User Experience on Physical Design Consideration
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User Experience on Physical Design Consideration
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Blind Contour Drawing
cont. Â Play Test Â
This is the latest play test this time I did before spring break. This time I chose to completely stay aside in order to observe what are some possible challenge hidden in my game and how people play my game only follow the instruction without my explanation.Â
Here are what I found from the video recording of play test:Â
[ Problem ]:  riddlesâŚ.. big problem for riddle repetition! How can they leave the riddle cards to?
The beginning instruction (where are the 7 cards coming from? )- Set up with these cards? > Begin ??
[Question ]: Do we need a dealer? // Who should go first? (eg. Choose a dealer, and so the person to start with the game )
A clear sheet with signs for locating card piles to put in the center.
The special (blank ) card- explain somewhere
The usage of Peek & Pick? Â (may set a limit? )
option: Making a funny sentence ? from the words on the table
Diversity of bill: 20k/ 10k/ 5k (checking the money - punishment from chance card )
[ Suggestion ]: Timer for riddle or chance card? Â ( riddles )
A guide book - answers for riddles.
[ Problem ] some specific words: blind drawing â may use something like âcontour line drawingâ, and one line drawing.
[Suggestion ]: A place where people can upload their drawing from playing the chance card.
Good to have a more complete toolbox, but the size of the color pen is easy to draw.
Portrait drawing can be a kind of good souvenir. Â
nimBle  graph marketing
Name and Logo  đ
Finally--- Here comes my gameâs name
Notes: 1x1 meeting (Feb 23)
Possibility for presentation mock-up:
Staging out the game (character, build up a clear scenario)
Product introduction as the main part (leave the research and motivation behind?)
Work on the game instruction!! --> INFOGRAPHIC might be good! and also clearly explain the difference between free pile and vowels pile. maybe a deck on the table (just like how Chance and Community chest cards display on Monopoly game  deck)

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User test ďźFeedback
It was pretty fun to do this playtest with some new functions. The game-play was quite successfully finished, and I have also observed some key points from how players use their strategy to find better chances to win.Â
Here are some interesting points happened during the play test:
Purchasing vowels was the first strategy players thought of. ( They bought vowels before anyone else finishes the pile.)
A big fun point came out when someone picked the âSwap card deckâ and âTurn the tableâ ---- The winning point was hard to predict.
Peek & Pick card was no longer the first function they would love to use.Â
Everyone wasnât sure what was the Community Chest pile. Once they knew what may include inside, they were really excited to pick the next one.
Game set update
(Top) Photo Booth set for Selfie (under Community Chest card)Â
Combo Vowels for Vowels Pile (purchase require)
Peek & Pick(top) / samples of Community Chest card (bottom)
New functions update:Â
The Free Pile : Vocabulary hint under each letter cardÂ
Vowels Pile: adding the combo vowels (ai, ay, ou, oa, ea, ei )
Peek & Pick card (no more pick lock)
Community ChestÂ
Design Brief & Feedback
Considering the most of us did not know the early warning signs of Mild Cognitive Impairment (MCI), we are not able to prepare a corresponding plan for the elderly in our family. Furthermore, it could also delay some effective treatment for dementia. One of the main goals of this project is to raise the understanding and awareness of the early sign of MCI by providing a simply evaluable interaction for families who consider their senior membersâ cognition and brain condition whether an expected change with aging or possible symptoms of dementia. I am taking from the Alzheimerâs warning signs provided by Harvard Medical School, I would focus on four main categories: Cognitive Abilities, language abilities (Aphasia), Basic motor skill / physical movement (Apraxia), and Mood and Personality changing. By playing the set of this game, family members would be able to monitor some abnormal features, characteristic, or occurrence; it can also be types of activities that link to brain stimulation.Â
Feedback and Question
How the users could get evaluated by playing this game?
What will your user get from your game?
Will people be aware that they are being evaluated?Â
How people get to know more about Mild Cognitive Impairment (MCI) or Dementia ?
Notes: 1x1 meeting (Feb 02)
Picklock ---> Peek &Pick  / Swiper? swiping?
