Designing Interactions
Abstract
Digital technology has changed the way we interact with everything from the games we play to the tools we use at work. Designers of digital technology products no longer regard their job as designing a physical object--beautiful or utilitarian--but as designing our interactions with it. In Designing Interactions, award-winning designer Bill Moggridge introduces us to forty influential designers who have shaped our interaction with technology. Moggridge, designer of the first laptop computer (the GRiD Compass, 1981) and a founder of the design firm IDEO, tells us these stories from an industry insider's viewpoint, tracing the evolution of ideas from inspiration to outcome. The innovators he interviews--including Will Wright, creator of The Sims, Larry Page and Sergey Brin, the founders of Google, and Doug Engelbart, Bill Atkinson, and others involved in the invention and development of the mouse and the desktop--have been instrumental in making a difference in the design of interactions. Their stories chart the history of entrepreneurial design development for technology.
... Interaction design is a key concept in HCI that focuses on the design of the interactions between users and technology [3,4]. It is the process of designing how a user interacts with a product or system and encompasses a wide range of design elements such as user interfaces, navigation, and the overall user experience. ...
... One of the key principles of interaction design is usability [3,4]. This refers to the ease with which a user can accomplish their goals when interacting with a product or system. ...
... Another key principle of interaction design is functionality [3,4]. This refers to the functionality of the product or system and how well it meets the user's needs. ...
... The chapter considers a representative, rather than comprehensive, selection of software. The analysis also draws, where appropriate, on related discussion perspectives and tools drawn from Crampton Smith (Moggridge, 2006), Cooper et al. (2014) and Rogers et al. (2019). Finally, the chapter reflects on the compositional representation of time as a critical dimension of composition software that is not satisfactorily addressed by Cognitive Dimensions. ...
... The other text-oriented languages reviewed do not make direct use of graphical or spatial interconnectivity. In this way ChucK makes limited use of Crampton Smith's second dimension of IxD; visual representation (Moggridge, 2006). Software using the patching metaphor-graphic systems such as Noatikl (Intermorphic, 2015b) or visual programming languages like Max (Cycling '74, 2019)-allow the visualisation of elements such as signal flow and boolean logic; see Figure 4.28 for an example. ...
... Of course, notions of time are considered in design discussion tools. For example, Crampton Smith identified time as one of the four dimensions of interaction design (Moggridge, 2006). Time is not viewed as a separate entity in the CDN, although it is implicit in some dimensions. ...
This thesis focuses on the design of Choosers, a prototype algorithmic programming system centred around a new abstraction (of the same name) designed to allow non-programmers access to nondeterministic music composition methods.
Algorithmic composition typically involves structural elements such as indeterminism, parallelism, choice, multi-choice, nesting, weighting, and looping. There are powerful existing tools for manipulating these and other elements of music. However, while these systems give substantial compositional power to musicians who are also skilled programmers, many musicians who lack programming skills find these tools inaccessible and difficult to understand and use. This thesis presents the design and evaluation of a prototype visual programming language designed to allow structural elements of the kind involved in nondeterministic music composition to be readily visualised and manipulated, while making little or no demand on programming ability.
Initially, a Cognitive Dimensions of Notations review of a representative selection of user interfaces for algorithmic composition software was conducted. The review led to a set of findings used to identify candidate design principles which were then tested via a series of design exercises. The findings from these design exercises led to the development of a new abstraction, the Chooser, via a series of iterative design cycles. Once a candidate design had been finalised it was evaluated with participants via two sets of programming walkthroughs, with the findings from each step used to refine the formalism. The final study used Choosers as a design probe through a series of interviews with domain experts in which manipulable compositions were introduced to prompt discussions on potential future implications for music computing education, music production, and music composition.
... Na Figura 11, são ilustrados os componentes do processo de design de acordo com Moggridge (2007). Neste esquema, além da sua não linearidade, é destacada a não sequencialidade do Design em um percurso hipotético conduzido do passo 1 ao 17. ...
... Elementos componentes do processo de design.Fonte:Moggridge (2007) retirado deSilva (2015b). ...
... The last stage is the evaluation of the product against the design requirements set out earlier in the process. Designers are often required to adjust or reiterate a design process to compensate for many challenges and tensions designers face when creating products, and thus the design process cannot be linear [4,23]. ...
... To facilitate user input, creative and novel ways to circumvent communication challenges are needed [16,23]. It is surprising how few studies within this review considered the need to obtain input in non-conventional ways. ...
Purpose:
This is the second of two papers summarizing studies reporting on the design of electronic graphic symbol-based augmentative and alternative communication (AAC) systems. The aim of this paper was to describe the design approaches used and to determine to what extent the principles of human-centred design (HCD) were reflected in the design approaches and processes used.
Methods:
A scoping review was conducted. A multifaceted search resulted in the identification of 28 studies meeting the selection criteria. Data were extracted relating to four areas of interest, namely, (1) the general characteristics of the studies, (2) features of the systems designed, (3) availability of the systems to the public and (4) the design processes followed. In this paper, findings related to the last area are presented.
Results:
Design approaches were often inconsistently described. User-centred design was mentioned more often than HCD. Even so, various HCD principles were considered in most studies. Notably, stakeholders were involved in the design process in all studies. However, users were not involved in all studies and stakeholder roles were predominantly informative rather than collaborative. Prototype and product evaluations focussed mostly on usability rather than user experience. Although many design teams were multidisciplinary, engineers and computer scientists predominated.
Conclusions:
There is a need for designers to be more transparent about the type of design approach used to guide the system design and also to clearly report on design approaches and processes used. The application of HCD to the design of graphic symbol-based AAC systems is still limited.Implications for rehabilitationHuman-centred design approaches can productively guide the design of electronic graphic symbol-based augmentative and alternative communication (AAC) systems.Creative methods are needed to involve stakeholders with complex communication needs in all phases of the design process.Evaluation of electronic graphic symbol-based AAC systems should consider both usability and user experience.
