Personal inventories in the context of sustainability and interaction design

Interactions

Volumn 15, Issue 5, 2008, Pages 16-20

  Odom, William ^a   Blevis, Eli ^a   Stolterman, Erik ^a  

^a INDIANA UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

HUMAN RELATIONSHIPS; INTERACTION DESIGNS; INTERACTIVE TECHNOLOGIES; SOFTWARE DESIGNERS;

COMPUTER NETWORKS;

DESIGN;

EID: 51149105536     PISSN: 10725520     EISSN: 15583449     Source Type: Trade Journal    
DOI: 10.1145/1390085.1390088     Document Type: Article

References (18)

1. Nelson, H. G. and E. Stolterman. Design Way: Intentional Change in an Unpredictable World. Englewood Cliffs: Educational Technology Publications, 2003. This same quote appears in E. Blevis and E. Stolterman, "Ensoulment and Sustainable Interaction Design," IASDR 2007 Hong Kong: November 12-15, 2007,
2. and W. Odom, "Personal Inventories: Toward durable human-product relationships," In Ext. Abs. CHI '08. New York: ACM Press, 2008.
3. Blevis, E. "Sustainable Interaction Design: invention & disposal, renewal & reuse." In Proc. CHI '07. New York: ACM Press, 2 0 07.
4. Csíkszentmihályi, M., and E. Rochberg-Halton. The Meaning of Things: Domestic Symbols and the Self. Cambridge: Cambridge University Press, 1981, 17.
5. Nonetheless, recent HCI research has begun to explore creative human-centered approaches to designing interactive technology capable of facilitating more environmentally sustainable behaviors in and around the home - e.g. Woodruff, A., J. Hasbrouck, and S. Augustin. "A bright green perspective on sustainable choices." In Proc. CHI '08. New York: ACM Press, 2008.
6. The tradition of photography specifically as a mechanism of inventory documentation played an influential role in the development of the personal inventories approach, which is discussed in Visual Anthropology: Photography as a Research Method (revised and expanded). Another interesting example of photo-ethnography is P. Menzel, Material World: A Global Family Portrait, San Francisco: Sierra Club Books, 1994.
7. Timer originally photographed by authors. Image later re-shot courtesy of Don Trull.
8. Kinsey, A. C., W. R. Pomeroy, and C. E. Martin. Sexual Behavior in the Human Male. Bloomington, Ind.: Indiana University Press, 2003
9. Collier, J. and M. Collier. Visual Anthropology: Photography as a Research Method (revised and expanded). Albuquerque: University of New Mexico Press, 1986.
10. Nelson, H. G. and E. Stolterman. Design Way: Intentional Change in an Unpredictable World. Englewood Cliffs, N.J.: Educational Technology Publications, 2003, 29
11. Stolterman, E. "The nature of design practice and implications for interaction design research." International Journal of Design 2, no. 1 (2008)
12. The general mode of inventory-type inquiry has also appeared in HCI and design literature including (but not limited to): R. Strickland, "Portable effects: A survey of nomadic design practice." Tech Report TR1998-003, Interval Research Corp., 1998, http://www.portablefx.com; The "Personal Inventory" method card found in IDEO. IDEO Method Cards. ISBN 0-9544132-1-0, 2003;
13. M. Ludvigsson, "Energy objects: Reflection through interaction," in Proc. of 'In the Making' the First Nordic Conference on Design Research, 2005;
14. S. D. Mainwaring, K. Anderson, and M. F. Chang, "What's in your wallet?: implications for global e-wallet design," in Ext. Abs. of CHI '05, New York: ACM Press, 2005;
15. J. Chipchase, P. Persson, P. Piippo, M. Aarras, and T. Yamamoto, "Mobile essentials: field study and concepting," in Proc. of DUX '05, vol. 135, New York: AIGA, 2005.
16. Additionally, previous design ethnography research - such as T. Salvador, G. Bell, and K. Anderson, "Design Ethnography," Design Management Journal 10, no. 4 (1999)
17. and R. Wakkary and L. Maestri, "The resourcefulness of everyday design," in Proc. of C&C '07, New York: ACM Press, 2007 - has ties to the general aim and spirit of our development and use of the personal inventories method. P. Menzel's Material World: A Global Family Portrait is an additional influence, however, while his work represents a fantastic photographic treatment of global cultural differences in attitudes toward materialism - it is reductive in its approach. In other words, Menzel attempts to reduce each country to a single representative photograph, where our aim is quite the opposite - to display the range of practice and phenomena with respect to the durability of digital and non-digital artifice.
18. The concept of "redirective practice" is owed to Fry in Fry, Tony (2008, in press). Design Futuring. Berg Publishing.