robertogreco + ui   129

The UX design case of closed captions for everyone // Sebastian Greger
"Are video subtitles really chiefly for users who cannot hear or lack an audio device? A recent Twitter thread on “closed captions for the hearing” triggered a brief qualitative exploration and thought experiment – there may well be a growing group of users being forgotten in the design of closed captions.

Most commonly perceived as an auxiliary means for the hearing impaired, video subtitles, a.k.a. closed captions (CC), have only recently started to be widely considered as an affordance for users in situations with no audio available/possible (think mobile devices in public settings, libraries, shared office spaces); the latter to the extend that contemporary “social media marketing guidelines” strongly recommend subtitling video clips uploaded to Facebook, Twitter et al.

So: subtitles are for those who cannot hear, or with muted devices?

Who else uses closed captions?

I’m personally a great fan of closed captions, for various reasons unrelated to either of the above, and have often noticed certain limitations in their design. Hence, the user researcher inside me just did a somersault as I randomly encountered a Twitter thread [https://twitter.com/jkottke/status/1091338252475396097 ] following Jason Kottke asking his 247.000 followers:
After seeing several photos my (English-speaking, non-deaf) friends have taken of their TV screens over the past week, I’m realizing that many of you watch TV with closed captions (or subtitles) on?! Is this a thing? And if so, why?

The 150+ replies (I guess this qualifies as a reasonable sample for a qualitative analysis of sorts?) are a wonderful example of “accessibility features” benefiting everybody (I wrote about another instance recently [https://sebastiangreger.net/2018/11/twitter-alt-texts-on-db-trains/ ]). The reasons why people watch TV with closed captions on, despite having good hearing abilities and not being constrained by having to watch muted video, are manifold and go far beyond those two most commonly anticipated use cases.

[image: Close-up image of a video with subtitles (caption: "Closed captions are used by people with good hearing and audio playback turned on. An overseen use case?")]

Even applying a rather shallow, ex-tempore categorisation exercise based on the replies on Twitter, I end up with an impressive list to start with:

• Permanent difficulties with audio content
◦ audio processing disorders
◦ short attention span (incl., but not limited to clinical conditions)
◦ hard of hearing, irrespective of age
• Temporary impairments of hearing or perception
◦ watching under the influence of alcohol
◦ noise from eating chips while watching
• Environmental/contextual factors
◦ environment noise from others in the room (or a snoring dog)
◦ distractions and multitasking (working out, child care, web browsing, working, phone calls)
• Reasons related to the media itself
◦ bad audio levels of voice vs. music
• Enabler for improved understanding
◦ easier to follow dialogue
◦ annoyance with missing dialogue
◦ avoidance of misinterpretations
◦ better appreciation of dialogue
• Better access to details
◦ able to take note of titles of songs played
◦ ability to understand song lyrics
◦ re-watching to catch missed details
• Language-related reasons
◦ strong accents
◦ fast talking, mumbling
◦ unable to understand foreign language
◦ insecurity with non-native language
• Educational goals, learning and understanding
◦ language learning
◦ literacy development for children
◦ seeing the spelling of unknown words/names
◦ easier memorability of content read (retainability)
• Social reasons
◦ courtesy to others, either in need for silence or with a need/preference for subtitles
◦ presence of pets or sleeping children
◦ avoiding social conflict over sound level or distractions (“CC = family peace”)
• Media habits
◦ ability to share screen photos with text online
• Personal preferences
◦ preference for reading
◦ acquired habit
• Limitations of technology skills
◦ lack of knowledge of how to turn them off

An attempt at designerly analysis

The reasons range from common sense to surprising, such as the examples of closed captions used to avoid family conflict or the two respondents explicitly mentioning “eating chips” as a source of disturbing noise. Motivations mentioned repeatedly refer to learning and/or understanding, but also such apparently banal reasons like not knowing how to turn them off (a usability issue?). Most importantly, though, it becomes apparent that using CC is more often than not related to choice/preference, rather than to impairment or restraints from using audio.

At the same time, it becomes very clear that not everybody likes them, especially when forced to watch with subtitles by another person. The desire/need of some may negatively affect the experience of others present. A repeat complaint that, particularly with comedy, CC can kill the jokes may also hint at the fact that subtitles and their timing could perhaps be improved by considering them as more than an accessibility aid for those who would not hear the audio? (It appears as if the scenario of audio and CC consumed simultaneously is not something considered when subtitles are created and implemented; are we looking at another case for “exclusive design”?)

And while perceived as distracting when new – this was the starting point of Kottke’s Tweet – many of the comments share the view that it becomes less obtrusive over time; people from countries where TV is not dubbed in particular are so used to it they barely notice it (“becomes second nature”). Yet, there are even such interesting behaviours like people skipping back to re-read a dialogue they only listened to at first, as well as that of skipping back to be able to pay better attention to the picture at second view (e.g. details of expression) after reading the subtitles initially.

Last but not least, it is interesting how people may even feel shame over using CC. Only a conversation like the cited Twitter thread may help them realise that it is much more common than they thought. And most importantly that it has nothing to do with a perceived stigmatisation of being “hard of hearing”.

CC as part of video content design

The phenomenon is obviously not new. Some articles on the topic suggest that it is a generational habit [https://medium.com/s/the-upgrade/why-gen-z-loves-closed-captioning-ec4e44b8d02f ] of generation Z (though Kottke’s little survey proves the contrary), or even sees [https://www.wired.com/story/closed-captions-everywhere/ ] it as paranoid and obsessive-compulsive behaviour of “postmodern completists” as facilitated by new technological possibilities. Research on the benefits of CC for language learning, on the other hand, reaches back [https://www.tandfonline.com/doi/abs/10.1080/19388078909557984 ] several decades.

No matter what – the phenomenon in itself is interesting enough to make this a theme for deeper consideration in any design project that contains video material. Because, after all, one thing is for sure: closed captions are not for those with hearing impairments or with muted devices alone – and to deliver great UX, these users should be considered as well."

[See also: https://kottke.org/19/04/why-everyone-is-watching-tv-with-closed-captioning-on-these-days ]
closedcaptioning  subtitles  closedcaptions  text  reading  genz  generationz  audio  video  tv  film  dialogue  listening  howweread  2019  sebastiangreger  literacy  language  languages  ux  ui  television  ocd  attention  adhd  languagelearning  learning  howwelearn  processing  hearing  sound  environment  parenting  media  multimedia  clarity  accents  memory  memorization  children  distractions  technology  classideas 
march 2019 by robertogreco
Gradients are everywhere from Facebook to the New York Times - Vox
"Here’s why The Daily, Coachella, and Facebook all use backgrounds that look like a sunset."



"What it is: A digital or print effect where one color fades into another. Typically rendered in soft or pastel tones.

Where it is: Gradients are seemingly everywhere in media and marketing. They are part of a suite of Facebook status backdrops introduced in 2017 and the branding for the New York Times’ popular podcast The Daily, which displays a yellow to blue gradient.

Gradients have taken over Coachella’s app and website (if you watch carefully, the colors shift). Ally’s billboard in A Star Is Born is a full-on gradient, and so was the branding for the Oscars ceremony that recognized Lady Gaga.

On Instagram, they provide a product backdrop for popular Korean beauty brand Glow, and have been embraced by indie magazines Gossamer and Anxy — both designed by Berkeley studio Anagraph.

On the luxury front, Brooklyn wallpaper company Calico has released an entire collection of gradient wallpapers called Aurora. Meanwhile, Spanish fashion house Loewe has introduced a version of their trendy Elephant bag in a spectrum of pink to yellow.

Are gradients drinkable? Heck yes, they are. Seltzer startup Recess has gone all-in on gradients in their branding.

Why you’re seeing it everywhere: Gradients are the confluence of three different trends: Light and Space art, vaporwave, and bisexual lighting.

In the art and design world, Light and Space — developed in the 1960s and ’70s — has been experiencing a revival thanks to its Instagramability. Light and Space pioneer James Turrell has been embraced by celebrities like Beyoncé, Drake, and Kanye West. Drake’s Hotline Bling video was inspired by Turrell’s light-infused rooms called Ganzfelds. The Kardashian-Jenner-West crew posted an Instagram in front of one of Turrell’s works in Los Angeles. (I was yelled at by security for taking a picture there but it’s fine.)

[image]

Most recently, West donated $10 million dollars to the artist.

James Turrell’s works come with a warning because the visitor quickly loses all depth perception. Soft gradients are alluring because they cut through the noise of social media, but they also are disorienting. The Twitter bot soft landscapes operates on a similar principle, but some days the landscape all but disappears.

“It’s nice to see calming things amongst all of the social ramifications of Instagram,” says Rion Harmon of Day Job, the design firm of record for Recess. Harmon compares the Recess branding to a sunset so beautiful you can’t help but stare (or take a picture) however busy you are. Changes to the sky are even more pronounced in Los Angeles, where Harmon’s studio is now based. “The quality of light in LA is something miraculous,” he says. The Light and Space movement was also started in Southern California, and it’s in the DNA of Coachella.

Gradients might be a manifestation of longing for sunshine and surf. But they also belong to the placeless digital citizen. 1980s and ’90s kids may remember messing around in Microsoft Paint and Powerpoint as a child, filling in shapes with these same gradients. It’s no surprise that this design effect is part of the technological nostalgia that fuels the vaporwave movement.

Vaporwave is a musical and aesthetic movement (started in the early 2010s) that spliced ambient music, advertising, and imagery from when the internet started. Gradient artwork shared by the clothing brand Public Space is vaporwave. So is this meme posted by direct-to-consumer health startup Hers.

[image]

When Facebook rolled out gradient status backgrounds in 2017, they knew what they were doing. “They have so much data into how the world works,” says Kerry Flynn, platforms reporter at Digiday. “They had a slow rollout to the color gradients … Obviously they could have pulled the plug anytime.”

Flynn goes on to explain that Facebook realized they had become their own worst enemy. There was so much information on their platform that personal sharing was down and they had to make it novel again. “Facebook wants our personal data, as much as possible. Hence, colorful backgrounds that encourage me to post information about myself and for my friends to ‘Like’ it and comment,” she says.

It’s ironic that in order to do so, Facebook borrowed from a digital texture most millennials associate with a time before Facebook. But it also mimics a current trend in film and television: bisexual lighting.

As Know Your Meme explains, “bisexual lighting is a slang in the queer community for neon lighting with high emphasis on pinks, purples, and blues in film.” These pinks, purples and blues often fade into one another — appearing like a gradient when rendered in two dimensions. Bisexual lighting shows up in the futuristic genre cyberpunk, which imagines an era in which high technology and low technology combine and cities are neon-bathed, landmarkless Gothams. (Overlapping with vaporwave.) Mainstream examples of cyberpunk include Blade Runner, Ghost in the Shell, and Black Mirror (specifically the “San Junipero” episode). Hotline Bling makes the list of examples for bisexual lighting; the gradients come full circle.