... Therefore, 1) methodologies for extracting knowledge and insights from simulation log data, and 2) a framework for propagating the extracted knowledge and insights among stakeholders are both necessary. To address this issue, an approach exists that attempts to analyze and formally describe simulation logs using the human-centered design concept [6][7][8] and the experience mapping method [9][10][11], both of which are used in design thinking [12][13][14]. Although this approach may facilitate communication between stakeholders, few studies have been conducted on "benefitdelay services." ...
... "Design thinking" has been attracting attention in the design of products and services [6][7][8]. As an observational method, experience mapping techniques such as the persona-scenario technique [9], the customer journey map [10], and the empathy map [11] are used to discover users' latent needs. ...
Approaches using both real data and social simulations have been proposed to address economic and social problems. Understanding the structure of models and the results of simulations may be used by not only model developers and analysts but also by decision-makers in management and administration as well as on-site managers. Therefore, methodologies for extracting knowledge and insights from simulation log data and a framework for propagating the extracted knowledge and insights to stakeholders are important. In this study, we compare log analysis frameworks and create a formal description of social simulations for benefit-delay products and services to determine their merits, shortcomings, and limitations. Then, by extending an experience mapping method from a previous study, we propose a method for also describing a service provider’s experience. We use this method to simulate pre- and post-retirement asset sustainability. The main findings are as follows: 1) an integrated experience description of the customer and provider sides of a benefit-delay service design is feasible, and 2) customer targeting based on this description is possible.
... Over the last century, Design evolved from form-giving to the design and development of technology, interactions, experiences, and organizations (Archer, 1965;Buchanan, 2015;Fulton Suri, 2003;Moggridge, 2007). These developments emerged as new challenges required new design approaches. ...
... The approaches developed for digital system design found their way back to the industrial design-side integrating objects, media, and software under the term Interaction Design (Houde & Hill, 1997;Moggridge, 2007Moggridge, , 2010Norman, 1988;Winograd, 1996). Bill Moggridge and Bill Verplank, who worked on the first laptop computer, coined the term Interaction Design in the 1980s. ...
This book chapter outlines different facets of Human-Centered Design, which evolved over half a century. These facets have different foundational influences that lead to design by, with, and for people. Designing for people, including Ergonomics and Human Factors and Interactions Design, originated from early developments in experimental psychology. Similarly, designing for people with specific needs emerged from developments in medicine and rehabilitation, which resulted in design approaches, such as Universal Design and Inclusive Design. Designing with people, including Participatory Design, developed from communal architecture. Designing by people is grounded in the psychology of creativity, resulting in design approaches, such as Creative Engineering and Design Thinking. Early developments in social psychology developed over time into Social Design and Design by Society. These approaches emerged as designers responded to socio-material and socio-economic challenges with new Human-Centered Design approaches. This book chapter aims to raise awareness of the contextual evolution of different Human-Centered Design approaches and the need to continuously respond creatively to these challenges with new design solutions and adequate design approaches.KeywordsHuman-centered designDesign approachHistoryEvolution
... As Russell Beale highlights in his premises, HCI educators have to cope with the challenge of following HCI expanding trajectory, whose scope and articulation keep growing since when HCI has to address all new kinds of technologies springing out from the world of mobile systems and ubiquitous computing. To put it in Bill Moggridge's words, design, and especially designing interactions, "is getting so complicated" [9], with ever increasingly complex frames of physical artifacts, electronics, intangible services and social dynamics [10]. ...
... The term interaction design was first proposed by Bill Moggridge with IDEO in the late 1980s (Moggridge, 2006). It is often associated with the design of user interfaces in a variety of media responding to user experience. ...
... Research shows that designers who have managed to overcome complex design situations with success use an approach often referred to as a designerly way (Cross 2001;Buxton 2007;Moggridge 2007). In the case of the Central Green Market project, the explicitness of the algorithm and the limited complexity of its schema made it possible for designers to discuss, evaluate and compare a number of variant solutions at a relatively early stage of design exploration, and thus to establish a cognitive methodological designerly approach to design, and grasp its systemic nature timely. ...
... Role-playing is an active teaching method, where a teacher elaborates a fictional situation in which the student takes on a role to decide, create, or solve something [10]. Using this method also teaches students (designers) to become integrators, who in the process develop stories [11]. The objects used in each task are varied, adapted to daily events experienced by the students, to make it easier for them to make decisions and find solutions. ...
The Interior Design Study Program of Institut Teknologi Bandung, Indonesia focuses primarily on design education. The main objectives of this study are teaching how to design and educating designers to be professional. The exhibition design course is an elective course and uses a student-centered learning method. This method is usually adopted to improve student participation. Active student participation is a major element in almost every learning process. This course not only provides knowledge about the ins and outs of exhibition design, but also invites students to solve problems through given assignments. Each assignment is unique and forces the student to role-play as a stakeholder around an exhibition, such as a designer, visitor, content creator, decision maker, etc., to provide different points of view. The student is asked to see the problem from different angles and produce optimal solutions based on their skills and knowledge. The present study was based on observation of the process and results of Exhibition Design courses from two semesters in 2021, during the Covid-19 pandemic. Based on the assignment results and their evaluation, it is shown that this approach can generate student participation and improve the students’ understanding of the subject. The students were always curious about what would happen in the next lecture. All students showed positive learning experiences throughout the course. The general concept of this learning method could be implemented to varying degrees in other courses in interior design schools.
... Los avances tecnológicos y sus impactos en la sociedad actual, junto con los desafíos presentados por la reciente pandemia provocada por el Covid-19, han impulsado cambios relevantes en los paradigmas en torno a las disciplinas proyectuales y creativas (Moggridge, 2007). Esto ha permitido redefinir las perspectivas del diseño y acercarlo a las realidades económicas, industriales, sociales y culturales de las personas, comunidades y organizaciones (Ceschin & Gaziulusoy, 2016). ...
