11. 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?
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17. 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
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18. 江雪
A River Scene 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 on a cold river in snow
13年10月9⽇日星期三
19. 江雪
A River Scene 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
13年10月9⽇日星期三
20. 江雪
A River Scene 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
• Lonely boating, clad in cape and hat an old
man is
• 獨 釣 寒 江 雪
• solitarily fishing a cold river of snow
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21. 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
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22. 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
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23. Gestalt & Expression
Imagination
• imagining what are not described in the poem
• Gestalt
• Expression imagination
• Zesign
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26. 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
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27. Pragmatist Framing of Poetic
Interaction Design
• Two features in Poetic Interaction
Design
• delivering artifacts for embodied
interaction
• evoking poetic imagery
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29. 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)
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30. 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
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31. Methods of Learning
Hypnotic Practice
• An apprenticeship-based activity with
an NGH (National Guild of Hypnotists)
certified instructor, Ben
• An auto-ethnographic approach
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32. 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.”
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33. What is Hypnosis?
a mental state that accepts suggestions easily and deeply
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34. 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.”
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35. Bypassing Critical Mind
A hypnotist always creates dialogues with the subconscious
mind of an individual.
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36. Bypassing Critical Mind
“If you want to persuade somebody, you have to say
‘acceptable words’, ......., a conscious mind often gets
stronger when facing challenges.”
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37. 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.”
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38. 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. ”
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40. 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.”
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41. 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.”
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42. 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, ...”
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44. 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...”
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45. 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.
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48. 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
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55. 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
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56. Phenomenology of
poetics (Bachelard)
• “a sincere impulse toward admiration is always
necessary if we are to receive phenomenological
benefit of a poetic image”
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61. • 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
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