How a designer’s mode of writing—understanding of what collection authorship in the authorship of an information collection. How an authoring environment in the authorship of a collection. You may also find it helpful to reconsider your characterization of the original implementation as described in your interpretive essay. Deliverables Your final reflective essay should be approximately 3,000 words (around 10-12 pages). As with your interpretive essay, your paper should have a larger argument to give it cohesion. In your essay, use both the course readings and your design project experiences to substantiate your answers to the three questions. Make sure, though, that the emphasis is on critical examination, and not a mere report of what you did or a justification for your design decisions. Grading criteria A successful essay will exhibit the following characteristics: Presents a coherent thesis that unifies your response to the different questions. Provides evidence for claims via both course readings and project design experiences. Goes beyond anecdotal experience and justification of individual design decisions. Adheres to professional writing standards: is logically structured and organized, is clearly and concisely written, adopts a professional, scholarly tone, and uses correct grammar, spelling, and punctuation. Schedule Note: Readings are subject to change as the semester proceeds. Announcements changes will be made in class; however, please continue to check the Web site for up-to-date schedule information. Date Themes Assignments Readings Week 1 January 22 introductions to the course the translation/extention design project the authoring environment for the design project (Scalar) Week 2 January 29 introduction to traditional classificatory principles Studio exercise: Enacting hierarchy Beghtol Grove Mills Week 3 February 5 introduction to residuality/mestiza consciousness Star and Bowker Anzaldua (Chapters 1-7, pp. and pp. 216-217 only)
Studio exercise: interpretation of a design experiment Week 4 February 12 introduction to critical making and critical design Studio exercise: Transforming hierarchy Ratto Bardzell, Bardzell, Forlizzi, Zimmerman, and Antanitis Sengers, et al McGann Week 5 February 19 information criticism Studio exercise 1: Group interpretation of a design experiment Lowgren and Stolterman Bardzell Week 6 February 26 Wayfaring and transport as reading (interaction) models Studio exercise: and transform hierarchy in Scalar interpretive essay due Ingold (selections) Feinberg, Carter, and Bullard Week 7 March 5 design, materials, and materiality Bring to class for studio discussion: Translation strategy/ideas in Scalar Pye Rosner Drucker Week 8 March 12 authorship and the rhetoric of collections Bring to class for studio discussion: Partially translated collection Crew and Sims Goswamy Garrett Stephens March 19 spring break Week 9 March 26 constructing the audience Bring to class for studio discussion: Roughly completed translation enacted in Scalar (strategy enacted for all parts) Black Di Salvo Park Week 10 April 2 open design/reader response Bring to class for studio discussion: Ideas for extension Redstrom Sengers and Gaver Fish Week 11 April 9 user (audience)/designer (author)/system (collection) relations Bring to class for studio discussion: Extension strategy/experiments enacted in Scalar Warner Woolgar Suchman Week 12 April 16 infrastructuring and design design Bring to class for studio discussion: Partially completed extension/fully completed translation A. Telier group Bjorgvinsson, Ehn, and Hillgren Week 13 April 23 design reflection and hermeneutics Bring to class for studio discussion: Roughly completed extension Vetting Wolf, et al Snodgrass and Coyne Jahnke