Test reiterate. ( try to playtest each week / and revise )
Instruction ! This need to be clear and understandableÂ
sample of card- game: âApples to Applesâ
Applied Behavior Analysis (ABA) Â https://www.autismspeaks.org/what-autism/treatment/applied-behavior-analysis-aba
Mini Mental Status Full exam  https://www.mountsinai.on.ca/care/psych/on-call-resources/on-call-resources/mmse.pdfÂ
Jess suggests:Â Studs Terkel's book working (narrative example)
MCI (pre-dementia) Project question for design brief
Question:
1. How might we increase the chance of interaction and across different generation in a family? In order to prevent Mild Cognitive Impairment or early stage dementia.
2. How could we provide the chance of notice on some possible symptoms of Mild CognitiveImpairment for a family with elderly?
3. MCI and dementia disease possibly happen to any family. How can we unite the power of family to against the disease?

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Epitomize from previous
IN DEFENSE OF PHOTOSHOPPED MODELS
- Or âThe Fine Line between being a Feminist and being a Haterâ
An episode of Southpark has recently aired which aside from being hilarious, as always, carries an important message for the feminist anti-photoshop debate. It is best summed up by a dialogue that takes place between Mr. Mackey and Wendy after Wendy has made fun of Butters for believing that Kim Kardashian actually appears like her photoshopped images in real life. She is called into the counselorâs office:
 MACKEY: But Wendy, Kim Kardashian is considered to be an extremely beautiful woman.
WENDY: Well, sheâs not in real life. Sheâs a hobbit.
MCKEY: Have you ever stopped to consider that maybe you are jell?
WENDY: I am not jell. And I happen to be the biggest feminist in school.
MACKEY: That may be true. But there is a really fine line between being a feminist and being a hater, Wendy.
Throughout the episode we witness Wendyâs fight against the use of photoshop in social media. Being furious at the boys at school for not seeing that their celebrity crush, Kim Kardashian, appears this beautiful only due to a skillful use of retouching software, she decides that this practice is harmful to her and her cheerleader-friends, because it establishes unrealistic ideals of beauty.
It is only thanks to Wendyâs anti-retouching  campaign that her friends find out that one can obtain a flawless image of oneself simply by using photoshop and (unsurprisingly) they all photoshop their images and post them online. This new development is met with great enthusiasm by the whole school and to Wendyâs big surprise, settles the self-image-problem: No matter how unattractive someone is conisdered to be in real life, a retouched picture is enough to push their self-confidence and convince everyone into thinking that they are good looking.
Basically, what is presented in this episode are two prominent points of view: The critical, essentialist point of view of a body-positive feminist that judges photoshopped images of women to be propagating unrealistic ideals and thus forcing her to adhere to this ideal making her unhappy (or in the worst case anorexic) and the supposedly naive girlâs perspective which follows the trend of the times and is willing to digitally deconstruct her body to approximate her appearance to the status quo of beauty.
Although at first Wendyâs view seems to be more emancipated and progressive (after all, Â it argues against standardizing patriarchal beauty norms), I will argue that it is a naive opinion based on wrong and outdated understandings of the nature of the photographic image, an incomplete knowledge of the history of emancipation and feminist theory in general. This radical abolitionistic view in fact effectuates the very opposite of what a feminist position should be intending: It undermines the principal ideas of postmodern/post-structural feminism and causes a restriction of the free expression of female identity.
By discussing the ontology of the image and the history and theory of emancipation I intend to show that photoshopped images are quite contrary to common sense and carry an important emancipatory value for the woman of the 21st century.
WHAT IS A PHOTOGRAPH
 In order to sufficiently evaluate the meaning of the digital image-manipulation, one must first define what a photograph originally was perceived to be before such techniques were available. To do so, I found it useful to draw three important theses on photography as a medium from Susan Sontagâs and Villem Flusserâs photographic theory .
ââââââââââââ Villem Flusser
ââââââââââââ- Susan Sontag
1) Both Sontag and Flusser note that although the photographic apparatus was invented in order to obtain an objective caption of the phenomenological reality of our world, it turned out to be the opposite.
