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This study is a case study within Media Technology at Malmö University that explores the gap between design and technology in the Graphic Design course. The study uses the concept of Critical Making and how that can be used to develop a design process learning method in higher education programs, where designing and making artifacts are in focus. The aim is to implement Critical Making in order to allow students to gain deeper understanding and evaluate their material choices and their own reflections in the design process. To achieve the implementation of Critical Making the study uses didactics as a pedagogical approach. The key elements in Critical Making as a design process learning method build on context, reflection, material choice and design process that all form a common design language between students and teachers to exchange knowledge and experiences in future media productions. The common design language is shaped through open assignments, supervision and reflection from the students' material choices and context of the media production they work with during the design process. The findings in the study are also presented as a digitally interactive poster that uses Augmented Reality to show videos and images for the user.

Abstract. In the worldview of a traditionally Eastern cultural context, consciousness and matter are intertwined.  In that context  negative and positive spaces relate to each other. With that in mind, the vessel is an interesting object to work with. In my master work I explore "Thinking- through- making", a process where making and thinking alternate back and forth, in iterations. The making or designing can be taking place intuitively.  Scaling down the vessel, to the point where it has no contemporary practical function,  as a way of talking about the exercise of sensitivity, in a fast, loud and insatiable present. Questioning the prevailing value system. By re:learning to become more sensitive, empathy for different types of existence becomes possible, and togetherness between human beings and their companion species opens up. By making (diminutive) stoneware vessels, I enter a long tradition of the time-consuming, hand-building technique of Yixing clay. And hence, contrasts with the technology and scale of contemporary mass production.  Perhaps my vessels are pots to plant seeds for the hope of a future human existence? Or, maybe they are vessels for tears, over human existence? At least they are parts of bedrock coming back together from dissolution, for union.

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Detta kandidatarbete är format för att belysa den subjektiva upplevelsen av omvärlden hos människor med psykisk ohälsa, hur deras varseblivning kan förvrängas i svåra omständigheter. Då man uppfattar att antalet individer med psykisk ohälsa har ökat de senaste åren, så finns ett behov av att skapa ett nytt sätt, eller redskap för dem som behöver eventuella hjälpmedel och allmän förståelse i samhället. Med hjälp av kunskapen bakom perception utifrån bl.a. Yvonne Eriksson och Michel Chion kompetenser så vill vi ta fram ett sätt att placera in människor i en emotionellt påverkande miljö. Genom olika metoder så som intervjuer och kritiskt skapande har det framtagits hur vi skulle kunna gestalta en subjektiv upplevelse genom att betrakta audiovisuell varseblivning som verktyg i nämnd gestaltning. Avslutningsvis presenterar vi hur forskningen framställs under prövandet av gestaltnings prototyper och under diskussionen tas det även upp hur andra förhållningssätt hade kunnat forma projektet och dess resultat. / This bachelor thesis is formed to illustrate the subjective experience that people with mental illness have of the surrounding world, for how their perception can be distorted in bad circumstances. When one observes the number of individuals with mental illness rising the last couple of years, then we might need a new way off, or tool to show how those individuals do need eventual help and understanding in society. We want to create a way to place people with in an emotionally affecting environment, this with help of the knowledge behind perception with among others Yvonne Eriksson and Michel Chion´s competence. With different methods such as interviews and critical making its been formulated a way of how we would be able to mould a subjective experience with the concept that audiovisual perception as a tool in the configured artwork. At the end we present how the research show up while we examen the designed prototypes and under the discussion we bring up how other approaches may have formed the project and its result.

This thesis explores home energy management (HEM), an emerging field for interface design and sustainability. Section 1 introduces HEM’s broader context. In Section 2, I review the literature surrounding HEM. Section 3 outlines the usability study on the ecobee Smart Thermostat, to evaluate the technology’s ease-of-use, and better understand users’ experience with current HEM technology. Section 4 describes a “Critical Making” workshop, where participants investigated HEM through material interaction and discussion. Section 5 describes and evaluates the potential design spaces gleaned from previous sections. In Section 6, I return to the literature to investigate key concepts underlying the design intervention for the chosen design space. Section 7 describes my design intervention and experimental evaluation. In Section 8, I present the study results, which suggest enhanced display labelling had a significant and directional effect on user-selected temperatures. In Section 9, I discuss these results, study limitations, and make conclusions and recommendations.

This thesis explores home energy management (HEM), an emerging field for interface design and sustainability. Section 1 introduces HEM’s broader context. In Section 2, I review the literature surrounding HEM. Section 3 outlines the usability study on the ecobee Smart Thermostat, to evaluate the technology’s ease-of-use, and better understand users’ experience with current HEM technology. Section 4 describes a “Critical Making” workshop, where participants investigated HEM through material interaction and discussion. Section 5 describes and evaluates the potential design spaces gleaned from previous sections. In Section 6, I return to the literature to investigate key concepts underlying the design intervention for the chosen design space. Section 7 describes my design intervention and experimental evaluation. In Section 8, I present the study results, which suggest enhanced display labelling had a significant and directional effect on user-selected temperatures. In Section 9, I discuss these results, study limitations, and make conclusions and recommendations.