Tati Pastukhova, co-founder of interactive art space ARTECHOUSE, says gradients have become more popular as computer display quality increases. She says the appeal of gradients is “the illusion of dimension, and giving 2-D designs 3-D appeal.” ARTECHOUSE is full of light-based digital installations, but visitors naturally gravitate toward what is most photogenic — including, unexpectedly, the soft lighting the space installed along their staircase for safety reasons.

[image]

Before gradients, neon lettering was the Instagram lighting aesthetic du jour. Gradients are wordless — like saying Live Laugh Love with just colors. “There’s an inherent progression in gradients, you are being taken through something. Like that progression of Live Laugh Love. Of starting at one point and ending at another point. Evoking that visually is something people are very drawn to,” says Taylor Lorenz, a staff writer at the Atlantic who covers internet culture.

Gradients are also boundaryless. In 2016, artist Wolfgang Tillmans used gradients in his anti-Brexit poster campaign. Through gradients, designers have found the perfect metaphor for subjectivity in an era when even the word “fact” is up for debate. “Gradients are a visual manifestation of all of these different spectrums that we live on,” including those of politics, gender, and sexuality, says Lorenz. “Before, I think we lived in a binary world. [Gradients are] a very modern representation of the world.”

At the very least, gradients offer an opportunity to self-soothe.

Calico co-founder Nick Cope says the Aurora collection is often used in meditation rooms. He and his wife have installed it across from their bed at home. “The design was created to immerse viewers in waves and washes of tranquil atmospheric color,” Cope says, adding, “Regardless of the weather, we wake up to a sunrise every morning.”"

[See also:
"Is 'bisexual lighting' a new cinematic phenomenon?"
https://www.bbc.com/news/entertainment-arts-43765856 ]
color  gradients  design  socialmedia  jamesturrell  2019  light  space  perception  neon  desig  graphicdesign  ux  ui  wolfgangtillmans  nickcope  meditation  colors  tatipastukhova  artechouse  computing  bisexuallighting  lighting  queer  knowyourmeme  pink  purple  blue  cyberpunk  future  technology  hightechnology  lowtechnology  vaporwave  bladerunner  ghostintheshell  blackmirror  sanjunipero  hotlinebling  kerryflynn  facebook  microsoftpaint  rionharmon  sunsets  california  socal  losangeles  coachella  depthperception  ganzfelds  drake  kanyewest  beyoncé  anagraph  ladygaga  daisyalioto 
march 2019 by robertogreco
New American Outline 1
"These days, the mirrors we most often use to check our makeup or see if there’s gunk in our teeth are found on our phones — “smart” devices that coordinate an array of sensors and cutting-edge “image display” and “image capture” technologies to render reality within the boundaries of a powered physical display.

What’s interesting about smart-devices-as-mirrors is that the eventual representation of the “image of the world” is explicitly and wholly a “model” of the world — a “model” meaning a “ human-constructed representation (abstraction) of something that exists in reality”. Physical mirrors are interesting because they have the ability to render reality and even warp it, but what they depict is “a physical reality” in the truest sense; The physical qualities of a mirror can be seen as akin to seeing the world through air, or seeing the world through water. While a human being can physically manipulate a physical mirror to alter the final reflection, the reflection in and of itself is a product of the physical world and unalterable in totality.

To a degree, film photography was an extension of this physical realization (rendering) of reality. At a certain point, what else is the capture of light on paper but a wholly physical process? While people intervened in the path of light’s travel with lenses and apertures and specifically-designed crystal-studded paper, what emerges as a process is less a constructed model of reality and more a continually warped representation of what actually exists in the world. Film and paper photography was a deeply labor-intensive art, full of cutting and cropping and poisoning and brushwork, all serving the act of rendering what was once a beam of light into an image-rendering of a particular summer day. Impressionism lives on in this sense.

It wasn’t until recently that most photographs became literal abstractions or literal models of thought with the advent of digital photographic capture. While the earliest digital photographs presented terrible image quality/resolution, they were possibly the most honest representations of what they actually were: a product of humans manipulating bits through clever mathematic compression to render blocks of color accordingly.

“How can mirrors be real if our eyes aren’t real?”

What we “see” in our screens is wholly a model of reality, wholly an abstraction of the natural world, wholly determined and manufactured by people sitting in an office in California somewhere, typing away at an IDE. When we strip away the image rendered on a screen, when we deconstruct an algorithm, what’s left?

What does it mean when most models (abstractions) of our digital representations are constructed in California, or completely in America for that matter?

When I look at myself on my phone camera, why do I get the haunting feeling I’m not situated in New York anymore? When I scroll through all the photos of friends and strangers on Facebook or Twitter, why does it all feel so flat? When I tap through my friend’s stories on Instagram and get interrupted by an ad for shoes, why does the shoe ad feel more real than the stories it’s sandwiched between?"



"New American Interfaces

When we talk about “New American Interfaces”, it’s important to expand upon the meaning of each word for a complete sense of the conceptual picture we’re trying to paint.

We should imagine “New American Interfaces” to be less a definition, more an expansion. Less an encircling and more an arrangement collage [https://www.are.na/block/736425 ] of existing realities.

“New”ness is a direct reference to developments in human technology that span the last 10 years or so. “New” American technology does not refer to technology that was developed in the 1970s. “New” American Technology is not a reference to networking protocols or personal computers proliferating in the 90s. “Newness” refers to mobile phones finding themselves in billions of people’s hands and pockets. “Newness” refers to the viability of video streaming over wireless networks. “New” implies cameras directly imbued with the capability to re-model reality and assign social value through “the arrangement of certain interfaces” only found in the most cutting-edge devices. “New”ness implies the forgetting of the massive stacks of technology that exist to show us images of our friends and their lives in chronological order.

“America” speaks to the “Americanness” of the current world. Totalizing global governance, military might, far-reaching memetic saturation the rest of the world cannot escape from. “America” means pop culture, “America” means world police. “America” retains the ability to wobble the economy of the world when executives shitpost on Twitter. When we talk about “America”, we mean the hegemonic cultural-economic infrastructure the rest of the world rests upon whether they like it or not.

“Interfaces” speak to not any button, slider, or like button physical or digital or otherwise. “Interfaces” in the sense of “New American” interfaces refer to what Kevin Systrom meant when he called Snapchat a “format”. A replicable stack(s) of technology is an “interface”. An “interface” under this definition means every chat application is fundamentally the same and completely interchangeable. Linear conversation will always be linear conversation, and the pattern of linear conversation is what we call a messaging app, and we call this an “interface”. Every search interface is the same, every index is the same, every captive portal is the same. To take our example to the physical world, imagine this scene:

You see two chairs side by side with one another. From afar, they are completely the same. You inspect them close and they are the same, you notice they both are built from the same beautiful ash wood, every single detail is perfectly mirrored in both chairs.

One of these chairs was wholly made by human hands and the other was cut to shape by a machine, assembled by people on a factory line, and produced in the millions.

One of these chairs is an interface —"

[See also: https://www.are.na/edouard-urcades/new-american-interface ]
édouardurcades  mirrors  interfaces  ui  ux  cameras  stories  instagram  storytelling  reality  2019  snapchat  multimedia  media  kevinsystrom  format  form  newness  technology  smartphones  mobile  phones  images  imagery  buttons  jadensmith  lukaswinklerprins 
february 2019 by robertogreco
Scratching the Surface — 104. Cab Broskoski and Chris Sherron
"Cab Broskoski and Chris Sherron are two of the founders of Are.na, a knowledge sharing platform that combines the creative back-and-forth of social media with the focus of a productivity tool. Before working on Arena, Cab was a digital artist and Chris a graphic designer and in this episode, they talk about their desire for a new type of bookmarking tool and building a platform for collaborative, interdisciplinary research as well as larger questions around open source tools, research as artistic practice, and subverting the norms of social media."

[direct link to audio:
https://soundcloud.com/scratchingthesurfacefm/104-cab-broskoski-and-chris-sherron ]
jarrettfuller  are.na  cabbroskoski  chrissherron  coreyarcangel  del.icio.us  bookmarkling  pinterest  cv  tagging  flickr  michaelcina  youworkforthem  davidbohm  williamgibson  digital  damonzucconi  stanleykubrick  stephaniesnt  julianbozeman  public  performance  collections  collecting  research  2000s  interview  information  internet  web  sharing  conversation  art  design  socialmedia  socialnetworking  socialnetworks  online  onlinetoolkit  inspiration  moodboards  graphicdesign  graphics  images  web2.0  webdesign  webdev  ui  ux  scratchingthesurface  education  teaching  edtech  technology  multidisciplinary  generalists  creative  creativitysingapore  creativegeneralists  learning  howwelearn  attention  interdisciplinary  crossdisciplinary  crosspollination  algorithms  canon  knowledge  transdisciplinary  tools  archives  slow  slowweb  slowinternet  instagram  facebook 
january 2019 by robertogreco
The iPad as a fast, precise tool for creativity – UX Collective
"Using these five premises, we built the prototype app as follows:

1. Stylus required: We take advantage of everything at the disposal of the average human: two hands (including ten individual fingers) and the stylus as distinct input methods, sometimes used in tandem.

2. Put your hands all over it: Dossier has almost zero chrome, allowing the user’s content to occupy the entire screen, and very few buttons activated by a single tap.

3. No-wait commands: Nothing in the Dossier command vocabulary requires long-press or other delay. The common operation of moving a card via one-finger drag responds instantly, metaphorically like sliding index cards around on a table.

4. Read the manual: Dossier has a cheatsheet available in the main menu which describes the full palette of commands available to the user.

All of this comes together with point 5, the command vocabulary. Commands such as copy, paste, and delete (normally hidden behind long-press context menus on mobile applications) are available by drawing a glyph with your stylus. We recognize glyphs using the $1 Unistroke recognizer as implemented in Swift."

[video: https://www.youtube.com/watch?v=cMLCj3ZvBUc ]

[See also: https://www.inkandswitch.com/ ]
ipad  ipadpro  creativity  applications  ui  ux  glyphs  input  stylus  2018  juliaroggatz  milošmilikić  adamwiggins 
july 2018 by robertogreco
Why cards are the future of the web - Inside Intercom
"Cards are fast becoming the best design pattern for mobile devices."



"In addition to their reputable past as an information medium, the most important thing about cards is that they are almost infinitely manipulatable. See the simple example above from Samuel Couto Think about cards in the physical world. They can be turned over to reveal more, folded for a summary and expanded for more details, stacked to save space, sorted, grouped, and spread out to survey more than one.

When designing for screens, we can take advantage of all these things. In addition, we can take advantage of animation and movement. We can hint at what is on the reverse, or that the card can be folded out. We can embed multimedia content, photos, videos, music. There are so many new things to invent here.

Cards are perfect for mobile devices and varying screen sizes. Remember, mobile devices are the heart and soul of the future of your business, no matter who you are and what you do. On mobile devices, cards can be stacked vertically, like an activity stream on a phone. They can be stacked horizontally, adding a column as a tablet is turned 90 degrees. They can be a fixed or variable height.