 âPhotography was invented to give an objective image, but since the camera is coded, it is even less objective than a painting.â (Villem Flusser, 1990 Lecture in Kunsthalle Budapest)
So, although we tend to see a camera as a sort of copying machine of the world, the image produced far from depicts reality for several reasons:
In her essay The Heroism of Vision (1977), Susan Sontag notes that right from the beginning of its existence photography was not about capturing reality but more about discovering what is beautiful in the world. A photograph, Sontag states, is never an objective caption but an effort of the photographer to combine the two categories of beauty and truth. Actually, the very fact that a photographer chooses how he points his camera (besides all the other choices he makes) means that he inevitably imposes his own preferences on the photographed subject.
Thus, photography is falsifying reality for the sake of itâs own aesthetic needs. It is always an aesthetical interpretation of the world and this interpretation, be it on the side of the photographer or the person viewing the photograph, is always ruled by taste, conventions, and ideology.
ââââââââ- The Tank Man
 Sontag not only uncovers the photographs inability to properly  capture reality, but she also declares this weakness of telling the truth as photographyâs greatest power. âThe Heroism of Visionâ is what she calls the cameraâs ability to transform reality into something beautiful and this, she argues, is the reason why it became so popular in the first place. This new kind of popular vision, âphotographic seeingâ, reconciled the human mindâs need for truth with the need for beauty, which was a revolutionary achievement.
 2) Just due to this quality of falsifying reality, Flusser states the medium of photography is irreconcilable with the discursive nature of the political consciousness.
âThe ideal was that there is history and there is a photographer and when he steps back from history into something which we might call mystical transcendence, a photograph emerges. But there is a problem. The moment you step back from politics into image you can have no point of view. The political point of view is lost because the moment you get out of politics you can see that every event has many possible points of view.â (Ibid.)
Consequently, the photograph showing only one view of reality is by its very essence of no use to any kind of political discourse which naturally has to take into account a multitude of view points. The image is not a political medium.
âââââ Soviet Soldier raising flag on the Reichstag
3) Furthermore: Sontag describes photography with having the negative quality of objectifying the captured motive.
âTo photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed.â (âIn Platoâs Cave,â 1977)
Thus, a photograph for Sontag reassesses people into objects which can be subjected to symbolic ownership. She adds that this is also true for photographs considered to depict non-idealized versions of reality.
âImages which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still life of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera.â (Ibid.)
By that she reveals how ânewerâ approaches (the essay was written in the 1970s) to photography have a number of ethical issues. It forces aesthetics on documentation of emotions which creates a distance between the viewer and the subject. Â So even photography that we consider to awaken in us other feelings besides the appreciation of beauty (i.e. compassion) Â is not doing so in reality. The photograph of the Vietnam Napalm bombings exemplify how the photographerâs aesthetic vision on a dramatical historic event attenuates its disastrousness by making it beautiful.
ââââââ- Children fleeing from a burning Vietnamese village
âââââââ- Man falling from the World Trade Center
The three aforementioned theses taken into account, the photographic image no longer appears as an naive neutral product of objective documentation, as it is believed to be by a lot of people. It turns out to be rather an act of hiding reality than revealing it, an idealizing, aesthetic vision that is irreconcilable with the political discourse and unable to show anything but beauty, an agressive act of metaphorical objectification.
Hence, I argue that this image by its very nature is not able to meet the political demands of feminist discourse . It is an apolitical, idealizing medium that canât be a platform for treating political questions.
Consequently, the feminist  effort to ban  photoshop from the photographic medium out of the belief that an un-manipulated photograph is somehow less ideologically charged or more respectful to the inviolability of female identity is at its very core paradoxical. Furthermore, it restricts this mediumâs artistic potential that always results from its ability of showing the subjective, idealized point of view of the photographer.
ANICONISM
âââââ Mohammed receiving his first revelation, his face is hidden
Given those specific qualities of the photograph, wouldnât the ultimate solution to stop the objectification of woman be to forbid the distribution of images of woman in general?
Although this seems absurd, it is interesting to notice that in some religiously oriented countries it is a widespread trend that women are only pictured partially or not at all in visual media.