As a result of the reflection on the reform process of the Industrial Design program at the Universidad de Nariño, the following proposal for the creation of university programs arises. This reflection presents three perspectives to support a university educational project in Design: the regulatory-operational perspective, the conceptual curricular perspective, and the formative-disciplinary perspective. The three perspectives proposed offer a detailed scenario for the creation of new programs taking the Colombian context as a reference, where the last perspective emphasizes a paradigm shift in design education and the concepts of design for transition and research-creation.
... Etkileşim tasarımı ifadesini ilk kullanan akademisyenlerden Moggridge (2007)'in "Designing Interactions" yani "Etkileşimleri Tasarlama" kitabının önsözünde bahsedilen 5 madde, etkileşim tasarımının kapsamını anlamak için kullanışlı bir model olarak kabul edilir. Bu maddeler aşağıda sıralanarak tanımlamalarına dair görüşler bildirilmiştir. ...
1980’ li yılların ortalarında başlayan ve 90’lı yıllarda yaşanan teknolojik
gelişimlerin ve yaşanan dijital dönüşümlerin sonucunda ortaya çıkan dijital tabanlı
arayüzlere sahip olan pek çok unsur, ürün ve kullanıcı ilişkisinin incelenmesi
açısından pek çok tasarımcı ve akademisyen için yeni araştırma alanları
oluşturmuştur. Bu noktada bilgisayar - insan ilişkisi üzerine çalışmalar yürüten
araştırmacılar kullanıcı deneyimi, kullanıcı arayüzü ve etkileşim tasarımı gibi
birbirlerini tamamlar nitelikteki kavramların ortaya çıkmasına ve mecranın
zenginleşmesine katkıda bulunmuşlardır.
Günümüzde kullandığımız dijital ve endüstriyel ürünleri kapsayan obje,
nesne, yazılım ve benzeri unsurlar ile kurduğumuz etkileşimin dayandığı temeller
ve alan içinde kullanılan bazı temel kavramların açıklandığı bu bölümde, etkileşim
tasarımı ve grafik tasarım ilişkisi üzerine çeşitli bilgilendirmeler yapılmaya
çalışılmıştır.
... Seeking to tackle the userdesign relationship, whether in the early or later stages of designing, greatly complicates the complexity of the design process. References to philosophy, in particular to texts which have handled the concept of experience, allow the field to develop frameworks or what might be referred to as 'ways of seeing', which can begin to process this complexity (e.g., Moggridge 2006 andRodgers 2012 for histories). ...
... Etkileşim tasarımı ifadesini ilk kullanan akademisyenlerden Moggridge (2007)'in "Designing Interactions" yani "Etkileşimleri Tasarlama" kitabının önsözünde bahsedilen 5 madde, etkileşim tasarımının kapsamını anlamak için kullanışlı bir model olarak kabul edilir. Bu maddeler aşağıda sıralanarak tanımlamalarına dair görüşler bildirilmiştir. ...
Bu ünitede tasarım teknolojileri, grafik tasarım alanı bağlamında
incelenecektir. İncelenen tasarım teknolojileri sadece dijital araçlar ile sınırlı kalmayıp, teknoloji ile aynı perspektifte gelişen tasarım-teknoloji fikirlerini de içermektedir.
Ünite boyunca, günümüz teknolojisinin yazılım ve donanım boyutunda tasarım alanını nasıl etkilediği ve yapay zeka/derin öğrenme kavramlarının tasarım alanında gösterdiği etkililiklere yer verilmiş, sizlerin bu teknolojiyi nasıl deneyimleyebileceğinize dair temel bilgiler paylaşılmıştır.
... If we explore what is currently understood as Interaction Design (IxD) (Moggridge, 2006), designers now have a tremendous big opportunity to shape a new language, a new style and even new rules which will evolve into an advanced era for product and Fig. 2. The ten principles for designing a good metaverse. A Manifesto for Inclusion, Diversity, Equity, Accessibility and Safety in the metaverse. ...
The Metaverse, a digital immersive environment in which people interact by using immersive technologies, is shaping a new way that people interact and socialise. Forecasts predict that by 2026 a quarter of the population will spend at least an hour a day in the Metaverse. This projection requires the consideration of several challenges and opportunities that will influence the design of the Metaverse. A qualitative ethnographic study with industry experts was carried out to explore the social impact of the Metaverse through the lens of Inclusion, Diversity, Equity, Accessibility and Safety (IDEAS) with the goal to identify directions business have to undertake. The results indicated the vast nature of future research questions that will need to be answered and the analysis undertaken in order to define a first manifesto for Inclusion, Diversity, Equity, Accessibility and Safety in the Metaverse. This manifesto is a starting point to develop a narrative, spark conversations, brainstorm questions and eventually provide answers for designing a Metaverse as a place for people that does not substitute the physical world but complements it.
... This would be the equivalent of industrial design but in software rather than three-dimensional objects. Like industrial design, the discipline would start from the needs and desires of the people who use a product or service, and strive to create designs that would give aesthetic pleasure as well as lasting satisfaction and enjoyment [17]. ...
As the next generation of active video games (AVG) and virtual reality (VR) systems enter people’s lives, designers may wrongly aim for an experience decoupled from bodies. However, both AVG and VR clearly afford opportunities to bring experiences, technologies, and users’ physical and experiential bodies together, and to study and teach these open-ended relationships of enaction and meaning-making in the framework of embodied interaction. Without such a framework, an aesthetic pleasure, lasting satisfaction, and enjoyment would be impossible to achieve in designing sonic interactions in virtual environments (SIVE). In this chapter, we introduce this framework and focus on design exemplars that come from a soma design ideation workshop and balance rehabilitation. Within the field of physiotherapy, developing new conceptual interventions, with a more patient-centered approach, is still scarce but has huge potential for overcoming some of the challenges facing health care. We indicate how the tactics such as making space, subtle guidance, defamiliarization, and intimate correspondence have informed the exemplars, both in the workshop and also in our ongoing physiotherapy case. Implications for these tactics and design strategies for our design, as well as for general practitioners of SIVE are outlined.
