Name: Molly Blythe s3715996
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Blog Reflections:
Annotated Bibliography
Selected text 1 – Affordances (Word Count – 576)
Norman, D 1998, The Design of Everyday Things, Basic Book, New York, USA.
(Sections: pp. 1-13; pp. 81-87; pp. 177-186).
Don Norman, within his book ‘The Design of Everyday Things’ expands on the notion of affordances. Stating that in a psychological sense affordances are the “perceived and actual properties” (pp. 9) of a subject, determining the manner in which a user can interact or form a relationship with the subject. After an affordance is utilised a sense of causality is established, as one action appears to initiate another, and good design choices are achieved. Poor design according to Norman, is categorised by the presence of false causality; at state in which a user is either mislead that a coincidently failure is caused by their previous actions, or that their action is met with no visible result. Norman attests that within good design “the right things have to be visible” (pp. 8) aiding the user in developing a conceptual model of how to operate and interact with a device, by signifying the necessary mapping required between actions and operations. A conceptual modal is comprised of three elements; affordances, constraints and mapping. Users are able to foresee the outcome of their actions due to clear design visibility and a sense of implicated causality. To illustrate his point, Norman employs the example of scissors. With the affordance of being about the inset fingering into the hole, but constrained by the number of fingers able to fit, and with visible design aspects users are able to immediately develop a conceptual model of how to operate the device.
Much of Norman’s research comes from real world experiments and experiences, rather than any quantitative research. Likewise, observing user-experience Norman is able to demonstrate how logical, semantic, cultural, and physical constraints operate and work with affordances to create a conceptual model, resulting in users concluding with similar outcomes. Describing logical constrains as being the logical options presented by the subject. Cultural constrains as determined by guidelines and conventions for acceptable cultural behaviour. Semantic constrains are largely reliant of prior knowledge or experience to influence decisions. Finally, physical constrains are simply the physical limitations of the subject in question. Critiquing computer and software design Norman asserts that its poor user experiences can be boiled down to six design flaws. Firstly everything is invisible meaning there is no visual clues for possible causality, mappings appear to have no reason or logic behind them, nothing is consistent between different systems, error messages provide no clarity for the sense of false causality they bring forth, computers provide little instruction for misunderstood affordances and lastly, irreversible mistakes are too easily afforded and accessed. Rather suggesting that programmers should not hold responsibility for designing the user interface; determining the means in which users can interact with the computer should keep the needs, affordances, and constrains of the user in mind to succeed in understandable design.
Overall in this text Norman provides an overview for the concepts of affordances and constrains, how they form the foundations of good design, and how such design should be implemented into computer systems and software to create ease of use for the user. Norman’s writings in this book whilst actively providing evidence to back up findings, such evidence is largely based on anecdote, observation, and case studies. There is little regard or reference to works of other scholars or professionals in the field to provide validity to Norman’s claims. The test provides a good foundation for understanding the concept of affordances, and how they can be applied to a networked space such as Instagram.
Selected text 2 – Networks (Word Count – 537)
Niederer, S 2018, Networked images: Visual Methodologies for the Digital Age, Amsterdam University of Applied Sciences, Amsterdam, Netherlands.
(Section: pp.1-20)
Dr. Sabine Niederer in his text ‘Networked Images: Visual Methodologies for the Digital Age’ critics previous studies revolving around visual culture, stating that they focus too heavily on a single image. Niederer proposes going beyond the single image and exploring the manner in which images become networked. Briefly stating the images can become networked; through user interaction such as sharing and commenting, platform interaction such as filtering and recommended posts, and transmission through different platforms and websites. Inclusive of his study Niederer states that images should be studied in context to their network, there is a need to consider the ways in which images “circulate, are engaged with, appropriated, made into memes and changed over time” (pp. 9).
Niederer introduces his study as being inclusive of both; the study of images and their formation of meanings, and for research purposes, with consideration being taken that images are part of a larger network inclusive of the platform, user and other images. Clarifying Niederere states that there are four opportunities for which images can be assigned meaning; during production and how the image was made, the image itself and what it looks like, the distribution of the image, where and how it moves, and the images audience, who and how they saw it. Therefore demonstrating a need to study images within the entirety of their network, as studying an image as a stationary and single object only equates to one fourth of its overall construction of meaning.
