Hypnotist Framing: Hypnotic Practice as a Resource for Poetic Interaction Design

Hypnotist FramingHypnotic Practice as a Resource for Poetic

Interaction Design

Rung-Huei Liang Taiwan Tech

Huang-Ming Chang TU/Eindhoven

Sep., 2013

13年10月9⽇日星期三

outlines

• Introduction

• Method

• Framing Poetic Interaction Design

• Hypnotic Practice

• Design Implications

• Reflection & Discussion

• Conclusion


Introduction


Users’ needs and paradigms

Functionality

Usability

Pleasure

Engineering

Cognition

Phenomenology

Jordan’s hierarchy Harrison’s paradigms


Different Notions of Users

• Task-Oriented Operators• Cognitive Users• Phenomenological Individuals


Problems

• What is the notion of users in “non-task-oriented” interaction design?

• Is a user always in a fixed mental state?


Interaction Design Addressing Higher Needs

• Aesthetic Interaction • Reflective Design• Ludic Design• Critical Design• Poetic Interaction Design


What Are The Unique Features about Poetic

Interaction Design


Critical Design

Knowing by Questioning

Critical Perspective

Conscious Introspection


Poetic Interaction

Poetic Imagination vs. Critical Thinking

Mental States of Poetic Experience?


Research Questions

• What is the mental state when we experience poetics?

• What is the characteristic that differentiates poetic interaction design from other interaction designs?

• How does the experience of reading poems inform us to design ‘embodied poetics’?

• What is the similarity between a man in a hypnosis state and a user experiencing poetics?

• How does a hypnotist frame the world?

• How can the hypnotic perspective as well as techniques inform interaction design?


Method


• Seeing poetic interaction design as a constructivist project

• Reflexive methodology: personal/subjective observation, thoughts, stories to understand felt experience

• Two months of apprenticeship of hypnotism, with a NGH instructor

• Auto-ethnographic approach: empirical study, self-observation, master-apprentice conversation.


Framing Poetic Interaction Design


Reflexivity on Poetics

• Not providing definite conceptual framing

• Retrospect the socio-cultural root of poetics in Chinese culture


江雪A River Scene in Snow

• 千⼭山⿃鳥飛絕• thousand hills birds fly vanish • 萬徑⼈人蹤滅• ten-thousand trails people footprints disappear

• 孤⾈舟簑笠翁• lone boat cape hat old man

• 獨釣寒江雪• solitarily fishing cold river snow



• 千⼭山⿃鳥飛絕• Birds vanish from hundreds of hills • 萬徑⼈人蹤滅• Footprints disappear from thousands of trails• 孤⾈舟簑笠翁• In a lone boat, clad in cape and hat an old

man is • 獨釣寒江雪• solitarily fishing on a cold river in snow



• 千⼭山⿃鳥飛絕• Birds vanish from hundreds of hills • 萬徑⼈人蹤滅• Footprints disappear from thousands of trails• 孤⾈舟簑笠翁• In a lone boat, clad in cape and hat an old

man is • 獨釣寒江雪• solitarily fishing a cold river of snow



• 千⼭山⿃鳥飛絕• Birds vanish from hundreds of hills • 萬徑⼈人蹤滅• Footprints disappear from thousands of trails• 孤⾈舟簑笠翁• Lonely boating, clad in cape and hat an old

man is • 獨釣寒江雪• solitarily fishing a cold river of snow


Slight Strangeness in Collocation

• The need for descriptive interpretation• instrumental, prosaic

• A poetic imagery: an old man is fishing snow• illogic, absurd, irrational• ludic, imaginative, poetic

• Strangeness in collocation


秋思Autumn Thoughts

• 枯籐⽼老樹昏鴉• Withered vines, old trees, crows at dusk• ⼩小橋流⽔水⼈人家• A tiny bridge, a rippling stream, cottages• 古道⻄西⾵風瘦⾺馬• Ancient routes, west wind, a lean horse• ⼣夕陽⻄西下• The sun is setting• 斷腸⼈人在天涯• The heartbroken one at the end of the world


Gestalt & Expression Imagination

• imagining what are not described in the poem

• Gestalt

• Expression imagination

• Zesign


POETIC EXPRESSION


Tangible Interaction Design Framework


Previous work on Framing Poetic Interaction Design

• 4 aspects in Interaction Design: Material, Expression, Function, Form

• Poetic Interaction Design• material imagination• expression imagination• function imagination• form imagination


Pragmatist Framing of Poetic Interaction Design

• Two features in Poetic Interaction Design• delivering artifacts for embodied

interaction• evoking poetic imagery


Hypnotic Practice


Why Hypnosis?

• Different mindsets in interaction design

• functionality: instrumental

• usability: cognitive

• ludic design: sense of humor, playfulness

• critical design: critical mind

• poetic interaction: imagination (Bachelard)


Why Hypnosis?

