Annotated portfolios

Gaver, William; Bowers, John

doi:10.1145/2212877.2212889

Cited by 229 publications

(126 citation statements)

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“…This was helped by the keep/lose/change question itself, which clarified the rules for expansion and contraction, and the facilitator's skill in resolving conflicting suggestions into new designs, both within the sessions and afterwards through documentation. The fact that the result of this process and documentation is a portfolio of related concepts, is interesting in relation to a recent proposal for capturing design knowledge in 'annotated portfolios' (Bowers 2012, Gaver & Bowers 2012. Our catalogue of concepts from the workshop series would lend itself well to annotation with family resemblances between designs and the rationale behind them.…”

Section: Doing Co-creation Through Re-designmentioning

confidence: 95%

Keep, lose, change: Prompts for the re-design of product concepts in a focus group setting

2014

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Focus groups have traditionally been used in market and design research to obtain group reactions to product concepts. In this paper we outline a simple methodological extension to this format, involving a further stage of concept re-design in smaller sub-groups facilitated by a professional designer. The method was developed in the context of working with groups of older people on concepts addressing memory, identity and social communication. It is illustrated with reference to the re-design of two seeded concepts and feedback from participants themselves on the experience of taking part.

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Section: Doing Co-creation Through Re-designmentioning

confidence: 95%

Keep, lose, change: Prompts for the re-design of product concepts in a focus group setting

2014

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“…A playful example of this type of context-dependent mediation can be found on the portfolio website of the Canadian design firm Castor, which displays clever media-rich annotations as a user zooms in to see details of various inspirational objects on display (Gaver & Bowers, 2012).…”

Section: Enabling Context-dependent Annotations and Mediationmentioning

confidence: 99%

Stories in the Rock: A Design Case of an Explorable Image Viewer in a Natural History Museum

Louw

Ansari

Bartley

et al. 2013

IJDL

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This design case explores the affordances of gigapixel image technology for science communication and learning in museum settings through the iterative development of an explorable image viewer to engage visitors in an archaeological exhibit. We reflect on the series of user studies, prototype iterations, and design decisions taken to optimize navigation, annotation and exploration in this zoomable user interface. We highlight a set of design precedents, interaction frameworks, and content structuring approaches, while detailing the development of a media rich digital annotation strategy to augment interpretation, commentary, and conversation about a petroglyph site. Through this work, we highlight the unique affordances of multiscalar image platforms to scaffold disciplinary observation and engagement with scientific content.

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“…In part, we do this to provide an alternative to accounts that suggest for design to become productive as research, it should engage in some sort of theory formation. While what exactly is meant by theory is not always clear, writers usually have in mind some conceptual machinery that can explain and predict" [1].Briefly, the notion of annotated portfolios entails selecting a collection of designs, re-presenting them in an appropriate medium, and combining the design re-presentations with brief textual annotations. Gaver and Bowers characterize their proposal as a methodology for communicating design research, and more specifically, a methodology that is very familiar to designers as well as artists.…”

mentioning

confidence: 99%

“…While what exactly is meant by theory is not always clear, writers usually have in mind some conceptual machinery that can explain and predict" [1].…”

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Annotated portfolios and other forms of intermediate-level knowledge

Löwgren

2013

interactions

155

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In a recent issue of this magazine, Bill Gaver and John Bowers address the role of design practice in academic research and provide a concrete suggestion: "We propose the notion of annotated portfolios as a way to communicate design research. In part, we do this to provide an alternative to accounts that suggest for design to become productive as research, it should engage in some sort of theory formation. While what exactly is meant by theory is not always clear, writers usually have in mind some conceptual machinery that can explain and predict" [1].Briefly, the notion of annotated portfolios entails selecting a collection of designs, re-presenting them in an appropriate medium, and combining the design re-presentations with brief textual annotations. Gaver and Bowers characterize their proposal as a methodology for communicating design research, and more specifically, a methodology that is very familiar to designers as well as artists.The idea of annotated portfolios takes its departure from a growing sense of discomfort with the way in which design practice is increasingly misappropriated by "scientistic" notions of academic research: "Rather than [finding ways for design to contribute to HCI] by mutating design to become more like "real" research, however, we believe it is better to grow design's identity as research from its existing practices and reasoning" [1]. This is a very timely proposal, given the increasing debate on design research and its relation to HCI (see also [2] and [3]). Moreover, the idea of annotated portfolios intuitively appears well grounded as well as appealing. However, the slate is not entirely clean-there are some precedent ideas that address similar concerns, and my sense is that they can be fruitfully related to the notion of annotated portfolios. Thus, my hope is to complement the work of Gaver and Bowers by sketching out parts of the scholarly context, and thereby facilitate the ongoing discussion of the role of design practice in academic research. Design Practice, Academic Research, and KnowledgeIn my opinion, the foundational observation to start from is this: The essence of research is to produce knowledge, and the essence of design is to produce artifacts.

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Annotated portfolios

Cited by 229 publications

References 0 publications

Keep, lose, change: Prompts for the re-design of product concepts in a focus group setting

Keep, lose, change: Prompts for the re-design of product concepts in a focus group setting

Stories in the Rock: A Design Case of an Explorable Image Viewer in a Natural History Museum

Annotated portfolios and other forms of intermediate-level knowledge

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