... In the Meet the Ministry project the methodological process is inspired by a human-centered, Scandinavian participatory approach where design researchers collaborate with the people who are being served by design as co-creators in the process (Sanders, 2008). Other human-centered research areas that fit into the model used include "design and emotion" that investigates people's emotional interactions with products, and "experience design" that focuses on the relationship between people and their experiences with products, services, events, and environments (Moggridge, 2007). ...
Congress
Proceedings
Diversity and sustainability
at work. Policies and
practices from culture and
education
... Bill Moggridge (2007) explains Bill Verplank's interaction design process as a four-step process. "First, the designers are motivated by an error or inspired by an idea and decide what the ideal goal for the design should be (motivation). ...
The aim of this paper is to highlight the cultural implications that a designer should take into account in designing phygital experiences. One of the aim of the research was to clarify the broader meaning of culture and the implications and consequences occurring when different cultures meet. The research was conducted in the three dimensions of interaction: the physical, the digital and the phygital one. In the physical dimension the cultural component evident; in the digital one was strongly reduced; finally, for the phygital dimension the cultural component seems plays and will play a major role. The investigation leads to notice how a redefinition of products, experiences and processes of interaction is required. Indeed, as designers, the challenge is to reposition the user at the center of the process. The technology is embedded in products and spaces and takes on different and unexpected combinations when it interacts with users. The structure almost disappears, the technological components are mostly embedded, and the communicative and interactive elements increase. An era of conversational interfaces, products and spaces is coming. This will use different formats and will follow new rules in relation to a renewed way of use and a different acceptance by users.
... However, empathy is also discussed as a result of particular methods and processes that are experienced by the designer in direct involvement with participants or users(Kouprie and Visser 2009;Battarbee et al. 2014). Finally, empathy is also explored in terms of its ability to be transferred to others through the use of objects and experiences(Suri 2003;Moggridge, 2007;Kouprie and Visser 2009;Smeenk et al. 2019).Looking further at how empathy is evidenced, based on an analysis of eight empathy scales used across different disciplines, Baldner and McGinley looked to identify common underlying factors across the scales (2014, p. 736). The six factors they identified were emotional interest (a person's taking interest in how another person feels), perceived other awareness (the ability to predict how someone else would feel in a given context), emotion/fictitious characters (being emotionally involved with a fictitious character), personal distress (a person's ability to control their emotions when dealing with another person's stressors), perspective taking (being able to consider another person's perspective) and sensitivity (being aware of how someone else might feel in a specific situation). ...
Designing for one is a form of design participation in which a designer works together with one individual. The result of this interaction is a bespoke design that is responsive to the needs, abilities, preferences and situation of the individual. Applied with design education, this research sought to understand the ways this approach impacted a)
student learning, b) the generation of empathy and c) the traditional design educational space. This study involved six methods of inquiry for examining the impact of designing for one on the student experience: four Student Module Cases Studies, one expert design
educator workshop with 21 participants, 28 student interviews, seven expert design educator interviews and included mapping (a method used within the workshop), observations and post analysis thick descriptions. In terms of student learning, the study identified seven key learning experiences that students had when designing for one,
with the most prevalent being: Process (the students developed knowledge about the design process, research methodology and the act of designing), Design Skills (they learned about and applied specific skills related to their discipline), Soft-Design Skills (they developed understanding regarding using and incorporate soft-skills into their design process) and Interaction (they identified the value of the interaction between themselves and their participant). Regarding empathy, the study identified 11 factors that influence the forming of an empathetic relationship between designer and participant, resulting
in a set of empathy factors that can be referred to when seeking to build relationships within design participation. In terms of impacting the routine design space, the study identified 11 variables that design educators can use to disrupt a traditional educational setup with the most important variables identified being participation with real users
(bringing students in contact with real users) and the location of the module situation (taking the ‘classroom’ off site into a situation of use). By purposefully placing students within these individual situations of an ‘other’, the result is a form of design participation that emerges from the orchestrated relationship and the exchange. The result of this
thesis, then, is the offering of designing for one as pedagogical approach that increases levels of complexity, planning, research and collaboration serving to complement existing design educational practice.
... Si nous considérons l'étude de référence de Bogers et West (2012), nous nous apercevons qu'ils se concentrent sur les deux grands courants de recherche qui étudient le phénomène de l'innovation distribuée. Tout d'abord, l'Open innovation qui adopte la perspective de l'entreprise et examine les avantages financiers de l'engagement dans l'innovation distribuée (Chesbrough, 2003 ;Chesbrough, 2006), puis l'User innovation, qui examine les processus d'innovation distribuée du point de vue de l'utilisateur (Von Hippel, 1976 ;. Ces deux grands courants de recherche sur l'innovation sont considérés dans la littérature comme les deux principaux courants de l'innovation distribuée même si nous sommes conscients que d'autres théories existent comme l'innovation cumulative, les communautés, la production sociale et la co-création (Benkler, 2006 ;Murray et O'Mahony, 2007 ;West et Lakhani, 2008 ;Bogers, 2010), le Participatory Design (Muller et Kuhn 1993), l'Emotional Design (Norman 2004;Crossley 2003), l'User Experience (Hassenzahl 2011;Miller 2005), le Contextual Design (Beyer et Holtzblatt 1998) ou encore l'Interaction Design (Cooper et al., 2007;Moggridge 2007). ...