Cards are the new creative canvas

It’s already clear that product and interaction designers will heavily use cards. I think the same is true for marketers and creatives in advertising. As social media continues to rise, and continues to fragment into many services, taking up more and more of our time, marketing dollars will inevitably follow. The consistent thread through these services, the predominant canvas for creativity, will be card based. Content consumption on Facebook, Twitter, Pinterest, Instagram, Line, you name it, is all built on the card design metaphor.

I think there is no getting away from it. Cards are the next big thing in design and the creative arts. To me that’s incredibly exciting."
cards  web  webdesign  webdev  userinterface  ux  userexperience  ui  design  mobile  pauladams 
september 2017 by robertogreco
Books that have shaped our thinking – Nava PBC
"Recommended reads related to civic tech, health, government, behavioral science, design and engineering

At Nava we have a living Google Doc where we link to books that help us understand the systems and architecture we use. The intention of this document is to form a baseline of readings that new employees will need and to share with other employees good resources for being productive.

Below are some of our favorites from that list:

Sorting Things Out: Classification and its Consequences
by Susan Leigh Star and Geoffrey C. Bowker
This covers, in great detail, the astounding ways that the models we make for the world end up influencing how we interact with it. This is incredibly relevant to our work: the data models we define and the way we classify and interpret data have profound and often invisible impacts on large populations. — Sha Hwang, Co-founder and Head of Creative

Decoded
by Jay Z
Decoded is Jay Z’s autobiography and describes his experience as a black man growing up in an impoverished neighborhood in NYC. In particular, there is a passage about poor people’s relationship to the government that changed the way I think about the perception of those government services that I work to improve. This book showed me that the folks we usually want to serve most well in government, are the ones who are most likely to have had profoundly negative experiences with government. It taught me that, when I work on government services, I am rebuilding a relationship, not starting a new one. Context is so important. It’s a fun, fast read and I used to ask that our Apprentices read at least that passage, if not the whole book, before starting with our team at the NYC Mayor’s Office. — Genevieve Gaudet, Designer

Seeing like a State
by James C. Scott
A reminder that the governance of people at scale can have unintended consequences when removed from people’s daily lives and needs. You won’t think of the grid, property lines, and last names the same way again.— Shelly Ni, Designer

Quiet: The Power of Introverts in a World That Can’t Stop Talking
by Susan Cain
Cain uses data and real world examples of how and why introverts are overlooked in American culture and then discusses how both introverts and extroverts can play a role in ensuring introverts get a seat at the table and a word in the conversation. — Aimee Barciauskas, Software Engineer

Capital in the Twenty-First Century
by Thomas Piketty
This book analyzes the long-term fluctuations in wealth inequality across the globe, from the eighteenth century to present. He exposes an incredibly important issue in a compelling way, using references not just to data, but to history and literature to prove his point. — Mari Miyachi, Software Engineer

Master of the Senate: The Years of Lyndon Johnson III
by Robert A. Caro
Our most underhanded president also brought us Medicaid, Medicare, and civil rights. Was Machiavelli so bad after all? — Alex Prokop, Software Engineer

Praying for Sheetrock
by Melissa Fay Greene
A true, close-up story of McIntosh County, Georgia, a place left behind by the greater Civil Rights movement of the 1960s. This is a story about the civil rights movement that shakes up the community in the 1970s, and this is also a story about burnout, and organizing, and intergenerational trauma. — Shelly Ni, Designer

The Healing of America: A Global Quest for Better, Cheaper, and Fairer Health Care
by T. R. Reid
Reid explores different models for healthcare in nations across the globe. He’s searching for an understanding of why America’s system is comparatively so expensive and unsuccessful, leaving so many uninsured and unhealthy. There is a great chapter on Ayurvedic medicine which (spoiler alert) seemed to work for the author when he was suffering from a shoulder injury! — Aimee Barciauskas, Software Engineer

Creativity, Inc: Overcoming the Unseen Forces That Stand in the Way of True Inspiration
by Ed Catmull and Amy Wallace
A very enjoyable and inspirational read about the history of Pixar from founder Ed Catmull himself. It delves into what sets a creative company apart and teaches lessons like “people are more important than ideas” and “simple answers are seductive” without reading like a typical business book.— Lauren Peterson, Product Manager

Thinking, Fast and Slow
by Daniel Kahneman
The magnum opus of Nobel laureate Daniel Kahneman. Kahneman is a psychologist but his Nobel is in Economics, and unlike other winners in this category, his win stands the test of time. You will be a much better decision maker after reading this book and understanding the two modes our brains work in: System 1 intuitive “fast” thinking and System 2 deliberate “slow” thinking. It is a beast of a book, but unlike the vast majority of (pop) psychology books, this book distills decades of groundbreaking research and is the basis for so many other psychology books and research that if you read this book carefully, you won’t have to read those other books. There are so many topics in this book, I’ll just link to the Wikipedia page to give you a flavor.— Alicia Liu, Software Engineer

Nudge
by Richard H. Thaler and Cass R. Sunstein
This covers how sensible “choice architecture” can improve the decisions and behavior of people. Much of what’s covered comes from decades of research in behavioral science and economics, and has a wide range of applications — from design, user research, and policy to business and everyday life. — Sawyer Hollenshead, Designer

The Checklist Manifesto: How to Get Things Right
by Atul Gawande
This book is about how checklists can help even experts avoid mistakes. Experience isn’t enough. I try to apply the lessons of this book to the processes we use to operate our software.—Evan Kroske, Software Engineer

The Soul of a New Machine
by Tracy Kidder
This book details the work of a computer engineering team racing to design a computer. While the pace of work for the team is certainly unsustainable and perhaps even unhealthy at times, the highs and lows they go through as they debug their new minicomputer will be familiar to engineers and members of tight-knit groups of all varieties. The rush to finish their project, which was thought to be a dark horse at the beginning of the book, is enthralling and will keep you engaged with this book late into the night. — Samuel Keller, Software Engineer

Release It!: Design and Deploy Production-Ready Software
by Michael T. Nygard
One of the best, most practical books I’ve ever read about creating resilient software on “modern” web architectures. While it may not be the most relevant with regards to cloud-based infrastructure, the patterns and processes described within are still very applicable. This is one of the few technical books I have read cover-to-cover. — Scott Smith, Software Engineer

Design for Democracy
by Marcia Lausen
From an AIGA project to improve the design of ballots— both paper and electronic— following the “hanging chad” drama of the 2000 election, comes this review of best practices for designers, election officials, and anyone interested in the intersection of design and voting.—Shelly Ni, Designer

The Design of Everyday Things
by Donald A. Norman
This is a classic for learning about design and its sometimes unintended consequences. I read it years ago and I still think about it every time I’m in an elevator. It’s a great introduction to a designer’s responsibility and designing in the real world for actual humans, who can make mistakes and surprising choices about how to use the designs you create. — Genevieve Gaudet, Designer

More recommendations from the team
• The Unexotic Underclass
• Open Government: Collaboration, Transparency, and Participation in Practice
• Everybody Hurts: Content for Kindness
• Poverty Interrupted: Applying Behavioral Science to the Context of Chronic Scarcity [PDF]
• Designing for Social Change: Strategies for Community-Based Graphic Design
• Making Comics: Storytelling Secrets of Comics, Manga, and Graphic Novels
• The New New Journalism: Conversations with America’s Best Nonfiction Writers on their Craft
• The Furious Improvisation: How the WPA and a Cast of Thousands Made High Art out of Desperate Times
• The Effective Engineer: How to Leverage Your Efforts In Software Engineering to Make a Disproportionate and Meaningful Impact
• Effective DevOps: Building a Culture of Collaboration, Affinity, and Tooling at Scale"
nava  books  booklists  design  education  health  healthcare  sawyerhollenshed  jayz  susanleighstar  shahwang  geoffreybowker  decoded  jamescscott  seeinglikeastate  susancain  introverts  quiet  thomaspiketty  economics  melissafaygreene  civilrrights  socialjustice  creativity  edcatmull  amyallace  pixar  teams  readinglists  toread  howwethink  thinking  danielkahneman  government  richardthaler  casssunstein  atulgawande  tracykidder  medicine  checklists  process  michaelnygard  software  ui  ux  democracy  donalnorman  devops  improvisation  collaboration  sfsh  journalism  kindness  socialchange  transparency  participation  participatory  opengovernment  open 
may 2017 by robertogreco
Sara Wachter-Boettcher | Talk: Design for Real Life
[video: https://vimeo.com/177313497 ]

"Lots of people have weird backgrounds and diverse backgrounds. And the thing is, all of us could have made those design mistakes. Any one of us could have had a scenario where we didn’t think about it, and we made an assumption, and we built it in. Because we’re so used to thinking about our target audience as some sort of narrow, easy-to-imagine thing, somebody we can picture, right? And to be honest, if you’re white and straight and cis—speaking as somebody who is—it’s really easy to imagine that the world is full of people like you. It’s really easy to imagine that, because, like, you see people like you all the time in your social circle and on TV. And it’s really easy to forget how diverse the world really is.

So we all have these blind spots. And the only way to change that, the only way to get around that, is to do the work. And to admit it, to own up to it and say, yeah—yeah, I have bias. And it’s my job to figure that out and do the best I can to get rid of it.

Because if we don’t, and if we don’t also do the work of making our teams and our industry more diverse, more welcoming to people who are different than us, then what we’ll start to do is we’ll start to build exclusion in. An interface that doesn’t support gay people or doesn’t support people of color leads to data that doesn’t represent gay people or doesn’t represent people of color. And that has a domino effect across an entire system.

And so I think back to that example with Google images, right, with their image recognition, and I think about the machine learning that people are really excited about—and should be, because it’s amazing—and I want to remind us all: machines learn from us. They’re really good at it, actually. So we have to be really careful about what we’re teaching them. Because they’re so good at learning from us, that if we teach them bias, they’ll perform bias exceptionally well. And that’s a job that I think all of us actually play a role in, even if it seems distant at this moment."



"Design for real life

But we can do that. I think we really do our best work when we take a moment and we say, how could this be used to hurt someone? How can we plan for the worst? And that’s what I mean when I talk about designing for real life, because real life is imperfect. Real life is biased. Real life can be harmful to people.

Real life has a hell of a lot of problems.

So what I want to leave you with today is one last story that shows just how much design and content can affect people, can affect what happens in their lives.

It actually takes it back offline to standardized tests. I’m sure many of you have taken tests like this in the past with the little Scantron; you fill in the bubbles. In the United States, we take the SATs—many people take the SATs toward the end of high school as a major part of their college entrance. It plays a huge role in where you might get in.

[40:00]

They have three parts: there’s reading, there’s math and there’s writing. Reading and math are done via this multiple-choice format.

Now, for a very long time, there have been some very big disparities in those scores across race and across gender. White students outscore black students by an average of 100 points on each of those exams. And this is not new. This is about the same margin—it’s been this way for decades. And for boys and girls, you also have this as well. It’s a smaller margin, but you’ve got a little bit of a difference in reading for boys versus girls, and then about a 30-point difference in math.