An example is the beauty contest âEyes of Arabiaâ which was held by OLAY in Saudi Arabia. Due to obvious restrictions of the public expression of feminity (both in âreal lifeâ and in media), the company invited Saudi women to submit a picture showing merely their eyes. Though it may seem like a romantic idea, (perhaps due to its romantic presentation on the website), it is nevertheless evident that this approach  is not implicating a greater respect that is addressed to women. This practice is, in my opinion, just a continuation of the effort to reduce a womanâs social power by erasing her presence and making her invisible. In this case she is reduced to a pictorial metonymy, an ideal of beautiful mysterious eyes, that can only look but not act or react.
 A more extreme example of this erasure is the case where in a Saudi version of the IKEA catalogue from 2012  the pictures were retouched and women were deleted, leaving behind only depictions of men and furniture. Seen in connection with the relatively un-emancipated position of Saudi women it becomes very clear that this sort of modern  iconoclasm is the fruit an of unprogressive view of a womanâs role in society and is common sense in some of the most patriarchic religious societies.
So let us finish this thought experiment and add the prohibition of the depiction of all human beings to the depiction of women just for fun. What we get is the concept of aniconism.
 At this point, it is very interesting to take a closer look at this intellectual construction, which throughout history has been practiced in almost all abrahamic religions. Back in the days when religious institutions had a lot more influence in peopleâs everyday lives, it was common to prohibit representations of the natural and supernatural world.  (We still can witness it now in mosques and Protestant Christian churches). While i am not trying to consider this aniconic mode as a possible future for our society, it is nevertheless interesting to find out what could have been the underlying reason for such a radical prohibition:
All religious imperatives  forbidding the depiction of something are undertaking an effort to avoid Idolatry. Idolatry is understood as the worship of an idol or a physical object as a representation of a god. And the god mustnât necessarily be the classical omnipotent divine figure, but it can imply any concept or idea that can be an object to worship, as states the following quote from the Catechism of Catholic church:
âIdolatry not only refers to false pagan worship. Man commits idolatry whenever he honours and reveres a creature in place of God, whether this be gods, or demons (for example satanism), power, pleasure, race, ancestors, the state, money etc.â
Accordingly, the concept of aniconism finds an interesting meaning when seen in connection to the iconism of the photograph and its worship of beauty standards: Aniconism and its negation of  the physical materialization of ideals turns out to be the most evident antithesis to iconismâs automatic and necessary idealization of the objects it depicts.
THE DECONSTRUCTION OF FEMALE IDENTITY
So are we, coined by the omnipresence of the image condemned to be a godless, superficial society worshiping but condemnable ideals? No.
I think it is important to get used to the thought that the medium of photography is predestined to represent only a restricted amount of ideals, which simply happen to stand in immediate connection to the ideal of beauty. Since we canât (and frankly donât want!!!!!) the photograph erased from our everyday lives, what we have to change is our relation to it. We have to discharge it from its heavy political and ethical ballast and maybe see it more as a playground of self-expression that can take on the most banal just as the most unusual forms. And none of them is more or less legit than the other.
Now talking about photoshop: besides the most evident paradox of professional lighting techniques and skin smoothening lenses not being under attack of essentialist feminists, although they equally represent the manipulation of reality, one can actually find a rebellious core in the ideas represented by the act of altering an image. While I understand that it may not accord to everyones taste or be perceived as very disturbing to see images altered beyond physical possibilities of the human body, I try to look at it in relation to various feminist theories and canât help but see a very strong affirmation of the self-determined and free woman in the act of retouching.
I think that the essentialist argument stating that âa woman is what nature has made herâ goes against the idea of emancipation. To point out a really banal example: when we look back in history we realize that what really got promoted as womenâs equality was the development of contraception and abortion methods. And while I by no means claim that there exists a rule that a woman who refuses to have children is a more emancipated/progressive than one that does, I can with 100% conviction say that the imperative of the idea that âyou are what nature made youâ is against the idea of emancipation and unprogressive, and goes against the driving force of any emancipatory effort which has always been to step out of natureâs shadow and establish a cultural framework for your existence: To be free to define yourself by any means.