Within his first chapter, Nieferer suggests that understanding the networked nature of digital images allow us to begin to understanding and gain insight into the user cultures of any select platform, by studying the means in which users recycle imagery through the implementation of filters, text or memes. Within a contextual analysis of the digital environment, it can be seen that images provide vital roles in adding an extra networked element to content. Nieferer uses online news articles to portray how digital images can be networked into an article; whether though the obvious hyperlinking of an image into the article, engaging recommendation to other writing by providing visual stimulus, or simple buttons linking to social media. Chapter 2’s introduction, briefly introduces the notion of platform vernaculars, in which differing platforms have a distinctive set of conventions thus effecting the way content is formed and information is networked across platforms.
Niederer’s study exists within a wider body of visual methodology work, but sets itself apart by providing a differing perspective and entry point for readers, suggesting the reading provides a straightforward and accessible understanding of the ways in which images become networked. The ease of understanding is present through Niederer’s use of informative and relevant images, and real world case studies and examples. But the study is not without reason, Niederer constantly provides reference to other professional studies and academic findings to further validate his own work. Although Niederer’s work only exists as an entry point for the study into how images are networked, further research and investigation is needed to gain a deeper understanding into the topic. Although Niederer’s work provides an understanding regarding how images presented on networked platforms should be understood, contextualised, and how they become part of a network.
Selected text 3- Social Media (Word Count – 537)
Chun, W.H.K 2016, Updating to Remain the Same: Habitual New Media, MIT Press, Massachusetts, USA.
(Sections: pp. 1-20.)
Among Wendy Hui Kyong Chun in her text ‘Updating to Remain the Same: Habitual New Media’ introduced the concept of habitual new media, describing it as new media mattering most to a user when it appears to no longer matter at all rather being used out of habit. Chun suggests that as such habits form, users become inhabitants of new media. Defining new media as not technically being new but rather existing in a state of constant update, a state in which is the cause for habitual disruption and thus re-habituation dependency. Whilst defining habits as the “creative anticipations based off past repetitions” (pp. 3). Arguing that the dominant presence of networks is because of their perceived and established affordances. As Chun suggests this is further amplified by networks ability to simplify complex and seemingly incomprehensible information into easy to understand and recognisable representations.
Chun goes on to explain the notion of contradictory habits, citing various scholarly works and examples. One such example is suggested by psychologist Wendy Wood, demonstrating the contradictions within habits Wood attests that habits started out to achieve a goal soon become autonomous, without though or an end goal. Chun cites many other examples to provide a breath of range for her work and subsequent critiques. Suggesting these contradictions within the definition of habit become polarising; with one definition stating that habit is spontaneous impulses to gratify, and another suggesting habit is a form of addiction. Although through the constant state of disruption and updating habit finds itself in, there becomes a constant need for individuals to develop new dependencies. Ultimately suggesting that it is this dependence which underlies networked society.
Further, Chun delves into the discourse between the public and the private, and the role in which new media attributes to this discourse. Firstly noting that social media allows for the boundaries to be blurred between public and private life, between mother and boss. Although most notably is the lack of privacy among personal computer; rather than being a personal experience, personal data is leaked and exchanged constantly. Chun attests that within a networked media environment it is vital users acknowledge the publicity of their data, even that which they believe to be private. Referencing the Edward Snowden where publics were shocked such private information could so easily becomes public. Chun’s writings suggests and explores four essential truths that surround habitual new media; the manner in which describing something as a network became a means for dismissal of confusion rather than any further explanation, the constant cycle of habitual formation > crises > disruption > update and eventual re-habituation users are trapped in, the need for intimacy and privacy that causes an invasion of privacy, and the “alternative ways to inhabit networks” (pp.18).
Throughout Chun’s writing there is constant reference to other scholarly works, and anecdotal or case study examples (often relating to virus) to help contextualise information. Not only does Chun provide content and further scholarly explanation throughout her writing, Chun concludes by noting two further readings can help contextualise her own work, going on to provide short synopses’ of both. Chun’s writings suggests that the affordances social media provides are always updating, changing the habits users form around the platform.