And what researchers have really started to show is that one of the reasons that this gap is not narrowing—despite all of these other indicators that you would think it might, like the number of women who are going to college and all that, right—it’s not narrowing, because the test is actually biased. Because Education Testing Services, which is the people who write all the questions for the test, what they do is they pretest everything, so potential questions get pretested before they make it to an exam. What that does is it assumes in their testing process that “a ‘good’ question is one that students who score well overall tend to answer correctly, and vice versa.”

So what that means is that if a student who scores well on the current SAT, in the current system with the current disparities, if they tend to do well on this other question, then it’s a good question, and if they don’t, then it’s bad. “So if on a particular math question, girls outscore boys or blacks outscore whites, that question has almost no chance of making the final cut,” because what is happening is that process is perpetuating the disparity that already exists. It’s re-inscribing that disparity over and over again, because it’s making a test perform the same for the people it’s always performed well for, right? The people it was first made for in the ‘20s. People who went to college in the ‘20s, and ‘30s, and ‘40s, and ‘50s. Not the diversity of people who are in college now.

And I tell this story, because this is design, and this is content. What is a test like that, besides content, the questions, and an interface with which a student actually answers it, the test itself? This is what happens when we assume that our work is neutral, when we assume that the way that things have been doesn’t have bias already embedded in it. We allow the problems of the past to re-inscribe themselves over and over again.

And that’s why I think that this is us. This is our work. This is not just the work of, you know, super technical folks, who are involved with AI. This is all of us.

Because ultimately, what we put into interfaces, the way that we design them, what the UI copy says, they affect how people answer questions. They affect what people tell us. They affect how people see themselves. So whether you’re writing a set of questions that a defendant has to fill out that’s going to get them rated as a risk for criminal recidivism, or you’re just explaining how to use a form or establishing default account settings, the interface will affect the input that you get. And the input is going to affect the outcome for users. For people.

The outcomes define norms: what’s perceived as normal and average in our society, the way that we see people. Who counts.

What this means is that design has a lot of power. More power, I think, than we sometimes realize. More power than we sometimes want to believe as we’re sort of like squabbling in our companies about whether we’re being invited to the right meetings. There’s a fundamental truth that design has a lot of power.

And so the question is not whether we have power, but how we’ll use it.

Do we want to design for real people, facing real injustice and real pain? Do we want to make the world a little fairer, a little calmer, and a little safer? Or are we comfortable looking the other way?

I’m not. And so I hope you’ll join me. Thank you."

[via: "Every interface decision encodes culture into the system. So what are we encoding? Video/transcript of my new talk:"
https://twitter.com/sara_ann_marie/status/771736431106678784 ]
bias  diversity  inclusion  inclusivity  sarawachter-boettcher  2016  ui  ux  interface  design  testing  standardization  standardizedtesting  sat 
september 2016 by robertogreco
Dark Patterns are designed to trick you (and they’re all over the Web) | Ars Technica
"No, it's not only you—some user interfaces today intentionally want to confuse and enroll."
ui  dishonesty  design  ux  darkpatterns  internet  webdev  interface  webdesign 
july 2016 by robertogreco
SXSW Keynote - "You Know What? Fuck Dropdowns." - YouTube
"Over 3 years, 120,000 words were written about the future of technology. Two sentences stood out:

"You know what? Fuck dropdowns."

Join Golden Krishna of Google, the author of the 120,000 word book "The Best Interface is No Interface", and Eric Campbell of Rdio who ask all designers to say “Fuck you, dropdowns.”

Our relationship with technology survives on old form field mechanisms. While they provide a way for us to tell our tech what to do, they also provide yet another annoying and unnecessary hoop for the consumer to jump through before reaching his destination.

Join us for the conversation that marks the beginning of the death of dropdowns."

[See also: http://www.fuckdropdowns.com/ ]
dropdowns  webdev  web  design  goldenkrishna  ericcampbell  2p16  via:nicolefenton  ui  webdesign 
july 2016 by robertogreco
Design Is Mainly About Empathy — Track Changes
"1. The user has a way of thinking about the information they want. Example: “I heard about jousting and it sounds weird so I think I’ll watch some jousting videos.”

2. The information our user needs actually exists a certain way in the world. Example: A database of video information with some metadata are magnetized regions of alloy on a hard drive on a server somewhere in North Carolina.

3. A product designer has represented the information to the user with some degree of abstraction. Example: A web page at a certain URL shows a place to type a search query, a loading indicator, some branding, a sorted list of results with previews, and a plenty of enticing buttons to click on in case your jousting interest flickers out and Christina Aguilera on Jimmy Kimmel could help you pass the time instead.

[screenshot captioned: "Jousting is actually pretty interesting btw"]

Between the magnetized alloy and a user on a couch watching jousting videos is…a bunch of abstraction. So it’s the job of a good product designer to hold all three models of the information in her mind, and build a bridge between them. She covers the gaps between her users and the machine, so her users don’t have to bother. As Alan Cooper puts it:
Computer literacy is a euphemism for forcing human beings to stretch their thinking to understand the inner workings of application logic, rather than having software-enabled products stretch to meet people’s usual ways of thinking.


Let’s take a closer look at those three methods. Alan Cooper tackles all three in the seminal About Face: The Essentials of Interaction Design.

The first one is the user’s mental model. Cooper writes that a lot of people think “electricity flows like water from the wall into the appliances through the little black tube of the electrical cord” when they plug in their vacuum or computer.

Of course, the electricity doesn’t flow like water at all. In the real world, electricity’s implementation model is much more complex. But a simpler view of electricity works just fine for most of us. It’s informative enough to help us understand, for example, that we need to cram a cord into an outlet to charge our computer.

Finally, the represented model is the way the thing ends up looking to the user. This is the part the designer spends their time working on, and the part that people will actually touch.

Here’s the secret for the designer, again from Cooper:
“The closer the represented model comes to the user’s mental model, the easier he will find the application to use and understand.”


Bravo! For a designer, that might mean spending more time talking to users, and less time digging through the API. It might mean that early design phases are better spent researching user psychology instead of tinkering with typography.

The user’s mental model, faulty though it may be, is our guiding light. If we don’t invest effort in understanding that model, it’s going to be really hard to know if our work is successful. Design is mainly about empathy.

Example time. Animation is a great tool for practicing user empathy. Animation is a user interface pattern for aligning a user’s mental model with the product’s represented model. The notifications menu in iOS 9 isn’t physically tucked up underneath the top of the device on a curtain roll, and everyone knows that. But users have mental models of tugging on objects in their world from the near the top to reveal a new temporary state.

[two GIFs (one of blinds, one of the notifications pane in iOS being opened by swiping from the top) captioned "Blinds image courtesy IKEA"]

The thing that’s special about the represented model—Cooper helped me see this—is that it’s the only part a designer can control. We can’t control the implementation model, because a good engineer will use abstractions in the codebase to make it maintainable and safe. And we can’t control our user’s mental model, since it’s shaped by their culture and dozens of other unknowable factors.

As designers, we have the power to manipulate representations. Design is the process of making our users feel awesome by representing the software in a way that meets them where they are."
design  ux  alancooper  richardfeynmann  teaching  empathy  explanation  2016  neilrenicker  representation  ui  mentalmodels  abstraction 
july 2016 by robertogreco
Full Thoughts on Pokemon Go from my interview on The Verge — Medium
[via: "And the ideas of "intentional obtuseness" in Pokemon Go (and Snapchat):"
https://twitter.com/tealtan/status/754162625802534912
along with these:
http://makegames.tumblr.com/post/147367627844/this-is-an-excerpt-from-the-spelunky-book-which
http://tevisthompson.com/saving-zelda/ ]

"Andrew Webster over at The Verge interviewed Rami Ismail, Asher Vollmer, and I about Pokemon Go. It's a great piece and the thoughts from Asher and Rami are very good. You should read the piece.

Pokemon Go has been as divisive as it has been phenomenal, so I wanted to post up the full-text from the interview now that parts are up online.

--- Do you think it's a good game / does it do what it sets out to do successfully?

I think Pokemon Go is a great game.

To really understand why it's important to recognize that some games are made great by their mechanics, and some are made great by their communities. Since games really only exist when they are being played, it's very difficult (or maybe impossible) to meaningfully separate a community from a game itself. I think a lot about something my friend and fellow designer Doug Wilson (JS Joust, B.U.T.T.O.N.) told me once about how he designs games: Unlike most developers I know, Doug makes games not by designing intricate and mentally exciting systems, but by looking for interactions that are just physically or emotionally fun to do. I think recognizing this emotional/physical aspect to games is key to understanding much of what Pokemon Go has done brilliantly.

I've seen twitter folks and reviewers complaining about the experience being good but the game itself being bad, but i'm not sure it's entirely fair to pick it apart like that. "What the game is mechanically" or at least what it appears to be mechanically is a huge part of what's drawing so many people to play it, and the biggest, most magical part of playing Pokemon Go right now is that it's the first real-world sized, real world game. By which I mean, the game not only takes place in the real world, but it has enough players to fill it up.

--- Does it even matter if it's "good"?

I think what people are claiming as "bad" is actually a creeping component of modern viral game design — opaque UI. Theres no indication yet as to if the extremely awkward UI of Pokemon Go was intentional or not, but either way I think the aggressive obfuscation (and lacking tutorialization) of the deeper game mechanics is doing a lot to bring players in. Not only is it hiding the more complicated parts of the game from new players, but it enables a lot of discovery sharing amongst friends, kids and parents, websites and readers, etc. Beyond the confusing gym-battle UI you can see this practice stretches into many clearly intentional design decisions in the game: Battle-use items only show up around level 8, Great Balls at level 12, and the pokedex keeps expanding as you find higher and higher numbered Pokemon. These early-level omissions both simplify the game and add to the excitement of players discovering them. How many pokemon are even in this game? I have no idea, but I sure want to find out!

--- What do you think are the most important design aspects that led to it blowing up like this? (i.e. things other than it being Pokemon)

Obviously Pokemon being a gigantic brand is the single biggest thing contributing to the massive player explosion, but no brand is powerful enough to do something like this on it's own — it had to be paired with the perfect game.

Pokemon Go does a lot of things very right, and some of the easiest to spot pop up pretty quickly when you compare it to older team-based AR games like ConQwest or Niantic's own Ingress. Unlike those prior AR games, Pokemon Go is not initially (or necessarily ever) a competitive game. Additionally, like many of the most successful mobile games, you can grasp the entire initial ruleset from watching someone else play the game.