Les forêts françaises sont au cœur d’enjeux historiques, comme la production de bois et le renouvellement du patrimoine forestier, qui aujourd’hui se croisent avec des défis environnementaux, économiques et sociaux dans un contexte de changement climatique et de transition écologique (par exemple, la préservation des sols, de la biodiversité et des ressources en eau, la bioéconomie circulaire, la conception de forêts résilientes face à des risques inédits et extrêmes etc.). Pour répondre à ces enjeux et défis, les décideurs publics ont formulé de nouvelles stratégies nationales et régionales qui traduisent un ensemble d’attentes envers le secteur forestier. Dans ce contexte, décideurs politiques et acteurs forestiers ont pris conscience qu’il était nécessaire d’innover au sein d’écosystèmes complexes d’acteurs, pour s’adapter à cette situation inédite avec cohérence et organisation. L’ambition de cette thèse est donc de démontrer que les approches living Labs, souvent évoquées mais rarement pratiquées avec rigueur et méthode procurent un cadre méthodologique performant et adapté pour impulser cette innovation collective et faire évoluer les usages des acteurs (en matière de gestion sylvicole mais aussi de travail en réseau et de partage d’information). Nous proposons de construire un cadre de référence méthodologique, selon une posture de recherche-action, basée sur l’approche Living Lab pour piloter l’innovation dans des contextes forestiers caractérisés comme complexes, multi-acteurs et multi-échelles (dans le temps et l’espace), territorialisés. Ce travail propose donc un transfert théorique et méthodologique de l’approche Living Lab vers l’amont du secteur forestier au travers de trois études de cas. Des outils particuliers sont développés ou adaptés, tels des personas pour toucher les petits propriétaires privés, les jeux de territoire pour aborder la spatialisation des ressources ou des questionnements. La discussion montre la pertinence de l’approche pour piloter les processus d’innovation dans un contexte forestier multiacteurs, multifonctionnel et incertain, en faisant émerger des idées inédites pour résoudre des points de blocage.
... Para isso o convencional ponto de partida de uma metodologia projectual em design não deve ater-se apenas à revisitação de um somatório de ocorrências prévias e dispersas, mas ao aprofundamento interpretativo dessas respostas em contexto. O suporte para um novo modo de pensar: Moggridge (2006), como sabemos, não é aplicada à maioria dos interfaces. A reacção negativa que temos perante maus interfaces informáticos deve-se sobretudo à ruptura cognitiva e à pouca mimesis com o mundo material. ...
Perante uma leitura contextual da sociedade contemporânea e dos seus acontecimentos estruturantes, o ensino do design necessita de contributos reflexivos e especulativos (consequentemente livres), que se adequem ao “novo mundo do real”. A situação compele-nos ousar a transgressão e apelar ao papel da reflexão pura, ao ascendente conceptual para a construção de um novo quadro pedagógico do ensino do design. Um que permita obter resultados não imediatos (muito menos imediatistas), ou seja, de um modo consolidado, sustentado e numa atitude realmente crítica à la longue. Pensar, pensar, pensar para fazer.
Apelamos ao ensaio e comprovação de novas estratégias pedagógicas para o ensino do design que recuperem a investigação pura, não engajada com “os mercados”, nem com a espuma do tempo, cada vez mais voláteis, desenvolvendo valências holísticas para a formação do novo “Hermeneuta do Design”.
... This nomadic and fluid metaphysics (see also Harman 2005 andBogost 2012) is completely suited to design thinking, the shorthand term for the pragmatics of a transferable creative design process (Moggridge 2007, 2010, IDEO 2011, Brown 2009, Kelley and Kelley 2013, Norman 2013. Indeed, we have portrayed what we construe as Experience Design as a manifestation of such design thinking. ...
A central value of what may be termed Experience Design is its aspiration to shit focus from the logic of singular design ields to the interrelations and interactions that take place in situations where people are simultaneously engaged with multiple designs. Experience Design can allow researchers and practitioners to travel-making it possible to follow experiences as they are enacted across and between places, modes of transportation, mobile mediation and assemblages of things. Drawing on the nomadic metaphysics of philosopher Michel Serres, the journeying, shiting and propagating qualities of experience are highlighted as part of a suggestion that design may indeed relate as much to metaphysics as to mechanics, materials science, and the psychology of the consumer and user. An Experience Design is sketched out as the choreography of temporary and shiting engagements across disparate designs, a perspective that complements well the pragmatics of much contemporary design practice, and as captured in the designation "design thinking". A fuzzy field-Design While we generally use the term design in a rather loose way to refer to purpose, intention, signiicance and agency in making, it is certainly right to connect the emergence of the distinctively modern ield of design with the growth from the eighteenth century of industrial manufacture associated with increasingly radical division of labor. Design became a process most oten separate from manufacture-creating a plan or speciication for something, an artifact, system, service, or, now, an experience, and one that might even transform you. While designers work with mass manufacturing processes in the industrial design of everyday objects, they have also always had to deal with quite intangible issues of taste and style, functionality and desirability, safety regulation and legality, and the emotional impact of what they design. Immediately implicated are the structures and cultures of modernity, class, gender, ethnicity-horizontal and vertical distinctions at the core of individual and group identities in an everyday world that has come to revolve around manufactured goods. Market competition has thrown emphasis upon innovation-developing products that ofer something new or diferent. Svabo and Shanks: a metaphysics of design thinking 1
... Capturing human-object interaction within design science enables designers to understand complex prototype interactions better (Moggridge, 2007). These interactions might include location tracking and dynamics of the human body, often demanding high fidelity to obtain meaningful insights. ...