So, while one can find the reason for not prohibiting the practice of retouching in the ideas of second wave feminism (âa woman has the right to ignore natureâs laws to live the life she wants/to be who she wantsâ), one can find an affirmation of it in third waveâs post-structural feminismâs ideas, more specifically in Judith Butlerâs gender theory. In her book âGender Troubleâ she, by explaining why female identity is a socially and culturally constructed phenomenon, opens it up to potential evolution and  resignification. By giving insight to the construct of  both the female and male roles, she frees all cultural beings from the constraints of rigid, heteronormative gender roles, granting them the freedom of self-determination.
This of course is not as simple as it seems to be, because we are constructing our identities by reiterating social codes. Consequently, an important question emerges:
âThat the power regimes of heterosexism and phallogocentrism seek to augment themselves through a constant repetition of their logic, their metaphysic, and their naturalized ontologies does not imply that repetition itself ought to be stoppedâas if it could be. If repetition is bound to persist as the mechanism of the cultural reproduction of identities, then the crucial question emerges: What kind of subversive repetition might call into question the regulatory practice of identity itself?â (Gender Trouble, Butler)
ââââââ Judith Butler
So what could this subversive repitition be? The repition of the phallogocentristic, female ideal, that makes evident that it is nothing but a copy of a cultural standard? Yes, we already concluded that the static, idealized, apolitical photograph may not be the proper medium to illustrate the transformative nature of identity simply because it is motion- and timeless, and cannot illustrate a process. But there is a medium that posesses those qualities: The moving image.
Its discursive nature and temporality allows a proper treatment of this topic. A good example is the media-transparent work of Haroun Farocki who in his movie âThe Imageâ documents the meticulous and ridiculous procedures of a Playboy photoshoot by deconstructing the ideal of the nude body.Â
ââââââ Still from Haroun Farockiâs âThe Imageâ
Or if talking about a more popular genre, there are Youtube tutorials of Photoshop and other retouching software which serve as a perfect visual parallel to the idea of a constructed identity and a perfect base for a discourse of female identity as a reiteration of social codes. And as Butler taught us:Â The mere fact that identity is accepted as something constructed makes it an object to potential change.
What also might add to this cultural pessimism is the awareness of the unpleasant fact that the female identity is oftenly constructed by a man or according to âthe Male Gazeâ, symbolizing a gesture of male dominance, that a lot of feminists wish to overcome.
Laura Mulvey, a feminist film theorist once wrote: âIt is said that analysing pleasure or beauty annihilates it.â So my advice would be: Analyze and master the creation of beauty, and by doing so deconstruct it!Â
(A wide variety of Apps already exist that allow even to the most digitally uneducated person to get an insight into the process of the construction of an ideal.)
âââââââââ Visage Lab, Mobile-App
The emancipated woman does not eye the photoshopped image with suspicion. She sees in it the embodiment of ideas that are essential to the history of female emancipation. Like Wendyâs friends, she senses the freedom in being able to digitally construct an ideal image of herself, to create a perfect pictural alter ego in virtual space. Just like Wendy does in the end, she must let images be images and leave them to the realm of beauty. And, maybe, stop being jelly at Kim Kardashian.
P.S: Some women donât give a shit whether celebritieâs picures are retouched or not and neither do they care for their own pictures. To them pictures are not an instrument for representing themselves. I consider this attitude as an eqally legit solution to this problem :)

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Feedback/Next Step
Solution suggestion from Mattie Brice: create a âPay As You Wantâ system to build up a community that incorporate different class of people who are highly interested in the filed of fashion. A suggestion payment can be shown on the price and people can pay more or less base on your desire. For the money that goes more or less (ideally) become balance. So for those people who might not be able to buy the cloth in the original price ( such as garment workers they would never afford to buy an item they make) . In this case, we might able to get more people involved in this issue and change a little but from âFast Fashionâ .Â
Kate Sicchio also give me the idea of cloth exchanging group. That might also be a good way to build up a community that make a complete system that urges people exchanging garments from what they have to something they currently want ( like a temporary fascinating/ trend)
My FOREVER 25âľÂ site