• Poetic interaction needs a different mental state

• Successful poetic interaction depends on whether poetic imagery is experienced

• Hypnotism masters in guiding imagery and changing mental state


Methods of Learning Hypnotic Practice

• An apprenticeship-based activity with an NGH (National Guild of Hypnotists) certified instructor, Ben

• An auto-ethnographic approach


What is Hypnosis?

“Hypnosis is a special mental state that frequently appears in our daily life. We slip into and out of this state for many times in a day unconsciously, ...... This is what I see hypnosis in a broader sense: a state of hyper-suggestibility.”


What is Hypnosis?

a mental state that accepts suggestions easily and deeply


Bypassing Critical Mind

“In general, the conscious mind is responsible for critical thinking, and the subconscious mind controls our body and responds to those messages passing through critical mind. ...... We hypnotists talk to your subconscious mind rather than the conscious mind. Deliberately using inductive methods, hypnosis process deactivates critical mind so that suggestions can affect our subconscious mind.”



A hypnotist always creates dialogues with the subconscious mind of an individual.



“If you want to persuade somebody, you have to say ‘acceptable words’, ......., a conscious mind often gets stronger when facing challenges.”


Imagination

“If you want to empower a suggestion, you should try to make it acceptable by the subconscious mind rather than by ‘will power’, since will power would further activate conscious mind and suppress subconscious mind. ......

Remember that subconscious mind is where our imagination and expectation reside. Thus, in my experience, whenever imagination conflicts with will power, imagination wins.”


Suggestibility

“Whether an individual is easy to get hypnotized depends on suggestibility, the degrees that one listens to and accepts the suggestions. Hypnosis is a state of heightened suggestibility with concentrated attention. ”


Techniques in Hypnotic Practice

• Resonance• Overload of Message Units• Metaphor• Ambiguity• Anchoring


Resonance

“Intentionally asking the subject to do what she has just already done creates confirmation that she believes your instruction made it happen. ......The more resonance you create, the easier a subject gives up resisting.”


Overload of message Units

“When the critical mind is overloaded, ..., with message units, one might feel overwhelmed. When reaching such a saturation point, one might become overwhelmed and hyper-suggestible.”


Metaphor

“...metaphor is the logic of the subconscious mind with very fast and rich association. ...Since the critical mind subsides, not only imaginative metaphors but also illogical statements could be acceptable and work well, ...”


Metaphor (illogical statements)

“Feel that your body is getting lighter and lighter as a balloon sinks into the mud.”


Ambiguity

“... due to the limited resource of our attention, ambiguity holds the conscious mind. Deliberately using ambiguity to confuse and engage the conscious mind of a listener, a hypnotist can do the real work, while the conscious mind being engaged.”

“...ambiguity keeps the guard busy so that suggestion can slip into the subconscious mind...”


Ambiguity

‘buy-one-get-one-free’ ...I would say a sentence with ambiguous meanings and then immediately another sentence with precise meanings. Repeating this pattern for a few times would keep the conscious mind busy and confused so that I could quickly create a hypnosis state.


Anchoring

“Anchor provides a focus for discussion and imagination.”


Design Implications


Design Implications from Hypnotic Practice

• Poetic interaction could start from resonance

• Deliberately use multiple sensory elements without consensus

• Boldly apply metaphors of different types in a mash-up style

• Purposefully deploy ambiguity in four aspects of interaction design

• Set temporal and spatial contexts as effective anchors


!

Poetic Interaction could start from resonance

Twins by Liang


Deliberately use multiple sensory elements without

Consensus

Block Lamp by Harri Koskinen


!

Boldly apply metaphors of different types in a mesh-up

style

Tech Tap by PEGA D&E


Purposefully deploy ambiguity in four aspects of interaction

design

!Twins by Liang


Set temporal and spatial contexts as effective anchors


Reflection and Discussion


Poetic Interaction Design (Kolko)

• A type of reflective and emotional design

• (It) “resonates immediately but continues to inform later”

• “nearly always subtle, yet mindful.”

• reflection ? reasoning activity about poetics

• I argue: felt experience of poetics itself


Phenomenology of poetics (Bachelard)

• “a sincere impulse toward admiration is always necessary if we are to receive phenomenological benefit of a poetic image”


Reframing Poetic Interaction Design

Make the poetic imagery perceivable


Poetic imagery

• How to make imagery perceivable• Hypnotism provides practical

techniques and tacit knowledge


Ethics Issue

• assistive devices for hypnotism vs. hypnotic practice informed interaction design

• wake-up process needed?


Conclusion


• Chinese poetry as a sensitizing means for poetic interaction design

• An auto-ethnographic approach to knowledge and techniques of hypnotism

• Relating hypnotic practice to poetic interaction design with a constructivist stance


Hypnotist Framing: Hypnotic Practice as a Resource for Poetic Interaction Design

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