It seems obvious to say, but I believe one of the most substantial features of Pokemon Go is that just walking around catching Pokemon is fun, even if you do absolutely nothing else. And while it seems simple, there are a lot of clever mechanics supporting this small action. The hilariously jankey but stressful ball tossing minigame is just hard enough to make you feel proud when you catch a pokemon, but still incredibly accessible. The vaguely detective-like tracking interface gives you a good reason to rush outside if theres a new pokemon silhouette, while still making them just hard enough to find to encourage strangers on the street to offer unsolicited advice to other players. Even the AR component is used appropriately sparingly to drive home the collecting game. While the technology is still rough, it works just well enough to cement our belief that pokemon are actually in places, and drives the language that players use to communicate with each other ("Theres a squirtle on that corner!"). AR gives the more visible and obvious side-bennefit of social image sharing, but I think its most successful function in Pokemon Go is it's capacity to feed our imaginations. Despite being an AR game, Pokemon Go is still largely played in our imaginations, just like any other game, and being able to see a Pikachu on a street-corner just for a second fuels our fantasy worlds immensely.

--- As a designer what are the most interesting aspects of the game / phenomenon to you? LIke what are things you would like to pull from it for your own?

One of the most exciting things about the success of Pokemon Go is that it gives us a blueprint for what people want out of augmented reality. As far as I can tell, the biggest thing we want from it is social camaraderie — which, feels like it should be obvious, but clearly was not when you look at just how few prior AR games have been non-competitive. Less excitingly but just as obviously, AR game players want to see and interact with other players around them. While news outlets joke that Pokemon Go is a great excuse to go out into the real world and then ignore it, I'd argue that while Pokemon Go players are potentially less connected to the physical outdoors than non-players, they're more connected to the social fabric of society outside. I've interacted with more strangers in NYC in a few days of playing Pokemon than in the last decade I lived there. In aggressively fractured world of headphones and podcasts and socially-filtered news, it's really exciting to see a piece of tech that makes the social space feel vast and whole again.

Of course, there are developers and thinkers out there who are sad to see AR require such high-levels engagement to take off, lamenting that this kind of feat is only viable to global brands, and while that may be true, I think this kind of game coming out only makes it more accessible to indies. I'm certainly not saying that it is accessible to indies, but that this can only help. Not only does it introduce huge swaths of people to AR games, but it also shows us what we're up against if we want to make something like this, and the first thing that makes solving an impossible problem easier knowing exactly what the problem is."
vi:tealtan  pokemongo  2016  games  gaming  play  interface  ux  learning  howelearn  howweplay  videogames  andrewwebster  ramiismail  ashervollmer  zachgage  ar  design  ui  snapchat  srg  edg  gamedesign  zpd  howwelearn  exploration  pokémongo  augmentedreality 
july 2016 by robertogreco
Ghost in the machine: Snapchat isn’t mobile-first — it’s something else entirely — Free Code Camp
"Snapchat is not mobile-first, and it’s not really an app anymore. Nor is it a meta-app platform at this point like Facebook Messenger is angling to become (at least not yet). Snapchat is a true creature of mobile, a living, breathing embodiment of everything that our camera-enabled, networked pocket computer can possibly offer. And in its cooption of smartphones into a true social operating system, we see the inklings of what is beyond mobile.
When I open Snapchat up to the camera, I can’t shake the feeling that the ghost is banging on the glass, trying to break out into the world."
snapchat  benbasche  2016  photography  ar  augmentedreality  design  ux  ui  media  susansontag  nathanjurgenson  cameras  feeds  mobile  mobilefirst  twitter  facebook  instagram  experience  socialmedia  smartphones  uber  authenticallymobile  evanspiegel 
july 2016 by robertogreco
The Problem With Flat Design, According To A UX Expert | Co.Design | business + design
"Paying attention to the older users—the ones who don't "like" flat design—might help to solve flat design's usability issues sooner. This insight echoes the ideas of other technology companies moving toward "inclusive design," or the notion that by designing for ignored or underserved users—including the elderly or disabled—products will become better for all. Inclusive design has quietly spurred some of the biggest technological leaps of our time: Cliff Kuang, writing about the evolution of this approach, recently pointed out that the typewriter, email, and even the telephone evolved out of designs for the blind and deaf.

Now, the same idea is being embraced at larger companies including Microsoft and Ford, leading a new wave of inclusive design in technology. Interface design, which is so deeply connected to competition between major operating systems and fashion in general, has been slower to adapt. Yet Meyer's research, along with products Learn To Quit—an app designed alongside psychologists specifically for mentally ill users—show that the same ideas are making their way into UI.

What's more, the scientific process is finally being leveraged by designers to differentiate between what users "like" and what they actually use. The difference, it turns out, is larger than you'd think."
design  flatdesign  ui  ux  microsoft  katemeyer  2016 
march 2016 by robertogreco
Microsoft's Radical Bet On A New Type Of Design Thinking | Co.Design | business + design
"De los Reyes wasn’t proposing that Microsoft become a sidewalk company. He was proposing a metaphor. He was hoping to find the digital world’s equivalent of the curb cut, something elegant that let everyone live a little easier. At a meeting of Shum’s top deputies, de los Reyes mooted this idea of making Microsoft’s design accessible to all. On its face, this idea flattered Microsoft’s culture. Remember how Windows famously let you adjust the setting on almost anything you wanted, while Apple didn’t? That wasn’t an accident, but rather the perfect expression of Microsoft’s abiding belief, descended from the great garage-hacker Bill Gates, that users should be able to adjust everything they touched as they saw fit. So for Microsofties, it was only natural to think that users, including the disabled, should have as many settings as they wanted. But de los Reyes was after something more ambitious. Kat Holmes, there at the meeting with Shum, supplied another puzzle piece."



"One of Holmes’ first insights was that she didn’t have to figure out all these problems on her own. Other people already had. After all, real personal assistants think every day about getting their clients to trust them, providing the right information at the right time, being helpful before you’ve been asked. So Holmes sought them out. She found real personal assistants who’d served demanding clients ranging from celebrities to billionaires. By studying how they delicately cultivated trust, Holmes was able to recommend a series of behaviors for Cortana. The best personal assistants have logs about client preferences, but they’re also transparent about why they’re recommending certain things. Thus, Cortana, unlike Siri or Google Now, has a log of all the preference data that it has extrapolated about you, which users can edit. Cortana also behaves like a human would, though she doesn’t quite have a personality: Instead of simply giving you a flippant joke when befuddled by a question, like Siri does, Cortana admits to what she does and doesn’t know. She asks you to teach her, just like a trustworthy personal assistant would.

The point wasn’t simply to copy what those personal assistants did, it was to figure out why they were doing what they did. Instead of tackling a thorny problem head on, Holmes had found an analogue to give structure to what she was doing, to provide a framework for the endeavor.

And then Holmes saw the movie Her, a visionary sci-fi film in which a love-lorn everyman played by Joaquin Phoenix falls in love with a digital assistant voiced by Scarlett Johansson. Holmes wangled her way into a connection with the movie’s production designer, K.K. Barrett, and asked him how he’d come up with such a credible-looking vision of the future—one which, in fact, she’d been working on even as the movie was being shot. Barrett answered with a curveball: He said that to make the technology look futuristic, he’d taken everything out that was technology. His approach was to simply let the director Spike Jonze focus only on what was human. All at once, Holmes saw it: She figured that in trying to understand how computers should interact with humans, the best guide was how humans interacted with humans."



"De los Reyes and Holmes, with the help of design experts including Allen Sayegh at Harvard and Jutta Treviranus at the Ontario College of Art and Design, eventually hit upon a vein of design thinking descended from Pat Moore, and universal design. Dubbed inclusive design, it begins with studying overlooked communities, ranging from dyslexics to the deaf. By learning about how they adapt to their world, the hope is that you can actually build better new products for everyone else.

What’s more, by finding more analogues between tribes of people outside the mainstream and situations that we’ve all found ourselves in, you can come up with all kinds of new products. The big idea is that in order to build machines that adapt to humans better, there needs to be a more robust process for watching how humans adapt to each other, and to their world. "The point isn’t to solve for a problem," such as typing when you’re blind, said Holmes. "We're flipping it." They are finding the expertise and ingenuity that arises naturally, when people are forced to live a life differently from most."



"As promising as these smaller projects might be, Holmes and de los Reyes believe there is a bigger opportunity. Today, we are drowning in interactions with smartphones and devices, such as our cars and homes—all of which suddenly want to talk to our phones as well. We live in a world of countless transitions. Instead of one device, there is actually an infinite number of hands-off between devices. There needs to be a new kind of design process to manage those seams. "The assumptions about computing are that our devices are one-on-one with visual interactions," Holmes points out. "The design discipline is built around those assumptions. They assume that we’re one person all the time."

Holmes believes that inclusive design, by bringing a diverse set of users into a design process that typically strips away differences and abstracts them into what seems user-friendly to the maximum number of people, can actually help with the fact that our capabilities change throughout the day. We don’t simply have a persona, fixed in time and plastered on a storyboard, like most design processes would have it. We have a persona spectrum. When you’re a parent with a sprained wrist, or you’re reaching for your phone while holding your groceries, you share a world, albeit briefly, with someone who has only ever been able to use one hand. "There is no such thing as a normal human," Holmes says. "Our capabilities are always changing."

The hope is that in seeking out new people to include in the design process, we can smooth away the gaps that bedevil our digital lives. Which brings to mind Pellegrino Turri and his typewriter, Alexander Graham Bell with his telephone, and Vint Cerf and email—these were inventors who all started with the disabled in mind but eventually helped everyone else. The difference is that while each of those inventors stumbled upon an analogue that helped them invent something that everyone else could use, Microsoft is starting with the analogues. They're seeking out the disabled and the different, confident that they've already invented exactly the solutions that the rest of us need.

For de los Reyes, the promise of this new design process isn't in just a better Microsoft: "If we're successful, we're going to change the way products are designed across the industry. Period. That's my vision.""
disability  microsoft  design  conversationalui  accessibility  2016  augustdelosreyes  cortana  siri  googlenow  katholmes  ux  ui  interface  juttatreviranus  allensayegh  julielarson-green  albertshum  stayanadella  normal  inclusivedesign  incluive  inclusivity  disabilities 
march 2016 by robertogreco
The Future of Chat Isn’t AI — Medium
"So if not AI, then what? What will bots let you do that was never possible before?

We think the answer is actually quite simple: For the first time ever, bots will let you instantly interact with the world around you. This is best illustrated through something that I experienced recently.

During last year’s baseball playoffs, I went to a Blue Jays game at the Rogers Centre. I was running late, so I went straight to my seat to catch as much of the game as I could. But when I got there, I realized I was the only one of my friends without a beer. So, with no beer guy in sight, I turned back to go get a beer. After 10 minutes of waiting in line, I finally got back to my seat. I had missed two home runs.

But good news! In the future, this will never have to happen again. The stadium is developing an app that will let you order from your seat. So next time, I won’t have to miss a beat — I’ll just order through the app. It will be great. Or will it?

Imagine I had sat down and found that there was a sticker on the back of the chair in front of me that said, “Want a beer? Download our app!” Sounds great! I’d unlock my phone, go to the App Store, search for the app, put in my password, wait for it to download, create an account, enter my credit card details, figure out where in the app I actually order from, figure out how to input how many beers I want and of what type, enter my seat number, and then finally my beer would be on its way.

Actually, I would have been better off just waiting in line.