This paper presents an exploratory case study where video-based pose estimation is used to analyse human motion to support data-driven design. It provides two example use cases related to design. Results are compared to ground truth measurements showing high correlation for the estimated pose, with an RMSE of 65.5 mm. The paper exemplifies how design projects can benefit from a simple, flexible, and cost-effective approach to capture human-object interactions. This also entails the possibility of implementing interaction and body capturing in the earliest stages of design, at minimal effort.
As authors of this chapter, we aim to analyse the role of prototypes in the research area of interaction design. We selected three Case Studies involving tangible artifacts in the context of academic research. We interviewed Livia Tenuta, assistant professor at the Design Department of Politecnico di Milano, who shared a Case Study of research in innovative jewelry for an Italian company. We interviewed Olga Noronha, designer, artist and visiting lecturer at the Royal College of Arts and Central Saint Martins. She shared her doctoral thesis findings about an Investigation into the Possibilities and Affordances of Medical Jewellery. Thirdly we interviewed Tom Jenkins, assistant professor at IxD Lab IT, University of Copenhagen. He shared with us the Case Study of research on alternative modes of living thanks to domestic Internet of Things devices adopted in co-housing communities. All examples refer to research developed in an academic context, where external partners are involved at different levels and for various purposes. In the chapter, firstly we illustrate the selection criteria adopted for three Case Studies. Then we describe compare and discuss them through the lens of the prototypes’ categorisation criteria and interviewees’ feedback on our theoretical concepts.
Both agent modeling and gaming simulation are useful tools for complex business decision-making tasks. However, to utilize the tools in practical business situations, we must integrate them from abstract viewpoints. To tackle the issues, based on our previous work, we explain two formal descriptive models: Managerial Decision-Making Description Model (MDDM) and System-Experience Boundaries Map (SEBM). First, MDDM is used to visualize managerial decision processes by defining relationships between their business objectives and resources. Second, SEBM is used to make the boundaries clear to uncover the customer latent experiences. SEBM is designed to represent a customer-side process of business innovation as a resolution of those restrictions. With MDDM and SEBM, we can describe various business cases to compare these decision-making processes. Thus, we can utilize MDDM and SEBM for determining the specification of agent modeling and gaming simulation. This chapter gives the concepts of MDDM and SEBM and the applicability for practical business situations.
Usability testing of software products is of key importance nowadays. In order for usability testing to have the desired effect, the appropriate testing methodology must be chosen. Usability testing can be carried out using qualitative or quantitative methods. A widely used qualitative method today is the heuristic evaluation proposed by Jacob Nielsen. However, there are other testing methods such as cognitive walkthrough or collaborative testing (proposed by Josef Pavlicek and R. Bock). Although heuristic analysis has generally received a lot of attention in the current literature, it is important to put the other methods in the right light. These provide a significantly better view of the user’s passage through the interface under test. The methods better simulate the environment in which the final UI will operate. The user experience (UX) is then significantly better measurable if the participant goes through the test scenario in a cognitive (i.e., mental model-defined) way, rather than by mere heuristic evaluation. A significant milestone is then the cognitive-collaborative passage, where the collaborative element of the evaluators contributes to the evaluation of the solution.
A variety of methods for audio quality evaluation are available ranging from classic psychoacoustic methods like alternative forced-choice tests to more recent approaches such as quality taxonomies and plausibility. This chapter introduces methods that are deemed to be relevant for audio evaluation in virtual and augmented reality. It details in how far these methods can directly be used for testing in virtual reality or have to be adapted with respect to specific aspects. In addition, it highlights new areas, for example, quality of experience and presence that arise from audiovisual interactions and the mediation of virtual reality. After briefly introducing 3D audio reproduction approaches for virtual reality, the quality that these approaches can achieve is discussed along with the aspects that influence the quality. The concluding section elaborates on current challenges and hot topics in the field of audio quality evaluation and audio reproduction for virtual reality. To bridge the gap between theory and practice useful resources, software and hardware for 3D audio production and research are pointed out.
This chapter examines user experience design for collaborative music making in shared virtual environments (SVEs). Whilst SVEs have been extensively researched for many application domains including education, entertainment, work and training, there is limited research on the creative aspects. This results in many unanswered design questions such as how to design the user experience without being detrimental to the creative output, and how to design spatial configurations to support both individual creativity and collaboration. Here, we explore multi-modal approaches to supporting creativity in collaborative music making in SVEs. We outline an SVE, LeMo, which allows two people to create music collaboratively. We then present two studies; the first explores how free-form visual 3D annotations instead of spoken communication can support collaborative composition processes and human–human interaction. Five classes of use of annotation were identified in the study, three of which are particularly relevant to the future design of sonic interactions in virtual environments. The second study used a modified version of LeMo to test the support for a creative collaboration of two different spatial audio settings, which according to the results, changed participants’ behaviour and affected their collaboration. Finally, design implications for the auditory design of SVEs focusing on supporting creative collaboration are given.
The development of Virtual Reality (VR) systems and multimodal simulations presents possibilities in spatial-music mixing, be it in virtual spaces, for ensembles and orchestral compositions or for surround sound in film and music. Traditionally, user interfaces for mixing music have employed the channel-strip metaphor for controlling volume, panning and other audio effects that are aspects that also have grown into the culture of mixing music spatially. Simulated rooms and two-dimensional panning systems are simply implemented on computer screens to facilitate the placement of sound sources within space. In this chapter, we present design aspects for mixing in VR, investigating already existing virtual music mixing products and creating a framework from which a virtual spatial-music mixing tool can be implemented. Finally, the tool will be tested against a similar computer version to examine whether or not the sensory benefits and palpable spatial proportions of a VE can improve the process of mixing 3D sound.
