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01 摘要
Abstract
视频《机器学习》采用“通过设计进行研究”的方法[4]来制作一个设计虚构的原型[2,7]。通过使用基于创造设计虚构的实践经验的研究设计方法，我们对创造人机交互设计虚构的过程提供了实用的见解。通过反思视频的制作，我们探索了设计虚构方法在应用于近期HCI场景时所带来的挑战和机遇。视频讲述了马努和他的新型人工智能便携设备的故事。在本文中，我们将视频作为一种对比设计虚构与其他原型制作方法的手段；我们描述视频的故事、内容和风格；最后，我们反思视频的制作(写作、拍摄和编辑过程)，以便为HCI提供关于原型设计使用小说和电影实用的见解。
This video - A Machine. Learning - adopts a ‘research through design’ approach[4] to producing a design fiction prototype [2,7]. By using a research through design approach that is grounded in the practical experience of creating a design fiction we contribute practical insights about the process of creating a design fiction for HCI. Reflecting on the production of the video we explore challenges and opportunities presented by the design fiction method when it is applied to nearfuture HCI scenarios. The video depicts the story of Manu and his new artificially intelligent portable device. In the paper we consider the video, using it as a means to contrast design fiction with other approaches to prototyping; we describe the story, content and style of the video; finally we reflect on the production of the video (writing, filming and editing processes) in order to offer practical insights to the HCI community, with regards to prototyping using design fiction and film.
02 摘要
Author Keywords
设计虚构；原型设计；人工智能；不远的将来。
Design fiction; prototyping; artificial intelligence; near
futures.
03 ACM分类关键词
ACM Classification Keywords
H5.2 [信息界面和演示].用户界面.- 原型设计
ACM Classification Keywords
04 设计虚构：一种原型方法
Design Fiction: A Prototypical Approach
原型设计是人机交互研究中的一个关键工具[5,11]，它允许研究人员、设计师和整个社区在概念投入完全生产之前进行接触和互动。设计虚构是一种原型技术，专门用于促进关于未来的对话[2]，以了解 "最好的 "在各种可能的未来中的位置[3]。 设计虚构对于人机交互社区来说并不完全陌生[1,10,12,14,15]，各种出版物已经考虑了如何将设计虚构的概念和哲学应用于人机交互的研究环境中。
由于意识到科幻小说具有“叙事化”（diegeically）原型新技术的神奇能力，设计小说的很多价值都来自于开发强大的“叙事化”（diegesis）。我们把diegesis称为 "故事的世界"。为了在设计虚构的环境中有效地工作，叙事必须同时与观众的现实相关，但也必须建立一个虚构的基底，在此基础上设计的刺激或新技术的原型可以可信地驻留。正是这种对“故事世界内部视角”的考虑和依赖将设计虚构与其他方法区分开来，并赋予其独特的功能支持。尽管和设计虚构有关，但设计虚构、视频、低保真和纸上原型都没有对这种“叙事化”的敏感性。正是叙事化的内核让设计虚构变得独特。与设计虚构的叙事化的深层关系可以帮助建立和理解引人注目的设计虚构原型[8,9]。
设计虚构属于更大的 "思辨"设计实践的集合中。所有的原型设计都是为了发现关于一个概念或想法的先前未知的见解[6]。然而，思辨设计和原型设计方法以一种与其他方法略有不同的方式产生这些见解。大多数的设计和原型制作都与 "现有的和首选的 "情况建立了 "向上的和正确的"[2]的关系[13]，而思辨性的方法则承认并在完全接受未来的多元性的情况下工作。思辨性设计、原型和设计虚构的存在只是为了提供必要的刺激，形成一个“话语空间”。正是从这个空间中产生了设计见解。
Prototyping is a crucial tool in HCI research [5,11] allowing researchers, designers and the community in general, to touch and interact with concepts before they’re put into full production. Design fiction is a prototyping technique that is specifically tailored to facilitating conversations about near futures [2] in order to understand where the ‘preferable’ sits within the gamut of possible futures [3]. Design fiction is not a complete stranger to the HCI community [1,10,12,14,15] and various publications have considered ways in which the concepts and philosophy of design fiction can be applied in a HCI research context.
