Professional Documents
Culture Documents
BEGELEIDERS
JOERI LANGEVELD & NIELS FLOOR
C0NTENTS 3
Introduction 4
Research question 5
Definition and terminology 6
INTRODUCTION
INTRODUCTION 5
The following paper looks at the research undertaken to help develop Twiekt.
The document is divided into two main parts. Part one covers the theoretical
research. This is where the theoretical foundation of the work is established.
In addition to looking at the research questions, it covers research regarding
intrinsic impacts of the arts and methods of online learning.
The first section helps to justify the tools purpose. It explains the way with
which the relationship between art and measurable degrees of intrinsic
impacts can be proven. Performing arts organisations are in the field
of transforming individuals and communities through arts experiences.
Gathering data on the intrinsic impacts of these experiences can be difficult
to measure. It could be construed that ticket sales and attendance figures
gauge success, however artistic missions of success are often defined in other
terms. One could consider it safe to say that audience attendance does not
relate to intrinsic impact.
In the early stages of this project the book Assessing the Intrinsic Impacts
of a Live Performance by Allan Brown and Jennifer Novack1, has been
referenced extensively as it attempts to define and measure how audiences
are transformed by a live performance. It develops a simple measurement
tool to assess impact, provides an analytical framework for considering the
results, and suggests how performing arts presenters might begin to use this
information to select programmes more purposefully and evaluate them on
the basis of impact instead of attendance.
1 Brown, A, Novak, J, Assessing the Intrinsic Impacts of Live Performance, Major University Presenters
Consortium, 2007
6 INTRODUCTION
The second part is a look at the practical research. By use of the five planes
of Jesse James Garrett’s Elements of User Experience model2, the document
breaks down the main components of the Twiekt tool in order to outline the
tool’s functions and design choices.
The purpose of the section is to have a closer look at the user experience
development process. The use of Garrett’s model is an aid to break down the
user experience into component elements to better understand the project.
These five planes include surface, skeleton, structure, scope and strategy.
Before having entered into theoretical research and readings, the initial
research questions stemmed from a want to increase engagement. Intuition
suggested that if one was to have an increased understanding of a process,
this in turn would lead to a better understanding of the performance and thus
a deeper level of engagement in the work. Questions arose such as: How can
an art tool increase engagement? How can one measure engagement?
It soon became apparent that the research goal for the Twiekt project did not
have to show how it increases engagement or how to measure engagement.
Papers such as Brown and Novak’s had already done the preliminary study
regarding this. Their research had already laid the foundations that stated
that increased engagement is a given if a potential audience is prepared and
ready to receive. With regards to the outcome of the research results of Brown
and Novak’s hypotheses, the following question is posed:
This question makes way for the project to focus on how to ‘prepare’ a
potential audience.
How can the artists and their groups be kept from being
misrepresented?
The following list of definitions are used to help clarify certain key terms that
are regularly referred to throughout both parts of this document.
RESEARCH
IN THEORY
CHAPTER 1 ASSESSMENTS OF INTRINSIC IMPACTS 11
1.1 Hypotheses
The purpose of the study, as documented in the paper Assessing the Intrinsic
Impacts of Live Performance, was to build on previous research and theoretical
literature to empirically measure the short term benefits, on an individual
level, of being in the audience for a performing arts program. Brown and
Novak’s study explores pre-performance anticipation, expectations and
familiarity. The familiarity is also known as the individual’s ‘readiness-to-
receive’ the art.
For the purpose of the ‘Twiekt’ tool, two hypothesis explored and tested by
the study have been analysed:
Results from the study were quite intuitive and supported the first hypothesis,
that intrinsic impacts can in fact be measured. This provided the foundation
for the second hypothesis regarding ‘readiness-to-receive’. Results indicated
that engagement strategies prior to the performance proved as a means of
increasing anticipation and therefore the extent of a full range of intrinsic
impacts.3
3 Brown, A, Novak, J, pg 7
4 ibid., pg 22
12 CHAPTER 1 ASSESSMENTS OF INTRINSIC IMPACTS
Brown and Novak point out that they rejected the angle of producing a single
measure of impact. They were of the opinion that such a metric would lead
to an overly narrow interpretation of something that is inherently multi-
dimensional.5 So as to analyse both readiness and impact, the study outlines
the following key constructs.
