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256A Reading Response #2
Design principle 2.7: Design to lower inhibitions
This principle resonated so strongly with me I nearly exploded! How do I go from making it possible for someone to do something, to making it inviting? I feel like in pragmatic-focused design, especially in accessibility conversations, the emphasis is generally on possibility. In the I am T-Pain example, we can see certain forms of social inhibitions being calmed by placing an additional instrument into the performance equation, adding plausible deniability to the seriousness of the endeavor. Like a socially-accepted ejection seat.
Music 256A, Week 8
The eighth and final chapter of Artful Design (along with its Coda) dive deep in to the philosophical ideas underlying the books essential message: to inspire the union of aesthetics and practical design as a moral obligation on the part of the designer. To design artfully is to understand and attempt to balance the end-user's experience of engaging with a thing as a means to an end versus as and end in itself. Advancements in technology have the tendency to supply us with tools that perform tasks well and serve as a means to an end. This is great when we want to solve problems, but the more we use these tools and build careers and lifestyles around them, the more our own thinking becomes means-to-ends driven... the more our own thinking becomes task-oriented and calculated.Music 256A: Week 7 Reading
Derek Chung
Music 256a
Week 7 Reading
Chapter 7: Social Design
Principle 7.1: Design for human connection (not as a means-to-an-end, but as an end-in-itself).
I'd like to start by taking the concept of means and ends and argue that we need other people to live.
Music 256A, Week 7
Chapter 7 of Artful Design discusses social design, how we design interfaces and experiences for our selves, our loved ones, our friends, acquaintances, people we kind of know, and total strangers alike. Moreover, it discusses how we can embed sociality in games, instruments, and interfaces. Apps/instruments/games like Ocarina (Globe), Leaf Trombone World Stage, Smule Sing!, Smule Glee, and Magic Piano (One-on-one) are all examples presented in the chapter that integrate social-media-esque interactive components to enhance the game experience and connect users across the globe. Unlike the mainstream social medias of the day (Facebook, Instagram, Twitter), these apps provide an anonymous social environment focused on group art-making. Anonymity affords comfort of expression...Artful Design: Week 6 - Game Design
File Attachment:Music 256A, Week 6
20 Levels to Understanding Something About Games Game, by Mike Mulshine
1 - a game can make you feel. if you agree, go to level 2. otherwise, go to level 3. yes = 2; no = 3;
2 - in games, you overcome obstacles. you are challenged. you learn new rules and limits. you gain skills. you can enter a new world (fantasy). you can have a new life in the game. you feel power or the lack thereof depending on how well you are doing. controls and agency make you the protagonist of the experiences played out in the game. you feel things. you can become attached. in some ways, all of this describes real life, but games are not real life... we do them in our real lives though... are games escapist? yes = 7; maybe = 10;
Homework 5, Chapter 6
I want to discuss principle 6.2, The Tofu Burger Principle. I think one of the biggest challenges that app developers face is designing a game that is both easy to get a hold of and comprehensive. Particularly with mobile apps, I and most others become skeptical when the onboarding process and initial screens look crowded or overly complicated. If the app overwhelms you, it becomes much less fun, useful, etc.
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