The relationships between the listener, physical world, and virtual environment (VE) should not only inspire the design of natural multimodal interfaces but should be discovered to make sense of the mediating action of VR technologies. This chapter aims to transform an archipelago of studies related to sonic interactions in virtual environments (SIVE) into a research field equipped with a first theoretical framework with an inclusive vision of the challenges to come: the egocentric perspective of the auditory digital twin. In a VE with immersive audio technologies implemented, the role of VR simulations must be enacted by a participatory exploration of sense-making in a network of human and non-human agents, called actors. The guardian of such locus of agency is the auditory digital twin that fosters intra-actions between humans and technology, dynamically and fluidly redefining all those configurations that are crucial for an immersive and coherent experience. The idea of entanglement theory is here mainly declined in an egocentric spatial perspective related to emerging knowledge of the listener’s perceptual capabilities. This is an actively transformative relation with the digital twin potentials to create movement, transparency, and provocative activities in VEs. The chapter contains an original theoretical perspective complemented by several bibliographical references and links to the other book chapters that have contributed significantly to the proposal presented here.
Real-time auralization is essential in virtual reality (VR), gaming, and architecture to enable an immersive audio-visual experience. The audio rendering must be congruent with visual feedback and respond with minimal delay to interactive events and user motion. The wave nature of sound poses critical challenges for plausible and immersive rendering and leads to enormous computational costs. These costs have only increased as virtual scenes have progressed away from enclosures toward complex, city-scale scenes that mix indoor and outdoor areas. However, hard real-time constraints must be obeyed while supporting numerous dynamic sound sources, frequently within a tightly limited computational budget. In this chapter, we provide a general overview of VR auralization systems and approaches that allow them to meet such stringent requirements. We focus on the mathematical foundation, perceptual considerations, and application-specific design requirements of practical systems today, and the future challenges that remain.
Sonic experiences are usually considered as the result of auditory feedback alone. From a psychological standpoint, however, this is true only when a listener is kept isolated from concurrent stimuli targeting the other senses. Such stimuli, in fact, may either interfere with the sonic experience if they distract the listener, or conversely enhance it if they convey sensations coherent with what is being heard. This chapter is concerned with haptic augmentations having effects on auditory perception, for example how different vibrotactile cues provided by an electronic musical instrument may affect its perceived sound quality or the playing experience. Results from different experiments are reviewed showing that the auditory and somatosensory channels together can produce constructive effects resulting in measurable perceptual enhancement. That may affect sonic dimensions ranging from basic auditory parameters, such as the perceived intensity of frequency components, up to more complex perceptions which contribute to forming our ecology of everyday or musical sounds.
This chapter addresses the first building block of sonic interactions in virtual environments, i.e., the modeling and synthesis of sound sources. Our main focus is on procedural approaches, which strive to gain recognition in commercial applications and in the overall sound design workflow, firmly grounded in the use of samples and event-based logics. Special emphasis is placed on physics-based sound synthesis methods and their potential for improved interactivity. The chapter starts with a discussion of the categories, functions, and affordances of sounds that we listen to and interact with in real and virtual environments. We then address perceptual and cognitive aspects, with the aim of emphasizing the relevance of sound source modeling with respect to the senses of presence and embodiment of a user in a virtual environment. Next, procedural approaches are presented and compared to sample-based approaches, in terms of models, methods, and computational costs. Finally, we analyze the state of the art in current uses of these approaches for Virtual Reality applications.
Immersive virtual musical instruments (IVMIs) lie at the intersection between music technology and virtual reality. Being both digital musical instruments (DMIs) and elements of virtual environments (VEs), IVMIs have the potential to transport the musician into a world of imagination and unprecedented musical expression. But when the final aim is to perform live on stage, the employment of these technologies is anything but straightforward, for sharing the virtual musical experience with the audience gets quite arduous. In this chapter, we assess in detail the several technical and conceptual challenges linked to the composition of IVMI performances on stage, i.e., their scenography , providing a new critical perspective on IVMI performance and design. We first propose a set of dimensions meant to analyse IVMI scenographies, as well as to evaluate their compatibility with different instrument metaphors and performance rationales. Such dimensions are built from the specifics and constraints of DMIs and VEs; they include the level of immersion of musicians and spectators and provide an insight into the interaction techniques afforded by 3D user interfaces in the context of musical expression. We then analyse a number of existing IVMIs and stage setups, and finally suggest new ones, with the aim to facilitate the design of future immersive performances.
In the real and virtual world, we usually experience sounds in combination with at least an additional modality, such as vision, touch or proprioception. Understanding how sound enhances, substitutes or modifies the way we perceive and interact with the world is an important element when designing interactive multimodal experiences. In this chapter, we present an overview of sound in a multimodal context, ranging from basic experiments in multimodal perception to more advanced interactive experiences in virtual reality.
This chapter concerns concepts of adaption in a binaural audio context (i.e. headphone-based three-dimensional audio rendering and associated spatial hearing aspects), considering first the adaptation of the rendering system to the acoustic and perceptual properties of the user, and second the adaptation of the user to the rendering quality of the system. We start with an overview of the basic mechanisms of human sound source localisation, introducing expressions such as localisation cues and interaural differences, and the concept of the Head-Related Transfer Function (HRTF), which is the basis of most 3D spatialisation systems in VR. The chapter then moves to more complex concepts and processes, such as HRTF selection (system-to-user adaptation) and HRTF accommodation (user-to-system adaptation). State-of-the-art HRTF modelling and selection methods are presented, looking at various approaches and at how these have been evaluated. Similarly, the process of HRTF accommodation is detailed, with a case study employed as an example. Finally, the potential of these two approaches are discussed, considering their combined use in a practical context, as well as introducing a few open challenges for future research.
Space is a fundamental feature of virtual reality (VR) systems, and more generally, human experience. Space is a place where we can produce and transform ideas and act to create meaning. It is also an information container. When working with sound and space interactions, making VR systems becomes a fundamentally interdisciplinary endeavour. To support the design of future systems, designers need an understanding of spatial design decisions that impact audio practitioners’ processes and communication. This chapter proposes a typology of VR interactive audio systems, focusing on their function and the role of space in their design. Spatial categories are proposed to be able to analyse the role of space within existing interactive audio VR products. Based on the spatial design considerations explored in this chapter, a series of implications for design are offered that future research can exploit.