Readiness Constructs:
λ Context Index
λ Relevance Index
λ Anticipation Index
Impact Constructs:
λ Captivation Index
sense.
For the purpose of the ‘Twiekt’ tool, these constructs for both readiness and
impact are taken into consideration when discussing the tool with possible
users. Some of the questions used in the studies surveys in regards to
the above constructs were used in, or inspired Twiekt interviews. This is
discussed further in part two when we look at the user and the needs of the
user.
a highly anticipatory state of mind are more likely to lose track of time and be
drawn into the world of the performers.7
From the findings, the following points have been highlighted as it is considered
that they are the most applicable to the development of the ‘Twiekt’ tool.
λ The research indicates that artists who are able to spend time in a
community prior to their performance (eg, a residency or advance site
visit), or who are able to participate virtually in an advance dialogue
with audience members prior to the performance, will contribute to
higher anticipation levels and ultimately, higher impact levels.
Given Brown and Novak’s research and their findings, one is lead to believe
that there is room in the realm of arts education for a learning tool such as
Twiekt. The research encourages educating a potential audience in regards
to context and content via pre-performance engagement strategies.
7 Brown, A, Novak, J, pg 9
8 ibid., pg 21
CHAPTER 2 TOWARDS A THEORY OF ONLINE LEARNING 15
The main focus of the Twiekt project is to place a potential audience member
into a state of ‘readiness-to-receive’. In order to accomplish this Twiekt has
honed in on 3 main user types: artist, teacher and student. The artist is the
individual or collective that creates the performance experience, the teacher
prepares the potential audience, highlighting aspects of process and creative
dialogue and the student is construed as the potential audience member.
The most basic answer to the above question would be that access to the web
is now nearly ubiquitous in developed countries.10 In 2007, the percentage
of households with access to a home computer with internet ranged from
89.1% (Iceland) to 12.2% (Turkey) and Australia at 75%. During 2007, Korea
reported the highest penetration of household Internet access (94.1%), while
the European Union average was 56.0%.11 These figures increase yearly.
9 Anderson, T, The Theory and Practice of Online Learning, Second Edition, AU Press, Edmonton, 2008, pg 3
10 ibid., pg 41
11 Australian Bureau of Statistics, Households Use of Information Technology 2007-2008, cat. no. 8146.0,
retrieved 25 July 2009, http://www.abs.gov.au/ausstats/abs@.nsf/mf/8146.0
16 CHAPTER 2 TOWARDS A THEORY OF ONLINE LEARNING
of knowledge.12
Learner Centered
It is considered that a learner-centered context is not one in which the
quirks and peculiarities of individual learners are more uniquely catered to.
Rather, learner-centered learning includes awareness of the unique cognitive
structures and understandings that the learners bring to the learning context.
Henceforth, a teacher makes efforts to gain an understanding of students
pre-existing knowledge, including any misconceptions that the learner
12 Jonassen, D, Evaluating Constructivist Learning. Educational Technology, University of Colorado,1991, pg 28-
33
13 ibid., pg 42
14 Bransford, J. D, How People Learn: Brain Mind, Experience and School, National Academy Press, Washington,
2000
CHAPTER 2 TOWARDS A THEORY OF ONLINE LEARNING 17
Knowledge Centered
Generalized thinking skills and techniques are useless outside of a particular
knowledge domain. According to Bransford et al.15, effective learning is
both defined and bounded by the epistemology, language and context of
disciplinary thought. Every discipline or field of study contains a world
view that provides often unique ways of understanding and talking about
knowledge. It is considered that students need opportunities to experience
this discourse. Further they also need opportunities to reflect upon their
own thinking in order to transfer knowledge to an unfamiliar context or to
develop new knowledge structures.
Twiekt, being a tool that exposes creative processes of art projects is quite
specific in terms of working within a discipline or field that possesses its own
language and context of disciplinary thought. Via engagement through a
given task, following hyperlinks through artists pages or direct contact with
art groups and art projects, students have the opportunity to experience the
discourse related to these projects. It exposes them to quite specific vocabulary
regarding the art forms. Furthermore whether it be via the contact with the
artists or by responding to a task, reflection is a key component to the design
15 Anderson, T, pg 37
18 CHAPTER 2 TOWARDS A THEORY OF ONLINE LEARNING
of Twiekt.
