern for wearables research.
Silver and gold Ozekis Tear Collector is a silver cupped rose petal made following the death of her Father. Its not gadget like at all. Here i have another piece of technology utilization in digital signage. As described in the contextual review Chapter 2 section 2. A shift in the traditional focus of industrial design on functionality and usability, to design and emotion has been evident in recent years.
I could have made a stimulus that actually captured sounds, but reflected that not all sounds would be easy to capture; they may have been specific to past times and places for the participant and this may have limited the answers given, although there would have been a different richness to the recorded sounds. What role did these first pieces of jewellery play for you? The rationale behind the individual exploratory studies will be detailed centring on the use of contemporary jewellery practice as a direct social activity and as a way of facilitating considerations of digital jewellery as intimate, personally emotionally significant objects based on an individuals personal biography. Similar to the favourite sound and 1st prize stimuli a response is shared and then stored away again. The following chapters describe how I have used the properties associated with gadgets as qualities to be conscious of and to avoid. To regard beauty as a stylistic afterthought is a flawed strategy. Identity Objects made to fulfil a task.
The results have relevance for both design and theory with regard to our experience of digital objects, of creative practice within digital culture and the value of contemporary jewellery as a process centred on social, discursive and human-relational aspects of emotion. Jewelry is worn for many reasons -- for aesthetics, to impress others, or as a symbol of affiliation or commitment. I wanted to use this stimulus in conjunction with reflective questions as a direct form of sharing physical qualities of an object. Jewellery is not often associated with a technofunction that is to say it is rarely thought of as having a utilitarian task orientated function. Description offered by Rana of the ceremony of making the piece lends a narrative backdrop to the final objects, which form a metaphor for the transience of, and attachments we have for, our physical appearance and youth.
Our experience of beauty centres on our quest for it, which is in most cases unsatisfied. Cheungs piece Memoria is a pair of ear pins of which she says: 30 In memory of my Mother. I began by reading and rereading them and I kept them at home in my study so I saw them daily and lived with them. Developments in wearable computers are shown to centre on the computer as a permanently worn and permanently on communication and information device. Chapter 4 Methodology 1 will present the theoretical development of my methodology.
Echo is a piece in which the forms were partly cast from the ear cavity, and partly fabricated. The paper extended in Chapter 4 presented the concept of beauty as an emotional term related to enchantment, intuition and empathy and as a key aspect of craft practice, stating the relevance of craft to design in a digital age. By sensing physiological changes Fusakuls intention was to create objects that display emotional changes in the wearer, though her reliance on physiological signatures made no attempt to incorporate social or discursive aspects of emotion. Armstrong relates the experience we enter in to when we encounter beauty to both love and yearning, and asserts that beauty meets a profound need to discover meaningful connections between ourselves and other people, objects and ideas. Confusion arises regarding the category of an object when digital elements are embedded in everyday objects. The connections we find in beautiful objects have a deep human significance, a reason why we can love, rather than like, beauty.
Two of the participants were contemporary jewellers and two were researchers in human computer interaction. In essence, my methodology is to centre my inquiry into contemporary jewellery practice as a direct social activity, and thereby explore digital jewellery in terms of personal emotional significance both for others and myself. Commonly, the contemporary jeweller seeks to make objects of a slow pace, ones that have a lasting value in terms of personal emotional significance for the owner or audience. Christoph Zellweger in collaboration with designer Peter Russell Clark and London-based electronics company Scintillate figs. Mark is a contemporary jeweller who I had known for several years and who had an interest in the development or potential of digital jewellery and as such had an interest in the core theme of the research. Zellweger reflected that when making a piece of digital jewellery the main challenge for him was how to make something that was emotionally rich and yet also technologically sophisticated.
In contrast, Zellwegers non-electronic jewellery inhabits what he describes as the Avant-garde edge of contemporary jewellery. Initial ideas I also took the separate approach of ignoring my written thoughts or how I verbalised my responses and instead gathered together a collection of images that seemed to relate to the responses. Early conceptions of technology-physiology fusions were cautionary tales, illustrated in Langs vision of the future Metropolis 1926 fig. Though recent notions within the wearables community include social weight Kettley, 2002 , the impact on social interaction when wearing a computer in public, there is a distinct absence in the wearables literature of discussion concerning the beauty of form and interaction, or the felt significance to the artefacts. These associations and referents give jewellery particular and distinct qualities that afford dialogue around these notions.
Such futuristic proposals are deemed suitable by the designers to fit into a category of digital jewellery see the discussion of the gadget in Chapter 3. Many stimuli offered the opportunity to reflect on aspects of significance for the participant, but without direct relation to what the participant valued about himself or herself. These perspectives have filtered though my approach to the creation of digital jewellery and my analysis of what each participant felt about the pieces and films I made for each of them see Chapter 6 Participant responses. Enchantment may be what we miss in our ordinary lives; we simply neglect to look more closely at, or with more open perspectives on, the everyday situations in which enchantment can be found. Latour, 2000: 20 It is therefore possible to assert that one way people become attached to things is through significant personal value, association or symbolism. Where the notion of digital jewellery has been broached by industrial designers the conceptions have not progressed beyond a clichd futuristic aesthetic. With a few notable exceptions, McCullough 1996 , few attempts have been made to examine crafts implications for design during the current period of rapid technological change.