Interakcja jest dziś powszechnie znanym terminem, który na polu architektury i projektowania często kojarzony jest z pojedynczymi, kazuistycznymi urządzeniami technologicznymi czy też systemowymi rozwiązaniami usprawniającymi funkcjonalność użytkowanych przez nas przedmiotów. Stosunkowo rzadko jednak myśli się o interaktywności w większej skali terytorialnej, jako o dynamicznej przestrzeni dialogu mającej określony wpływ na społeczeństwo. Mimo iż projektowanie interaktywne coraz mocniej ugruntowuje swoją pozycję w coraz to nowych sektorach działalności ludzkiej (wystawiennictwo, sztuka interaktywna, rozrywka, edukacja,), to relatywnie niewiele uwagi we współczesnej debacie społecznej poświęca się jego misji socjokulturowej. Niniejszy artykuł jest próbą zdefiniowania roli i celów projektowania przestrzennego, wykorzystującego nowe technologie pod takim właśnie kątem. Główna idea oscyluje tu wokół doniosłości zastosowania tego typu rozwiązań w obszarze budowania zdrowych relacji społecznych i nowych trendów kulturowych.
This chapter outlines a humanistic and creative Philosophy of Design that evolved over several decades at Stanford University. This Philosophy of Design is often referred to as Human-centered Design and Design Thinking. It incorporates humanistic and creative qualities, including creative thinking modes, attitudes and human values, creative attributes, visual and collaborative abilities, blocks to creativity, activities and practices, useful techniques, and a supportive environment. Developing and cultivating these qualities aims to encourage creative design in individuals and teams that satisfies people’s profound needs and resolves and harmonizes societal and ecological tensions. The intention is to develop innovators. A critical number of creative individuals who collaboratively support and help each other in the challenges inherent in designing innovation and entrepreneurial activities can spark an era of innovation.KeywordsPhilosophy of designCreativityHuman-centered designDesign thinking
Various methodologies have been proposed for extracting knowledge from the output results and logs of social simulations. Such analysis methods are important not only for model developers and analysts, but also for sharing knowledge and communication among other stakeholders. In this paper, we attempt to apply the System Experience Boundary Map, which is one of the experience mapping methods used in the field of design thinking, for the analysis and formal description of the results of social simulation.KeywordsSocial simulationSimulation analysisLog analysisFormal descriptionCustomer experience mappingLife planning
Si bien, la era digital parece volver superfluas las interacciones sociales y espaciales, este trabajo cuestiona su condición superficial en términos materiales y propone escudriñar la transformación de las superficies arquitectónicas a nivel histórico y bajo el contexto digital, para dotar de una nueva profundidad vínculo vital con el espacio circundante.
The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely (i) lifelogging and self-monitoring, (ii) remote monitoring of vital signs, (iii) emotional state recognition, (iv) food intake monitoring, activity and behaviour recognition, (v) activity and personal assistance, (vi) gesture recognition, (vii) fall detection and prevention, (viii) mobility assessment and frailty recognition, and (ix) cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted.
In ► Chap. 8, we focused on how to map out a broad industry-level opportunity for an entrepreneurial team. Now, it is time to learn more about potential markets given an entrepreneurial team’s opportunity area of interest. We facilitate market learning by utilizing the two proactive market orientation (PMO) techniques introduced in the last chapter, empathic research with current customers and interviews with lead users and experts. As such, our learning objectives in this chapter are to focus on proactive market orientation and how it works.
Understanding the concept of immersion and its influencing factors is critical for enabling engaging audiovisual experiences. However, a lack of definitional consensus and suitable methods for assessing immersion hinder research on the subject. This chapter discusses the idea of immersion based on a non-exhaustive literature review of the topic and presents an adaptable definition of immersion that is not limited to virtual reality applications. Additionally, an exploratory experimental paradigm for measuring immersion in audiovisual experiences is described. The description of immersion and the experimental framework presented in this chapter are a starting point for resolving the difference in opinion and developing novel methods to thoroughly explore the concept of immersion respectively.
En el proceso de administrar los recursos comunes de un territorio, los Estados, a través de sus gobiernos, definen, diseñan, priorizan, despliegan, y frecuentemente también repliegan, todo tipo de servicios. Más allá de la complejidad inherente a la estructura de la organización (gobierno central, regional, municipal, entre otros), encontramos en cada caso diversos niveles de madurez de estos servicios, no solo en cuanto a su efectividad (si cumple o no con su propósito en el tiempo esperado), sino también en cuanto a su grado de digitalización (en qué medida requiere de la presencia física del ciudadano) y la calidad de la experiencia (en qué grado se satisfacen y superan las expectativas de los ciudadanos). Aunque el análisis de todos los factores que influyen en el rendimiento de los gobiernos escapa al objetivo de este capítulo, sabemos que centrar al gobierno y el diseño de los servicios públicos en las necesidades de los ciudadanos que los utilizan, considerando apropiadamente las relaciones de confianza entre funcionarios públicos y ciudadanos, son condiciones fundamentales que hacen posible el buen rendimiento, como bien lo ha documentado Tendler (1997) en sus estudios sobre buen rendimiento.
Digital artefacts call for new design challenges: they enable services, technology-driven and multidisciplinary never ended processes, uncouple form-function, in a social relationship that must be ecosystem-framed. Then, the usual design mindset is not proper and expected vs unexpected outcomes must be equally studied. A framework of methods, in view of the usual design variables and the new ones called by design of smart objects, is here offered. From that the seeds for the future aid to the design process of smart objects result. Then, Objectomy and one real application case are described.
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