Assessment Centered
The third perspective on learning environments is the necessity for them to
be assessment centered.16 In support of this the theorists look to formative
evaluation that serves to motivate, inform and provide feedback to both
learners and teachers. It is considered by Anderson that quality online
learning provides many opportunities for assessment: not only opportunities
that involve the teacher, but also ones that exploit the influence and expertise
of peers and those that encourage learners to assess their own learning
reflectively.17
Community Centered
Anderson states that the community-centered lens allows us to include the
critical social component of learning in our online learning designs. Here
we find popular concepts of social cognition to be relevant as we consider
how students can work together in an online learning context to create new
16 Anderson, T, pg 37
17 ibid., pg 38
18 ob.cit., 39
CHAPTER 2 TOWARDS A THEORY OF ONLINE LEARNING 19
19 Anderson, T, pg 39
20 ibid., pg 47
21 Wagner, E. D., In support of a functional definition of interaction. The American Journal of Distance
Education, vol. 8, no. 2, 1994, pg 6-29,
20 CHAPTER 2 TOWARDS A THEORY OF ONLINE LEARNING
Student-student Interaction
Modern constructivist theorists highlight the value of peer-to-peer interaction
in investigating and developing multiple perspectives. Work on collaborative
learning illustrates potential gains in cognitive learning tasks, as well as
increases in completion rates and the attainment of critical social skills in
education.
Student-teacher Interaction
A large number of varieties and formats of communication such as text,
audio and video support the student-teacher interaction in online learning.
The facility of so much communications leads many new teachers to be
overwhelmed by the quantity to student communications and by the rise in
students expectations for immediate response.
Student-content Interaction
Student-content interaction has always been a predominant component
of formal education. The web supports passive forms of student-
content interaction as well as a variety of new opportunities, such as
microenvironments, exercises in virtual labs, online computer assisted
tutorials, etc.
Teacher-teacher Interaction
The teacher-teacher interaction creates the opportunity for professional
development and support that sustains teachers through communities of
like-minded colleagues. These interactions also encourage teachers to take
advantage of knowledge growth and discovery in their own subject and within
the scholarly community of teachers.
Teacher-content Interaction
Teacher-content interaction focuses on the creation of content and learning
activities by teachers. In the case of Twiekt, it also refers to the interaction
between the teacher and artist and the work of the artist, as this is the main
body of content for the tool. Further, this interaction allows teachers to
continuously monitor and update the content resources and activities that
they create for the student learning.
Content-content Interaction
According to Anderson, content-content interaction is a newly developing
CHAPTER 2 TOWARDS A THEORY OF ONLINE LEARNING 21
The following part of this document is added to highlight the ways with
which the ‘Twieking/tweaking’ element is used in other projects. The
chapter is written from the view point of Henry Jenkins, director of the
MIT Comparative Media Studies Program and Peter de Florez Professor of
Humanities. He is also an author/editor of books on various aspects of media
and popular culture.
Henry Jenkins claims that according to a 2005 study conducted by the Pew
Internet & American Life Project, 57 percent of American teens who use the
internet could be considered media creators. He outlines that for the purpose
of the study, a media creator was defined as someone who “created a blog or
webpage, posted original artwork, photography, stories or videos online or
remixed online content into their own new creations.” Most American teens
online have done two or more of these activities. 33 percent of teens share
what they create online with others. 19 percent create new works by remixing
content they appropriated from another source.22
“The whole idea of helping kids play with remix to learn media
literacy lessons is the delight of discovering those shifts in
meaning that result from juxtaposition and recontextualization.
You shouldn’t have to wait until you’re an undergraduate …This
is something that can be introduced even to children 10, 11, and
12. ”23
My Pop Studio
The site targets late primary school and early high school aged girls,
encouraging them to reflect more deeply about some of the media they
consume -- pop music, reality television, celebrity magazines, etc, by
stepping into the role of media producers. The site offers a range of engaging
activities such as designing your own animated pop star and scripting their
next sensation, re-editing footage for a reality television show, designing the
layout for a teen magazine. Further, they are asked to reflect on the messages
the media offers about what it is like to be a teenage girl today and to think
about the economic factors shaping the culture that has become so much a
part of their everyday interactions with their friends.