Emerging from the realization that science fiction has an uncanny ability to ‘diegetically’ [2,7] prototype new technologies, design fictions derive much of their value from developing a strong ‘diegesis’. We refer to diegesis as the ‘world of the story’. To work effectively in a design fiction context, the diegesis must simultaneously be relatable to the reality of the audience, but also must build a fictional-substrate upon which the design provocation or new technology being prototyped can reside believably. It is this consideration for, and reliance on, this ‘interior view of a story world' that sets design fiction apart from other approaches and lends it unique affordances. Although certainly related to design fictions, video, lo-fi, and paper prototyping, et cetera, do not have this sensitivity for diegesis. It is the diegetic kernel that makes design fiction unique; a considered relationship with a design fiction’s diegesis can assist in building and understanding compelling design fiction prototypes [8,9].
Design fiction sits within a larger group of ‘speculative’ design practices. All prototypes aim to uncover previously unknown insights about a concept or idea [6]. However, speculative approaches to design and prototyping generate these insights in a subtly different way to other approaches. Where most design and prototyping are involved an ‘up and to the right’ [2] relationship with ‘existing and preferred’ situations [13], speculative approaches acknowledge and work in full acceptance of the plurality of the future. Speculative design, prototypes, and design fictions only exist to provide the provocation necessary to forge a ‘discursive space’. It is from that discursive space that design insights emerge.
05 《机器学习》的评价
Commentary on A Machine.Learning
我们的视频讲述了马努和他新的人工智能移动设备的故事（批判性地回应了斯派克·琼斯2013年的电影《她》)。故事中的叙述者是设备本身的声音。我们选择探索设备的视角，而不是为我们的人类角色发声，以邀请观众进入一个能够巧妙地进行情境学习的计算机世界，从而为启发式的解释提供空间。
这段视频的风格刻意朴实，没有使用任何计算机生成的图像，这样观众对所描绘的世界的解释就不会掺杂任何杂质。影片的场景实际上是一个正在工作的演播室，并没有被“打扮”成未来主义的样子。因此，我们的叙事世界看起来就像今天的真实世界。这种意识形态实际上延伸到了设备在影片中的实际表现方式。我们选择了在外形上类似于今天的移动设备的东西，尽管在实际中它非常不同（或者你可以说，让熟悉的东西变得陌生，让陌生的东西变得熟悉，1 ）所有这些选择都是为了提高当代观众对电影的的亲和力。我们看到设计虚构的 "亲和性 "与它们对 "世俗性 " 的使用直接相关。2
叙述带领观众经历了马努熟悉他的新设备的过程。我们演示了一种基于用户个人电磁签名的安全特性，只允许该用户查看设备(或让与主用户有物理接触的朋友查看设备)3。接下来我们看到裁缝马努在他的工作室。在这个场景中，该设备的旁白解释了它是如何成为智能学习机的。介绍了“红点”的概念。在过去的范例中，红点被象征性地用来表示“记录”功能。一个 "红点 "的概念被引入。在过去的范式中，红点在符号学上被用来代表 "记录 "功能。在我们的注释中，红点被挪用并应用于人工智能学习机器，它表示你想让机器学习你正在做的事情；我们认为这是 "意义的记录"。
当马努继续他在工作室的正常活动时，我们引入了“机械缺陷”的概念，机器的学习可能是不完美的，它可能会出错。这种装置混淆了缝纫的物理作用和按摩的物理作用。这台机器相信马努是在按摩而不是缝纫，他的购物清单上有“按摩油”这一事实让机器感到十分困惑。
我们专门设计了一个场景，演示设备如何捕捉可见的情绪线索(例如面部表情)，并可能将这些线索与数字世界中的行为联系起来，从而做出推断。我们特意保持这个场景的基本性。虽然我们的描述是基本的，但我们相信这种简单性并不影响影片打开一个讨论性空间的能力。
我们的结束语主要是为了结束叙述，并丰富故事的内容。首先我们展示了马努不小心弄坏了他的设备。尽管形式被破坏了，但智能、数据和计算仍然存在。最后，我们看到马努将他的设备的一部分放入一个自制的缝合袋。他给袋子加了日期，向观众表明这段视频发生在未来10年。
Our video tells the story of Manu and his new, artificially intelligent mobile device (responding critically to Spike Jonze’s 2013 film, Her). The narrator in the story is the voice of the device itself. We chose to explore the perspective of the device, as opposed to voicing our human characters, in order to invite the audience into the world of a computer that is capable of contextual learning with subtlety, and thus allowing space for heuristic interpretation.