And yet there are so many of these types of apps: apps to order train tickets at stations; apps to order food at restaurants; and apps to order movie tickets at theatres. Everyone wants you to just “download our app!” And yet, after spending millions of dollars developing them, how many people actually use them? My guess: not a lot.

But imagine the stadium one more time, except now instead of spending millions to develop an app, the stadium had spent thousands to develop a simple, text-based bot. I’d sit down and see a similar sticker: “Want a beer? Chat with us!” with a chat code beside it. I’d unlock my phone, open my chat app, and scan the code. Instantly, I’d be chatting with the stadium bot, and it’d ask me how many beers I wanted: “1, 2, 3, or 4.” It’d ask me what type: “Bud, Coors, or Corona.” And then it’d ask me how I wanted to pay: Credit card already on file (**** 0345), or a new card.

Chat app > Scan > 2 > Bud > **** 0345. Done."



"To be clear, this is just the beginning of the bots era, and there are many developments to come. The leaders in this space — Kik, WeChat, Line, Facebook, Slack, and Telegram — all have their own ideas about how this is all going to play out. But one thing I think we can all agree on is that chat is going to be the world’s next great operating system: a Bot OS (or, as we like to call it, BOS).

These developments open up new and giant opportunities for consumers, developers, and businesses. Chat apps will come to be thought of as the new browsers; bots will be the new websites. This is the beginning of a new internet."
chat  ai  artificialintelligence  2016  tedlivingston  kik  slack  telegram  facebook  ui  ux  interface  api  wechat  bots  qrcodes 
march 2016 by robertogreco
Popular versus Brilliant | Designers + Geeks
"Jim Bull is worried about the future of design and thinks you should be too. Co-founder and Chief Creative Officer of Moving Brands, Jim dissects an industry where design is judged by the number of its likes and shares, where the focus is on efficiency rather than brilliance, and where one or two companies set the design standard for the globe."

[Direct link to video: https://vimeo.com/155640569 ]

[Tagged “web rococo” because this is the opposite.]

[Not sure why there is no mention of Tibor Kalman and Oliviero Toscani in the Benetton discussion. And there seems to be some tunnel vision here. Sure, the big SV VC backed companies are all looking the same, but they're not the only ones making things on the web. You know, there are many other countries and languages to look to for something other than California Design. Uh, maybe that's more the issue: SV only sees itself and it's not diverse.]

[via: https://twitter.com/soopa/status/700559147247357952 ]
jimbbull  californiadesign  siliconvalley  2016  branding  reverence  generic  popularity  brilliance  apple  uber  medium  california  graphicdesign  webdesign  movingbrands  productdesign  sameness  webrococo  benetton  olivierotoscani  tiborkalman  design  business  california-zation  homogenization  designeducation  art  differentiation  ui  ux  screens  magicleap  ar  augmentedreality  virtualreality  packaging  vr  webdev 
february 2016 by robertogreco
Bite-size pieces
"Over the years I've noticed that just about everyone believes that everyone else uses the web as they do.

People who skim believe everyone else does too. People who skip over ads can't believe anyone looks at, or even clicks on them. People who search can't believe others don't.

It's such an irrational behavior that psychologists should add it to their known list of cognitive biases. I suggest they call it the Malkovich Bias - and define it as "the tendency to believe that everyone uses the web as you do."

The Malkovich Bias is especially prevalent in design and product development processes. It's usually an ugly and frustrating experience. Odds are good that you and your teammates don't use the web in the same way. So you've had conversations like...

"That needs to go above the fold because no one scrolls."

"That's nonsense. People scroll all the time. I do it on Google all the time."

"You might, but 78% of people don't." (I've actually seen someone reference made up stats on numerous occasions).

Rationally we can all accept that people are different and their approaches to the web differ, but that rational thought can be super tough to internalize.

Which is why I love usability testing. Much like traveling in a foreign country, we often witness behavior so counter to our own, that it makes us question our own dogmas. Similarly watching someone use the web in the exact opposite way we do, confronts and shakes our Malcovich Bias.

In a team setting, usability testing shakes the Malkovich Bias in profound ways. User testing shifts the debate. If a team witnesses a user struggle through something, everyone has a shared experience and understanding of that user's experience which serves as the starting point of the discussion and the eventual solution."
design  film  internet  productdesign  psychology  storytelling  difference  ux  ui  usabilitytesting  usability  2010  andresglusman 
february 2016 by robertogreco
It’s here: Quartz’s first news app for iPhone - Quartz
"We just released our first news app for iPhone, which you can download from the App Store right now. Tap or click here to get it.

The app, exclusive to iPhone, is a whole new way to experience Quartz. We put aside existing notions about news apps and imagined what our journalism would be if it lived natively on your iPhone. It wouldn’t be a facsimile of our website. It would be something entirely different, with original writing, new features, and a fresh interface.

Quartz for iPhone has all of that. It’s an ongoing conversation about the news, sort of like texting: We’ll send you messages, photos, GIFs, and links, and you can tap to respond when you’re interested in learning more about a topic. Each session lasts just a few minutes, so it’s perfect for the train, elevator, grocery store line, or wherever you have a spare moment to catch up on the news.

Some of our messages will also reach you through fun and relevant notifications throughout the day. You can pick what you want: haikus about how the stock market is performing, important developments in the global economy, etc. These are notifications you will actually enjoy receiving. And we won’t buzz you unless it’s really important; most alerts will just quietly light up your phone.

There are other treats to enjoy without even opening the app. On the Today screen, you can view our most compelling Atlas chart of the moment. And if you own an Apple Watch, add our complication to your watch face to see how the US markets are faring — in the form of an emoji. We make it easy to stay up-to-date on investor sentiment without doing any work at all. It’s just there.

This is a new kind of business news app, just as qz.com has strived to be a new kind of business news website. We’re excited to add Quartz for iPhone to the roster of ways in which you can get our reporting, perspective, and voice.

The editorial approach

The app’s interface may resemble an automated assistant, but here’s the secret about our little news bot: It’s actually written by humans! Smart journalists who want to keep you informed and entertained. We’ve assembled a global group of Quartz writers and editors, led by Adam Pasick, to give the app its voice.

Our intent is to take a similar approach to other platforms where this kind of media could live. This is a big and broad endeavor for Quartz as we experiment with new formats. Internally, we refer to the project as Jasper, which is a form of the mineral quartz.

Design and development

We started tinkering with concepts and prototypes for an app about a year ago. Quartz has long focused on the open web, and we were never interested in recreating our website as a native app. We still aren’t. But mobile has developed a lot in the last few years, and we saw some new opportunities worth exploring.

Sam Williams developed the app, and Daniel Lee designed it. We drew influence from all sorts of places, but were particularly inspired by Jonathan Libov’s “Futures of Text” and apps with conversational UIs like Lark and Lifeline. Other trends, like the rise of bots and messaging, gave us confidence in the direction.

This is actually Quartz’s second iPhone app, albeit the first one that’s strictly about the news. Last year we released Flags, a custom keyboard to easily type all of the world’s flags in emoji. We plan to keep experimenting with how a news organization can serve readers on their most personal devices.

MINI is the launch sponsor of Quartz for iPhone. Advertising is integrated with the rest of the app beautifully, unobtrusively, and in parallel with the editorial experience. You can engage with the ads just as you would any other content.

Support and feedback

The app is for iPhones only, and you need to be running iOS 9.0 or higher to install it. Report any bugs you encounter to support@qz.com. And we’re looking forward to your feedback on the app as we work on the next version and also turn our attention to Android. Please send any thoughts to hi@qz.com.

Here, again, is the link to download the app. Thank you!

Advertising

[See also: http://www.theverge.com/2016/2/11/10963794/quartz-app-iphone-ios-the-atlantic-download ]
ui  ux  chat  interface  quartz  applications  ios  news  interaction  via:caseygollan  conversationalui 
february 2016 by robertogreco
The Future of Video Is a Wonderful Mess -- Following: How We Live Online
"As video — and livestreaming in particular — grows in popularity on the web, we can expect to see more of this: people becoming their own professional broadcasting operations, warping and tweaking the aesthetic of their stream to fit their brand in a way similar to a cable news channel, and piling loads of extraneous information into the frame. This is exciting! The idea that users want a tidy, uniform experience across a service is mostly an idea clung to by technologists — the average social-media user doesn’t care about cleanliness. If they did, we wouldn’t be seeing an astonishing amount of compression rot in the multimedia passed around on Facebook and Instagram and Twitter and Tumblr.

Twitch is, as of now, the best indication yet that the web is ebbing back toward Myspace on the Myspace-Facebook spectrum. The reasons for this are both technological — rendering and processing video is expensive — and cultural. As more and more people come of age using the web and using technology, uniformity in design and aesthetic isn’t as necessary. Facebook emerged as a service friendly to people who had never used a social network before, and that population is rapidly dwindling. We’re moving toward visual cacophony because we now have the ability to parse that mess easily. That beautiful mess is something to look forward to."
video  web  online  future  messiness  myspace  aesthetics  facebook  gifs  geocities  webrococo  snapchat  twitter  socialmedia  netflix  hulu  twitch  minecraft  ui  hud  annotations  tumblr  instagram  brainfeldman  multiliteracies 
february 2016 by robertogreco
Caroline Sinders
"Hi there, I'm Caroline.

I am a User Experience and Interaction Designer, researcher, interactive story teller, bad joke collector, and ridiculous pie baker. I was born in New Orleans and I am currently based in Brooklyn (and occasionally, I live in airports). Prior to graduate school, I worked in the creative world as a photographer for Harper's Bazaar Russia, Refinery 29, Style.Com, and Hypbeast as well as a marketing coordinator. My entire professional career has been in digital culture, digital imaging, and digital branding.

Sometimes I make things with Twitter and Instagram, and I play around with APIs whenever I can. I used to design stories with stills, now I love to make things move. My design approach is think of the user first and focus on problem solving through whimsy, intelligence, and intuition. My skill set is broad: I research, conceptualize, brand, wireframe, and build. I see the big picture as a system made of very tiny and very integral moving parts. I dream in wireframes and personas.

I hold a masters from NYU's Interactive Telecommunications Program, and I have a BFA in Photography and Imaging with a focus in digital media and culture from NYU. Get at me sometime, I love to meet new people."

[via: "A talk on systems design, machine learning, and designing with empathy in digital spaces

Caroline Sinders is an artist and user researcher at IBM Watson who works with language, robots, and machine learning. Her work focuses on the line between human intervention and algorithms."
https://twitter.com/ablerism/status/693961348724690944 ]
carolinesinders  via:ablerism  ux  ui  interaction  design  twitter  instagram  apis  research  digital  digitalculture  digitalbranding  digitalimaging  machinelearning  systemsdesign  empathy  bots  humanintervention  algorithms 
february 2016 by robertogreco
Desktop Neo – rethinking the desktop interface for productivity.
"The desktop computer hasn’t changed much in the last 30 years. It’s still built on windows, folders and mouse input. But we have changed. We now use smartphones and tablets most of the time, since they are much easier to use.