RESEARCH
IN PRACTICE
25
Part two of this paper looks at the practical research by using the five planes of
Jesse James Garrett’s Elements of User Experience model25. So as to analyse
the user experience process the use of Garrett’s model is an aid that breaks
down the user experience into component elements to better understand
the project. These five planes include surface, skeleton, structure, scope and
strategy.
Garrett’s work was recommended towards the end of the project to assist with
a terminology issue. Thus the model was not used as a guide for designing
the ‘Twiekt’ tool in a step by step manner, as is suggested by the work.
However, the book reflected the intuitive working approach I had taken
whilst designing ‘Twiekt’. The model and book has a style and language that
is clear and succinct, therefore it was decided that the model would be used
to frame the approach of the practical research.
25 Garett, J.J, pg 30
26 CHAPTER 4 STRATEGY - USER NEEDS AND SITE OBJECTIVES
Project Objectives
In very general terms the initial goal of the project was to create a proof of
concept for an ‘education’ tool to help educate or inform a potential audience
about the arts. It was apparent that given the time frame and with a 1 person
team, it would be difficult to push the project beyond proof of concept. Very
early in the planning it was clear that there would be no programming and no
great attention to graphic design.
The student is the potential audience member. He/she is the participant who
uses Twiekt in order to be ‘prepared’ for the performance experience. Age
group 10-16.
28 CHAPTER 4 STRATEGY - USER NEEDS AND SITE OBJECTIVES
In terms of found information regarding web use for teenagers, the Nielsen
Norman Group Report has been referenced. It summarizes that, when using
websites, teenagers have a lower success rate than adults and they’re also
easily bored. To work for teens, websites must be simple -- but not childish
-- and supply plenty of interactive features.26
26 Nielsen, J, Usability of Websites for Teenagers, Nielsen Norman Group Report, retrieved 15 January 2009,
http://www.nngroup.com/reports/teens/
CHAPTER 4 STRATEGY - USER NEEDS AND SITE OBJECTIVES 29
In the early phase of the project I built up a ‘Twiekt’ blog to be used as a rough
prototype of the concept. The blog allowed me to simulate the experience of
the product that was intended to be designed. Through the use of the blog
I gathered 3 different artists and encouraged external people to read and
respond to the blog posts made by the artists. In addition to basic dialogue
(ie: post>comment), the artists were encouraged to add posts that outlined
tasks that they had given themselves and propose that the blog viewers
participated in the tasks.
The screen shots on the following pages show two different examples of
artists creating tasks for potential audiences that are based on tasks that they
had given themselves during their own processes.
If you hear the name Suzy, how do you think this person looks? Where does
she come from? What is her favorite food? What is her profession? How old
is she? What does she find horrible and dreadful?
The second example from Kudde relates to the way the artists attempted to
hide their identity:
Take a photo of yourself where you have hidden something essential of your
self. Make the photo so that your identity is no longer visible.
Describe this essential part of yourself, and why you think this invisible
element represents your identity.
30 CHAPTER 4 STRATEGY - USER NEEDS AND SITE OBJECTIVES
CHAPTER 4 STRATEGY - USER NEEDS AND SITE OBJECTIVES 31
32 CHAPTER 4 STRATEGY - USER NEEDS AND SITE OBJECTIVES
In addition the blog linked to other on line platforms such as Sound Cloud,
an on line audio platform that lets music professionals and amateurs receive,
send & distribute their music and Jumpcut, an on line video editing tool.
The blog was not the most ideal medium, as blogs are quite generally known
as a one directional, diary-like, means of sharing information, however it
served a purpose as it was readily available, and avoided having to program a
more specific content management system. This gave me the chance to work
with artists, teachers, school students and other potential audience members.
Furthermore it gave insight into opinions regarding process sharing and
technical abilities of potential users.