The style of the video is deliberately plain and doesn’t use any computer-generated imagery so that the audience’s interpretations of the world depicted remain unadulterated. The set of the film is in fact a working studio, and was not ‘dressed’ to appear futuristic. Hence, our diegetic world is intended to look like today’s real world. This ideology is in fact extended into how the device is represented physically in the film. We elected to include something that is similar to presentday mobile devices in form factor, although in actuality it is very different (or you may say, making the familiar strange and the strange, familiar1). All these choices were intended to improve how relatable the film is to contemporary audiences. We see the ‘relatability’ of design fictions to be directly related to their use of ‘mundanity’.2
The narrative leads the audience through the process of Manu becoming acquainted to his new device. We demonstrate a security feature that is based upon a user’s personal electromagnetic signature and allows only that user to view the device (or for a friend to view the device if they’re in physical contact with the primary user)3. Next we see Manu, a dressmaker, in his studio. In this scene the device’s narration explains how it is an intelligent learning machine. The concept of a ‘red dot’ is introduced. The red dot, in past paradigms was semiotically used to represent the ‘record’ function. In our diegesis the red dot has been appropriated and applied to artificially intelligent learning machines, it indicates that you want a machine to learn about what you are doing; we consider this ‘recording of meaning’.
As Manu continues his normal activities in the studio, we introduce the concept ‘mechanical imperfection’, how the machine’s learning may be imperfect, it can make mistakes. The device confuses the physical action of sewing with the physical act of massage. The machine’s belief that Manu is massaging rather than sewing is confounded by the fact his shopping list includes ‘massage oil’.
We dedicate a scene to demonstrating how the device may pick up on visible emotional cues (for instance facial expressions) and may correlate these with actions in the digital world to make inferences. We deliberately keep this scene basic. Although our depiction is basic, we believe that this simplicity does not detract from the film’s ability to open a discursive space.
Our closing scenes primarily serve to conclude the narrative and enrich the diegesis. Firstly we show Manu accidentally breaking his device. Although the form is broken, the intelligence, data, and computation persist. Finally, we see Manu placing parts of his device into a homemade sewn bag. He dates the bag, indicating to the audience that the video is set 10 years into the future.