The traditional desktop computer is struggling to adapt the simple interfaces of mobile devices while also keeping its focus on productivity. With people switching to mobile devices for mundane tasks, we have the opportunity to rethink the desktop computer with a focus on getting professional work done.

Neo is a conceptual desktop operating system interface that is built for todays people, needs and technologies. Visualized below are ideas that were designed to inspire and provoke discussions about the future of productive computing. I have no intention of taking this beyond the concept stage. However, I am putting my work out there hoping that people build upon it."
design  desktop  interface  mobile  ui  lennartziburski 
january 2016 by robertogreco
Figma: the collaborative interface design tool.
"The Collaborative Interface Design Tool.

Design, meet the internet.
Finally you can do design work online, the way it should have been all along.

Simultaneous editing*
Work with others on the same design.
At the same time.
*Coming 2016

Version control
Constantly saved, and old versions are accessible with one click.

Cross platform
Work on any operating system.

On the same page.
It takes a team to ship a product. Since your files are online, work together like never before.

Comments
Communicate with your team directly on designs.

Shared Assets*
Use team-wide component libraries to share brand assets.
*Coming 2016

Shared Colors
Set brand colors and use them consistently across your team.

From idea to app.
Built for designs that live in the real world.
Get to a better outcome faster.

Constraint Systems
Designs automatically adapt to different screen sizes.

Live Device Preview*
See changes in real-time on your mobile device.
*Coming 2016

Vector Networks
A new approach to the pen tool. Create pixel-perfect icons faster than ever."

[See also: https://medium.com/figma-design/design-meet-the-internet-4140774f2872#.ikelt61tt ]
figma  collaboration  design  tools  ui  webdev  appdev  applications  interfacedesign  webdesign 
december 2015 by robertogreco
The Challenge of Digital Patina | Project Evolution
"I challenge designers and developers to start to integrate “digital patina” into their application design and UIs. What is digital patina? Let me give you a few examples:

• Your smartphone’s homescreen may display “trails” from where your finger has touched most often, like a desk that wears over time under your arms.

• The most used icons show a wear-and-tear around the edges over time. Maybe the color rubs off like the keys on an old keyboard, maybe there is a slight stain or darkening around the edges from the oils on your finger. When the icon changes or is moved, the stain remains as a sort of ghost.

• Or the opposite happens. The most used icons remain bright and shiny, polished from use. The icons that are not used fade or darken over time, displaying their neglect.

• Maybe in a painting/drawing program, constant use shows little bits of paint and marker trails on the UI. Evidence of paintings past.

• A digital object may be designed to “age” – slowly over time, its color changes or fades, according to the time it has been active – or an object may show signs of wear and tear from the pattern of interactions. Or it may be designed to do both.

I did not coin the phrase. In fact, Mark Boulton first blogged about this idea in May 2012, in his article titled, simply, “Digital Patina”. In it, he outlines the basic idea, the need for digital things to impart their own “flavor” on the world. His open-ended article started me down the path of thinking about what digital patina could really be.
We talk about Patina as sheen – a thing that changes appearance over time. That change can be damaging, or it can give an object more value. It does this by demonstrating what it’s been through. In the case of a pair of jeans, it’s the little rip, the pen mark, the small hole that’s been repaired in the pocket. In chinese cooking, a wok is seasoned to make it non-stick. A well seasoned pan will go beyond simply making the pan non-stick. It will impart flavour to the food in what the Chinese call ‘wok hey’, or ‘breath of wok’. You see, to me, Patina is more than surface level sheen, or the aging of something. It’s the flavour. It’s an individual ‘taste’ that can only come from that thing.

Now the idea of “wok-hey” might be a bit too much to think about right now. Where do we take that idea when we talk about applications? Should our Yahoo account started in 1999 have a different flavor in its messages than someone else’s shiny new Gmail account? Are texts sent from your year-old smartphone imparted with a scratchy old-film quality? That might be taking things too far. What I like is the idea that our actions and the way in which we use an application can leave a mark, a signature, of our use over time.

Why digital patina? Why is it important?

Well, I feel that what is missing in this digital age is the evidence that we are humans using a system, application, whatever… There is no way for us to leave a mark on the object that we use all the time. Sure, the phone itself imparts its own patina, but that’s it. Without patina, there is no history. Without history, there is very little attachment to the thing. It is much easier to throw out the teddy bear that your Aunt got you that you never quite liked and still looks brand new. It is much harder to get rid of the teddy bear that you loved, even if it is missing and eye and has a strange stain on one of its legs. That stain, those worn spots, that is our mark, proof that we have an effect on this world and that our love and constant use of an object takes a little of that objects perfection away from it, which makes us love it more.

Let me note that this is not a call for more and more skeuomorphism in UI design. The idea of digital patina can be applied to even the slickest, non-faux-anything UI design. What digital patina aims to do, I hope, is give the user a sense that they have left a mark on this digital object. That this object has a life and a history, and that history helps us make an emotional connection to it.

As an argument against skeuomorphism, I think this is a world where the visual cliches will soon be irrelevant. The kids picking up smartphones today don’t remember leather desk calendars, they never used a typewriter, they perhaps don’t even have a favorite, well worn novel. Their world could be full of shiny apps that never age, or degrade into bits to be left behind as a ghost of ones and zeros. They might not feel an attachment to their tools of communication, and therefore have very little need for an emotional attachment to objects. Objects, then, become just as forgettable and disposable as the applications on their home screens.

What I am talking about is surface details, I know. It seems to be the low-hanging fruit at the moment, while we think more about Mark Boulton’s challenge to impart “wok hey”. If we start down this path, though, and explore what it means to impact digital patina, than ways in which an application or digital object can have “wok hey” may become more apparent.

The age of digital objects moves rapidly, I know. Most people hang on to a smartphone or tablet for an average of a year before they upgrade. The maximum age may be around 2 years for most pieces of technology. The time in which individual applications are used may be very short, I also admit that. Admittedly, this “patina” would happen in a relatively short time frame. While this may seem like romanticism, what I trying to concentrate on is the connection between people and the objects they love and use every day. In some ways, digital patina might make people appreciate the “new and shiny” when they upgrade their device.

I for one, would prefer that we design a digital world that replicates the positive things about the real world and translates them in a new way. Leaving your mark, having objects that tell a story and have a history with you, that’s a positive thing."
digitalpatina  patina  digital  beausage  skeuomorphism  jhogue  2012  ui  ux  design  grahicdesign  usage  time  slow 
october 2015 by robertogreco
The Humane Representation of Thought on Vimeo
"Closing keynote at the UIST and SPLASH conferences, October 2014.
Preface: http://worrydream.com/TheHumaneRepresentationOfThought/note.html

References to baby-steps towards some of the concepts mentioned:

Dynamic reality (physical responsiveness):
- The primary work here is Hiroshi Ishii's "Radical Atoms": http://tangible.media.mit.edu/project/inform/
- but also relevant are the "Soft Robotics" projects at Harvard: http://softroboticstoolkit.com
- and at Otherlab: http://youtube.com/watch?v=gyMowPAJwqo
- and some of the more avant-garde corners of material science and 3D printing

Dynamic conversations and presentations:
- Ken Perlin's "Chalktalk" changes daily; here's a recent demo: http://bit.ly/1x5eCOX

Context-sensitive reading material:
- http://worrydream.com/MagicInk/

"Explore-the-model" reading material:
- http://worrydream.com/ExplorableExplanations/
- http://worrydream.com/LadderOfAbstraction/
- http://ncase.me/polygons/
- http://redblobgames.com/pathfinding/a-star/introduction.html
- http://earthprimer.com/

Evidence-backed models:
- http://worrydream.com/TenBrighterIdeas/

Direct-manipulation dynamic authoring:
- http://worrydream.com/StopDrawingDeadFish/
- http://worrydream.com/DrawingDynamicVisualizationsTalk/
- http://tobyschachman.com/Shadershop/

Modes of understanding:
- Jerome Bruner: http://amazon.com/dp/0674897013
- Howard Gardner: http://amazon.com/dp/0465024335
- Kieran Egan: http://amazon.com/dp/0226190390

Embodied thinking:
- Edwin Hutchins: http://amazon.com/dp/0262581469
- Andy Clark: http://amazon.com/dp/0262531569
- George Lakoff: http://amazon.com/dp/0465037712
- JJ Gibson: http://amazon.com/dp/0898599598
- among others: http://en.wikipedia.org/wiki/Embodied_cognition

I don't know what this is all about:
- http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/
- http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/responses.html

---

Abstract:

New representations of thought — written language, mathematical notation, information graphics, etc — have been responsible for some of the most significant leaps in the progress of civilization, by expanding humanity’s collectively-thinkable territory.

But at debilitating cost. These representations, having been invented for static media such as paper, tap into a small subset of human capabilities and neglect the rest. Knowledge work means sitting at a desk, interpreting and manipulating symbols. The human body is reduced to an eye staring at tiny rectangles and fingers on a pen or keyboard.

Like any severely unbalanced way of living, this is crippling to mind and body. But it is also enormously wasteful of the vast human potential. Human beings naturally have many powerful modes of thinking and understanding.

Most are incompatible with static media. In a culture that has contorted itself around the limitations of marks on paper, these modes are undeveloped, unrecognized, or scorned.

We are now seeing the start of a dynamic medium. To a large extent, people today are using this medium merely to emulate and extend static representations from the era of paper, and to further constrain the ways in which the human body can interact with external representations of thought.

But the dynamic medium offers the opportunity to deliberately invent a humane and empowering form of knowledge work. We can design dynamic representations which draw on the entire range of human capabilities — all senses, all forms of movement, all forms of understanding — instead of straining a few and atrophying the rest.

This talk suggests how each of the human activities in which thought is externalized (conversing, presenting, reading, writing, etc) can be redesigned around such representations.

---

Art by David Hellman.
Bret Victor -- http://worrydream.com "

[Some notes from Boris Anthony:

"Those of you who know my "book hack", Bret talks about exactly what motivates my explorations starting at 20:45 in https://vimeo.com/115154289 "
https://twitter.com/Bopuc/status/574339495274876928

"From a different angle, btwn 20:00-29:00 Bret explains how "IoT" is totally changing everything
https://vimeo.com/115154289
@timoreilly @moia"
https://twitter.com/Bopuc/status/574341875836043265 ]
bretvictor  towatch  interactiondesign  davidhellman  hiroshiishii  softrobotics  robots  robotics  kenperlin  jeromebruner  howardgardner  kieranegan  edwinhutchins  andyclark  jjgibson  embodiedcognition  cognition  writing  math  mathematics  infographic  visualization  communication  graphics  graphicdesign  design  representation  humans  understanding  howwelearn  howwethink  media  digital  dynamism  movement  conversation  presentation  reading  howweread  howwewrite  chalktalk  otherlab  3dprinting  3d  materials  physical  tangibility  depth  learning  canon  ui  informationdesign  infographics  maps  mapping  data  thinking  thoughts  numbers  algebra  arithmetic  notation  williamplayfair  cartography  gestures  placevalue  periodictable  michaelfaraday  jamesclerkmaxell  ideas  print  printing  leibniz  humanism  humanerepresentation  icons  visual  aural  kinesthetic  spatial  tactile  symbols  iot  internetofthings  programming  computers  screens  computation  computing  coding  modeling  exploration  via:robertogreco  reasoning  rhetoric  gerrysussman  environments  scale  virtualization 
march 2015 by robertogreco
Matt Jones: Jumping to the End -- Practical Design Fiction on Vimeo
[Matt says (http://magicalnihilism.com/2015/03/06/my-ixd15-conference-talk-jumping-to-the-end/ ):

"This talk summarizes a lot of the approaches that we used in the studio at BERG, and some of those that have carried on in my work with the gang at Google Creative Lab in NYC.