34 CHAPTER 5 SCOPE - FUNCTIONS AND CONTENT
General
λ Artists and teachers create accounts specific for their role as either artist
or teacher. Any artist or teacher can create an account autonomously
or be invited/recommended by a fellow artist or teacher.
λ Students are invited to create an account by their teacher. A student
cannot autonomously create an account, as the student is always
connected to a class group.
λ Only account members can browse and search ‘Twiekt’ pages.
λ Members can build social communities within ‘Twiekt’. It is considered
this provides encouragement and support, a possibility to establish
identity with others, provide outlet to establish needs for recognition,
and to establish friends and opportunities to interact with others.
λ Members have multiple means of communication. Private messages,
public wall posts and comments.
Artist
λ The site enables the artist to build up an editable profile. Information
and a photograph can be added. It would be ideal to have the
possibility of customization/skinning for a more personalized page.
By means of customization, adding elements that further represent
their work, group or project, the user has the potential to develop a
deeper level of ownership for his/her page.
λ The artist can create Art Groups and can invite members of the group.
They can also be invited to be a member of a group.
λ The artist can create Art Projects and invite members of the project.
They can also be invited to be a member of a project.
λ The artist that creates the Art Group and the Art Projects carries the
role of administrator and has final editing control over the pages.
λ The artist that creates the Art Project has the option of creating
a process timeline that outlines stages of the process with a time
frame.
λ The site offers the artist a blog space to create posts and upload
content.
λ The artist has the option of sharing his content with members outside
of the ‘Twiekt’ community via an embedding option or by sending
them a public link.
CHAPTER 5 SCOPE - FUNCTIONS AND CONTENT 35
λ Within the blog post editor there is a tip function that can be switched off
that encourages hyperlinking and posts that include content other than text,
such as video, audio, image.
λ Site uploads functions include video, audio, image and text.
λ Artists are notified when their work or work from their Art Group or Art
Project has been ‘Twiekt’ by a student.
λ Search functions include options to search by tag, artist, group or project.
Teacher
λ Members with a teacher account are able to create and manage class groups
consisting of invited students.
λ The site allows teachers to flag content of the artists. This content includes
video, audio, image and text.
λ The site offers the teachers a blog space to create posts and upload content.
λ Within the blog post editor there is a tip function that can be switched off
that encourages hyperlinking and posts that include content other than text,
such as video, audio, image.
λ The site enables teachers to create tasks that are assigned to student class
groups. The tasks can have the option of containing content that has been
flagged. The task creator also has the option of selecting from a set of tools,
eg: video editor, audio editor, image editor.
λ The teacher has the possibility to grade/assess the student responses to the
tasks. The grading function also has the possibility of being made private
or public.
λ The site enables the teacher to build up an editable profile. Information and
a photograph can be added.
λ Search functions include options to search by tag, artist, group or project.
Student
λ Students are invited via email by a teacher to create a student ‘Twiekt’
account. The student is assigned to a class group by the teacher.
λ The site enables the student to build up an editable profile. Information and
a photograph can be added.
λ The site offers the student a blog space to create posts and upload content.
λ Within the blog post editor there is a tip function that can be switched off
that encourages hyperlinking and posts that include content other than text,
such as video, audio, image.
λ The site allows student to flag content of the artists. This content includes
36 CHAPTER 5 SCOPE - FUNCTIONS AND CONTENT
Content is built up by the users of the site, within the framework of the site.
The content is built in 3 general phases.
The main body of content is created by the artists and their coinciding groups
and projects. This group uses ‘Twiekt’ to document creative processes and
initiate dialogue regarding the processes. In addition to text, documentation
of the processes can take form in various content types such as video, audio
and image.
In general terms, the next phase for the content is for it to be referenced by the
teacher. The teacher can guide the student through the content highlighting
elements such as terminology, vocabulary or concepts. The teacher also has
the opportunity to create content that could further build on the concepts
introduced by the artist. Similar content can be linked to each other within
‘Twiekt’ for easy referencing. In addition the content created by the artists
can be used as impetus for the teacher to build on when creating tasks for the
students.
5.3 Scenarios
The following scenario’s have been used help explain the potential needs of
the user and the requirements of the site.
