Nami-thesis outline: Difference between revisions

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<li>Galloway, Alexander R. (2012), The Interface Effect, Cambridge, UK, Polity</li>
<li>Galloway, Alexander R. (2012), The Interface Effect, Cambridge, UK, Polity</li>
<li>Johnson, S. (1997), User Experience: Interface Culture, New York, Basic Books</li>
<li>Johnson, S. (1997), User Experience: Interface Culture, New York, Basic Books</li>
<li>Kay, A. and Goldberg, A (1977) Personal Dynamic Media, _, _</li>
<li>Kay, A. and Goldberg, A (1977), Personal Dynamic Media, MIT, The New Media Reader</li>  
<li>Lialina, O (2009), Digital Folklore, Frankfurt, DE, Merz&Solitude</li>
<li>Lialina, O (2009), Digital Folklore, Frankfurt, DE, Merz&Solitude</li>
<li>Lialina, O (2020), From Me to My, Berlin, DE, Critical Interface (https://interfacecritique.net/book/olia-lialina-from-my-to-me/)</li>
<li>Lialina, O (2020), From Me to My, Berlin, DE, Critical Interface (https://interfacecritique.net/book/olia-lialina-from-my-to-me/)</li>

Revision as of 21:33, 21 November 2021

Introduction : Circular structure of web design market (A starting point(simply) + Main research question + sub questions)

My enjoyment in making web pages has been navigating my career in web design practice. But I do admit that most of my future tasks will be occupied by commercial agenda, not merely being able to play with all the hand-crafted webp elements, which I love.
This speculation has made me observe current mainstream websites with sharp eyes, and I've come to a realisation that my desire in making quirky and fun websites will conflict with the market structure in many ways.
Meaning, it's pretty obvious that most major web pages have certain types of features in common. For example, the shapes of most icons and the locations of banners, menu bar seem quite similar each other, as well as the user navigation system.
I am not completely denying the implicit rules, claiming that there needs a total subversion/revolution on the web design context. But still, this repetition of the sameness is worthwhile to be questioned even for figuring out my attitude as a web designer.
Thus I'd like to explore why do most websites look identical today, where it has come from, and how I will be balancing my stance as a web designer.
Sub-questions are below:

  • If there are pervasive agendas/mechanisms in the web design industry, what are they? (e.g. Mobile-first approach, Frameworks, Flat-aesthetic, and so on?)
  • In which sense are these indispensable in the industry?
  • How do the agenda/mechanisms influence the creativity of designers and developers?
  • What can frameworks made by non-professionals speak to the web design industry?


    • Thus, this thesis will be a documentation of my journey in the circular structure of the web design market, and missions many designers confront.


    1. Uniformity : Does it exist? A few cases and reviews

  • Showcasing website examples that I've been collecting + findings + analysis
  • Contemporary standards of commercial websites (aesthetics, functions) (Desk research + Ask to designers and developers)
  • The relation between the uniformity agenda and creativities of designers and developers(through interviewing)


    • 2. Potential causes of the uniformity (reading + interviewing)

  • The history of responsive design approach (mobile-first)
  • Co-relation between The Flat design (movement) and the responsive design agenda (Positive and Negative examples)
  • Realistic working conditions in the web design industry (time, wage, ways of working, etc) (through interviewing)
  • Pervasive tools of the web development (through interviewing)
  • Any differences in the work process between net artists and the commercial designers? In which ways are they similar and different?


    • 3. Experiments not to rely on the uniformity : How I will stand in the industry as a web designer?

  • The history of frameworks for Css and Javascript, mostly developed by mega tech companies

    • 


  • In which way and how often do designers and developers depend on the frameworks?

    • 


  • Experiments (Participatory workshops) -> Try both pure coding and extracting codes from the frameworks, aiming for the same design sketch. How do I and participants feel? Compare the two mechanisms?


    • 4. Conclusion

    Recap the research

    References

  • Carpenter, J. R. (Mar 2015), A Handmade Web, Bath Spa University, UK, Slow Media (http://luckysoap.com/statements/handmadeweb.html)
  • Galloway, Alexander R. (2012), The Interface Effect, Cambridge, UK, Polity
  • Johnson, S. (1997), User Experience: Interface Culture, New York, Basic Books
  • Kay, A. and Goldberg, A (1977), Personal Dynamic Media, MIT, The New Media Reader
  • Lialina, O (2009), Digital Folklore, Frankfurt, DE, Merz&Solitude
  • Lialina, O (2020), From Me to My, Berlin, DE, Critical Interface (https://interfacecritique.net/book/olia-lialina-from-my-to-me/)
  • Lurroso, S. (Apr 2020), The User Condition 04: A Mobile First World, Entreprecariat (https://networkcultures.org/entreprecariat/mobile-first-world/)
  • Lurroso, S. (Feb, 2021), The User Condition, the Lectorate Design of KABK (https://theusercondition.computer/)
  • Müller, B. (Sep, 2018a), Why Do All Websites Look the Same?, Modus (https://modus.medium.com/on-the-visual-weariness-of-the-web-8af1c969ce73)
  • Müller, B. (Nov, 2018b), Balancing Creativity and Usability, Medium (https://borism.medium.com/balancing-creativity-and-usability-9bb2cd0fe929)
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