06 对生产的反思
Reflections on the Production
通过尝试用设计虚构来建立一个话语空间，假设和设计限制被移除，原型的形式被重新想象。这一点在试图为未来的社会和情感中心的空间制定路线图时尤为明显。建立丰富的叙事实际上推动了电影的概念。除了不允许技术上的考虑干扰讨论空间，这部影片创造了一种自由度，以考虑与一台会学习、没有固定形式、成熟、出现和不可预测的计算机一起生活的真正含义。通过这样做，我们旨在挑战关于我们使用计算来做什么以及我们如何使用它的假设，相反，我们强调我们（未来）在通过 "展示"丰富的情境活动来教授计算机意义方面的作用。
这部电影质疑了人机关系的本质和目的，以及交互如何巩固这些关系。利用设计虚构技术，我们可以塑造技术和创意方向，不受现有技术范式的约束我们认为设计虚构是丰富人机交互设计过程的一种手段，它既能产生新的概念，又能探索可能的未来的 "叙事结构"。设计虚构，尽管很有吸引力，但它的方法论基础相对不发达，因此我们呼吁人机交互界对设计虚构作为一种原型工具进行更多的批评、探索和实验。
By attempting to build a discursive space with design fiction, assumptions and design constraints are removed, and the form of the prototype reimagined. This is especially when trying to roadmap towards a space in the future that is socially and emotionally centered. Establishing a rich diegesis actually drove the concepts within the film. By not allowing technical considerations to interfere with the discursive space, the film creates a freeness to consider the real implications of living alongside a computer that learns, has no fixed form, matures, emerges and is unpredictable. By doing so we aim to challenge assumptions about what we use computation for and how we spend time with it, instead we emphasize our (future) role in teaching computers meaning by ‘showing’ contextually rich activities.
This film questions the nature and aims of human computer relationships, and how interactions can underpin these relationships. Employing design fiction techniques we can act to shape technical and creative direction, unfettered by an obdurate tie to existing technical paradigms. We posit design fiction as a means of enriching HCI design processes, both by generating new concepts and by exploring the ‘diegetic texture’ of possible futures. Design fiction, although compelling, has a relatively undeveloped methodological underpinning, as such we call upon the HCI community to critique, explore, and experiment with design fiction as a prototyping tool.
09 参考文献
References
[1] Bannon, L. Reimagining HCI: toward a more humancentered perspective. interactions, (2011), 50–57.
[2] Bleecker, J. Design Fiction: A short essay on design, science, fact and fiction. Near Future Laboratory, March (2009).
[3] Dunne, A. and Raby, F. Speculative Everything. The MIT Press, London, 2013.
[4] Frayling, C. Research in Art and Design. Royal College of Art Research Papers 1, 1 (1993), 1–9.
[5] Houde, S. and Hill, C. What do prototypes prototype? In Handbook of human-computer interaction. 1997, 367–381.
[6] Kelley, T. Prototyping is the shorthand of innovation. Design Management Journal (Former Series), 617 (2001).
[7] Kirby, D. The Future is Now: Diegetic Prototypes and the Role of Popular Films in Generating Real-world Technological Development. Social Studies of Science 40, 2010, 41–70.
[8] Lindley, J. and Coulton, P. Modelling Design Fiction : What’s The Story? StoryStorm Workshop at ACM Designing Interactive Systems, (2014).
[9] Lindley, J., Sharma, D., and Potts, R. Anticipatory Ethnography: Design fiction as an input to design ethnography (In press). Ethnographic Praxis in Industry Conference, (2014).
[10] Markussen, T. and Knutz, E. The poetics of design fiction. Proceedings of the 6th International Conference on Designing Pleasurable Products and Interfaces - DPPI ’13, (2013), 231.
[11] Memmel, T., Gundelsweiler, F., and Reiterer, H. Agile human-centered software engineering. Proceedings of the 21st British HCI Group Annual Conference on People and Computers, (2007)
[12] Reeves, S. Envisioning ubiquitous computing. Proceedings of CHI, (2012), 1573–1582. [13] Simon, H.A. The sciences of the artificial. The MIT Press, 1969.
[14] Tanenbaum, J., Tanenbaum, K., and Wakkary, R. Steampunk as design fiction. Proceedings of the 2012 ACM annual conference on Human Factors in Computing Systems - CHI, (2012), 1583.
[15] Tanenbaum, J.G., Williams, A.M., Desjardins, A., and Tanenbaum, K. Democratizing Technology : Pleasure , Utility and Expressiveness in DIY and Maker Practice. (2013), 2603–2612.
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参考文章：
A Machine. Learning: An example of HCI Prototyping With Design Fiction
作者：
Joseph Lindley
Robert Potts
译者：糖醋排菇
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