Jon uses his home page as a blog. This is where he can discuss topics of
interest and engage in dialogue regarding the art world.
At present Jon is working with a group called World Movement Dance Co.
World Movement Dance Co has a dance project called Walk of Time. The
project is about Identity. The choreographer has sent Jon a message to ask
him to create an audio piece that reflects the identity of the dancers and to
document this on the Walk of Time project page.
Whilst spending some time in the dance studio with the dancers, Jon
improvises with several sound effects. He films this process, uploads the
video footage to ‘Twiekt’ and discusses the experience.
His fellow collaborators from the project give feedback on the documentation
and a dialog begins.
Two days later, Jon receives an announcement that his footage has been
Twiekt by Sander, a 12 year old music student. Jon leaves a comment about
Sander’s work and adds him to his network.
38 CHAPTER 5 SCOPE - FUNCTIONS AND CONTENT
Nancy often uses ‘Twiekt’ to look for artists and content that she can use as
part of her curriculum. When Nancy finds content that she would like to use,
she flags it. Flagging the content helps her to retrieve the material when she
needs it.
For example Nancy chooses to create a task for her students. She gives the
task a name, “Context and the effect of sound”. She selects the content from
her flagged material. She provides the instructions. “Remix the video footage
with different audio and discuss the effect this has on the context of the body
of work.” She then chooses her Twieking tool, ‘Video editor’ and selects her
student groups that will receive the task. Before submitting she tags the task
with a few simple keywords, ‘context, sound design, dance, video’.
When students have responded to the tasks, Nancy is notified and is then
able to assess their responses. Nancy can also see an overview of the students
results and monitor their performance.
When sander receives a new Twiekt task from his teacher it shows in his
Inbox. Sander is able to instantly make a response to the assigned task.
For example, his teacher has asked him to “Remix the video footage with
different audio and discuss the effect this has on the context of the body of
work.”
First Sander watches the video and has a look at the project page where the
video came from. Sander finds inspiration in the project. He then leaves the
computer to use the school music room to create a piece of audio. He then
CHAPTER 5 SCOPE - FUNCTIONS AND CONTENT 39
uploads the audio to his ‘Twiekt’ task and mixes the audio with the video.
He adds a title and short description of his work, “In the original work there
was a lot of breathing, I decided to focus more on the sound of the physical
movement.” Sander then submits his work.
One day later his teacher sends his results and gives him feedback on his
response. Sander then shares the work with his network.
Two days later, Sander receives a comment on the remixed video by the
original artist. He looks at the profile and the work of the artist and adds him
to his network.
40 CHAPTER 6 STRUCTURE - INTERACTION DESIGN
Language that has been chosen for ‘Twiekt’ stems from similar systems of
nomenclature as used by Facebook and Blogger. This has been decided
upon based on the fact that the potential users of ‘Twiekt’ have shown to
be familiar with such constructs. Furthermore, vocabulary has been kept to
a minimum and as simple as possible, avoiding metaphors and real world
analogues, as all three users, on average, do not have high levels of comfort
with technology.
Examples of terms:
Home
Inbox
Log In > Log Out
Create Post
Comment
Submit
Add to Network
One term used that was not completely understood by artists was ‘flag’. It
was also discovered that some artists also were not aware of other similar
online constructs such as ‘Bookmarking’. To over come this a help function
will be placed next to the term.
The term ‘Twiekt’ is found regularly in orer to maintain the ‘feel’ of the site
and to keep implying that the site focuses on tweaking and remixing material
and content.
CHAPTER 6 STRUCTURE - INTERACTION DESIGN 41
When looking at the arrangement of content elements for ‘Twiekt’ it has been
approached in a way where the structure is divided into 3 main parts: artist,
teacher, student. The architectural structure chosen for each node group is
hierarchical. Each flow chart starts from the point of user login.
The following pages contain examples of the flow charts used in the process
of developing ‘Twiekt’.
42 CHAPTER 6 STRUCTURE - INTERACTION DESIGN
Artist
CHAPTER 6 STRUCTURE - INTERACTION DESIGN 43
Teacher
44 CHAPTER 6 STRUCTURE - INTERACTION DESIGN
Student
46 CHAPTER 7 SKELETON - INFORMATION DESIGN
Checkboxes
Checkboxes are used when there are lists of options and the user may select
any number of choices . Thus checking one box doesn’t uncheck the others.
Check boxes are also used when the choice stands alone.
For example:
λ Selecting editor tool in the task creator window
λ Choosing to make task responses public or not
λ Choosing to create a process timeline
Radio buttons
Radio buttons are used when there is a list of two or more options that are
mutually exclusive and the user must select exactly one choice. Clicking a
non-selected radio button will deselect whatever other button was previously
selected in the list.
For example:
λ Creating an account as
a teacher or artist
CHAPTER 7 SKELETON - INFORMATION DESIGN 47
Text fields
The text fields are are used to allow
‘Twiekt’ to use the text that the user
provides.
Dropdown lists
Dropdown lists provide the same function as the radio buttons, however
they do so in a more compact space. Thus, they are used for the following
functions:
List boxes
List boxes provide the same functionality as checkboxes, but they do so in a
more compact way. Thus they have been used for the following functions:
λ When selecting content whilst creating a task, more than one piece of
content can be selected.
λ When selecting class groups to receive a task, more than one class
group can be selected.
Action buttons
A number of different action buttons are
used in ‘Twiekt’. The main buttons that
are specific to ‘Twiekt’ include:
Popup windows
Popup windows are used for different
purposes.
λ Displaying help options
λ Creating Groups/Projects/Class
Groups
λ Creating Posts
λ Creating tasks
The popup windows are considered useful as they reinforce that a new
window has been opened and that content is added or changes are made on
closing of the window.
CHAPTER 7 SKELETON - INFORMATION DESIGN 49
Tabs
A tabbed document interface has been chosen for ‘Twiekt’ as it allows multiple
documents to be contained within a single window by using tabs to navigate
between them. As opposed to a system that navigates away from the main
user page, I consider this a more efficient way to organize the information as
it provides an intuitive means of navigating.
7.3 Wireframes
On the following pages are selected wireframes that outline the navigational
specifications and highlighting the composition of ‘Twiekt’.
50 CHAPTER 7 SKELETON - INFORMATION DESIGN
Home view
CHAPTER 7 SKELETON - INFORMATION DESIGN 51
Project page view
52 CHAPTER 8 SURFACE - VISUAL DESIGN
Colour palette
Colour palette is made up of shades of grey. Colour was deliberately avoided
as there are such strong associations with colour and the product is not
designed for such connections.
Typography
A certain level of identity was developed through a ‘Twiekt’ logo. The logo
used the type font Alpha Fridge Magnets. This was selected for the logo as it
had a playful look and coincided with the feeling of ‘Twiekt’. In addition with
using this logo for the blog, it was also used in communication material when
dealing with artists, teachers and students during the research phases. This
helpep them to recognize the ‘Twiekt’ Project. All other text is Myraid Pro.27
27 Research indicates that Myraid Pro is not considered web safe, and thus for further development of ‘Twiekt’
this font is not recommended.
CHAPTER 8 SURFACE - VISUAL DESIGN 53
CONCLUSION
CONCLUSION 55
In terms of theory, the foundation was laid by the support of Novak and
Brown’s paper where one could conclude that a)intrinsic impacts can be
measured and b)that an individuals ‘readiness-to-receive’ a performing arts
experience influences the nature and extent of impact. The idea’s of Jenkins,
regarding learning through remixing, have been incorporated when thinking
of application features to be included in the tool. Further more the learning
is considered in terms of educational activities that take advantage of the
accessibility of the web and create learning-, knowledge-, assessment-, and
community-centered educational experiences. One feels it necessary to point
out, that although ‘Twiekt’ provides a framework for learning, there is always
a need for the teachers to have an understanding of learning theories in order
to use the tool to its fullest capacity.
From the user research two main points surfaced that were significant when
it came to making design choices for ‘Twiekt’. Firstly, the need and want to
make creative processes more transparent. Secondly, a desire to make art for
the community without it becoming community art.
to understand the body of work. Thus, making art for the community and not
making community art.
Garrett, J..J, The Elements of User Experience: User-centered design for the
web, AIGA, New York, 2003
Electronic Sources