Unfortunately, I can’t show a lot of that work in public, so many of the examples are from BERG days…

Many thanks to Catherine Nygaard and Ben Fullerton for inviting me (and especially to Catherine for putting up with me clowning around behind here while she was introducing me…)"]

[At ~35:00:
“[(Copy)Writers] are the fastest designers in the world. They are amazing… They are just amazing at that kind of boiling down of incredibly abstract concepts into tiny packages of cognition, language. Working with writers has been my favorite thing of the last two years.”
mattjones  berg  berglondon  google  googlecreativelab  interactiondesign  scifi  sciencefiction  designfiction  futurism  speculativefiction  julianbleecker  howwework  1970s  comics  marvel  marvelcomics  2001aspaceodyssey  fiction  speculation  technology  history  umbertoeco  design  wernerherzog  dansaffer  storytelling  stories  microinteractions  signaturemoments  worldbuilding  stanleykubrick  details  grain  grammars  computervision  ai  artificialintelligence  ui  personofinterest  culture  popculture  surveillance  networks  productdesign  canon  communication  johnthackara  macroscopes  howethink  thinking  context  patternsensing  systemsthinking  systems  mattrolandson  objects  buckminsterfuller  normanfoster  brianarthur  advertising  experiencedesign  ux  copywriting  writing  film  filmmaking  prototyping  posters  video  howwewrite  cognition  language  ara  openstudioproject  transdisciplinary  crossdisciplinary  interdisciplinary  sketching  time  change  seams  seamlessness 
march 2015 by robertogreco
Futures of text ["A survey of all the current innovation in text as a medium"] | Whoops by Jonathan Libov
"Text is the most socially useful communication technology. It works well in 1:1, 1:N, and M:N modes. It can be indexed and searched efficiently, even by hand. It can be translated. It can be produced and consumed at variable speeds. It is asynchronous. It can be compared, diffed, clustered, corrected, summarized and filtered algorithmically. It permits multiparty editing. It permits branching conversations, lurking, annotation, quoting, reviewing, summarizing, structured responses, exegesis, even fan fic. The breadth, scale and depth of ways people use text is unmatched by anything."



"Messaging is the only interface in which the machine communicates with you much the same as the way you communicate with it. If some of the trends outlined in this post pervade, it would mark a qualitative shift in how we interact with computers. Whereas computer interaction to date has largely been about discrete, deliberate events — typing in the command line, clicking on files, clicking on hyperlinks, tapping on icons — a shift to messaging- or conversational-based UI's and implicit hyperlinks would make computer interaction far more fluid and natural.

What's more, messaging AI benefits from an obvious feedback loop: The more we interact with bots and messaging UI's, the better it'll get. That's perhaps true for GUI as well, but to a far lesser degree. Messaging AI may get better at a rate we've never seen in the GUI world. Hold on tight."

[via: https://twitter.com/equartey/status/570340911227367424
https://twitter.com/hautepop/status/570895976296087552
https://twitter.com/bruces/status/572384468230676480
https://twitter.com/TheRealFuture/status/572502116490747905 ]
text  texting  chat  sms  messaging  ui  communication  interface  design  gui  lark  quicktype  sinaweibo  alipay  qq  wechat  qqhousekeeper  weidan  koudai  facebook  facebookmessenger  talkto  applications  mobile  luka  chatgrape  slack  commandline  bustime  jonathanlibov 
march 2015 by robertogreco
Calm Technology
"The world around is made up of information that competes for our attention. What is necessary? What is not?

When we design products, we aim to choose the best position for user interface components, placing the most important ones in the most evident and accessible places within the screen. Equally important is the design of communication. How many are notifications are necessary? How and when should they be displayed? To solve this, we can be inspired by the principles of calm technology.1

Principles of Calm Technology

I. Technology should require the smallest amount of our attention.
Technology can communicate, but doesn’t need to speak.
Create ambient awareness through different senses.
Communicate information without taking the wearer out of their environment or task.

II. Technology should inform and encalm.
A person's primary task should not be computing, but being human.
Give people what they need to solve their problem, and nothing more.

III. Technology should make use of the periphery.
A calm technology will move easily from the periphery of our attention, to the center, and back.
The periphery is informing without overburdening.

IV. Amplify the best of technology and the best of humanity.
Design for people first.
Machines shouldn't act like humans.
Humans shouldn't act like machines.
Amplify the best part of each.

Examples

Tea Kettle
If a technology works well, we can ignore it most of the time. A teapot tells us when it is ready, and is off or quiet the rest of the time. A tea kettle can be set and forgotten, until it sings. It does not draw constant attention to itself until necessary. A tea kettle's whistle brings information from another room to one's attention.

Inner Office Window
An inner office window provides an understanding of whether someone is busy or not without the need to interrupt them.

Jawbone Up
The Jawbone Up has a single button and a colored status light. The device can be set to buzz after a short nap or at the optimium sleep cycle for a good night of sleep. It counts movement in the background without requiring additional action from the wearer. The device syncs to the user's phone through the audio jack and gives a summary of the wearer's individual day in sleep and physical activity.

Lavatory Sign
This simple sign tells you whether the lavatory is occupied or not. No need to translate it into multiple languges. The simple icon is either occupied or not.

Roomba Vacuum Cleaner
The humble Roomba Vacuum cleaner chirps happily when it is done and emits a sad tone when it is stuck. There is no uncanny valley present in this technology. Roomba doesn't have a spoken language, just simple tones. This makes it easy to understand what Roomba is saying, and elimates the need to translate the tone into many different languages.

Sleep Cycle
Sleep Cycle is a mobile application that monitors your sleep and allows you to track times of deep sleep and REM. You can set an alarm in the app and Sleep Cycle will wake you up before the time at the best place in your sleep cycle with a soft noise or buzz. Because the haptic alert occurs under your pillow, you can configure it so that you can wake up without anyone else being affected by the alarm.

Smart Badge
A smart badge is simple. Smart badges are small, wearable technologies that don't require a charger, user interface or operating system. Simply touch a provisioned smart badge to a door or elavator panel and you'll easily gain access.

Calm Communication

Haptic Alert
Use haptics or touch to inform someone of important information. Many people set their phones to buzz, but other products such as the LUMOBack Smart Posture Sensor buzzes you when you exhibit poor posture. Touch is a high resolution of human sensation. A lot of information can be conveyed with no visual or auditory requirement.

Trend Graph
A good trend graph is all about making the formerly invisible visible. The Sleep Cycle app graphs sleep over time, compressing that long term data into an easily accessible format. Be patient: good data may a long time to collect, but it is well worth the wait! Displaying data in a elegant way is one of the most important aspects of trend graphs. Elegance is about information and comprehension, not just visual appearance.

Status Light
Status lights are farily common on video cameras. A device is active when the red 'record' light is on. Status lights can be used for more than just recording. Our daily travels are mediated by the simple colors of traffic lights. A light that shows the weather is far more calm than a weather ssystem that constantly calls attention to itself. Think about how to use different colors of light to inform and encalm in your products.

Status Tone
A status tone is a quick way for a device to let a person know whether it needs attention or not. Products that have a positive tones upon completion, or negative tones when stuck are more likely to be helped by their human owners.

Status Shout
A Status Shout is similar to a Status Tone but can be much louder and more urgent. Smoke alarms, tea kettles and microwaves all use shouts to alert people to their status. Ambulances use Status Shouts to alert people to make way for an emergency. Tornado warnings utilize Status Shouts to help neighborhoods get to a safe place and out of the tornado's path. Status Shouts should be reserved for very important information.

Popup
Popup alerts are perhaps the most common form of alert, but they can quickly overwhelm people when not used correctly. Alerts should be used when deleting a piece of content, for an emergency, or when someone has specifically opted into a piece of content or stream. Otherwise, try to think of ways to alert a person using the other senses.

Timed Trigger
A simple status light on a timer can make for a calm and informative notifier. An orange light that turns on at sundown or reminds you to brush your teeth.

Delay
Use a delay or interrupt during a change of state. For example, when the headphones of an iPhone become disconnected, the music player automatically pauses the music."
technology  design  ux  ui  teakettles  calm  calmtechnology  via:alexismadrigal  slow  communication  calmcommunication  haptics  ambientintimacy  ambient  roomba  jawbone  windows  glanceable  attention  humanism  periphery  information  chrisdancy  ambercase 
november 2014 by robertogreco
Mozilla Brick
"Brick is a collection of UI components designed for the easy and quick building of web application UIs. Brick components are built using the Web Components standard to allow developers to describe the UI of their app using the HTML syntax they already know."
webdev  mozilla  brick  mozillabrick  ui  webapps  webcomponents  html  webdesign 
september 2014 by robertogreco
uilang
"a minimal, ui-focused programming language for web designers"
via:tealtan  css  design  javascript  ui  webdev  webdesign  html  uiland 
september 2014 by robertogreco
Adam Darowski | Blog | URL as UI
"Computer users have gotten so used to the graphical user interface (GUI) that it is easy to forget that computers basically operate via a series of commands. The web has not only brought the command line back to the surface (with the web browser’s address bar), it has exposed the concept to an entire generation of users that has never seen a command line.

When you access a web site, you are generally typing in a URL (unless, of course, you are selecting a bookmark or following a link from an email, IM, other site, etc.). The URL is essentially a command to go fetch that content. We take components of the URL such as “http://”, “www”, and “.com” for granted now, these are rather arcane expressions that would be nonsensical to non-web user. But since most sites we access start with an “http” (perhaps an “https”) and end with a “.com” (or “.net”, “.org”, etc.), we get used to these conventions.

Many developers take the time to learn the command line instead of using the graphical user interface because it can be faster and more efficient.



Once I learned the conventions, it was an easy choice for me.

Similarly, navigating a web site simply by the URL can be much faster and more efficient than relying on the site’s information architecture and navigation menus."
urls  2008  design  ui  adamdarowski  linkrot  finability  last.fm  flickr  readability  via:mattthomas  commandline 
august 2014 by robertogreco
Why Her Will Dominate UI Design Even More Than Minority Report | Wired Design | Wired.com
"In Her, the future almost looks more like the past."



"Jonze had help in finding the contours of this slight future, including conversations with designers from New York-based studio Sagmeister & Walsh and an early meeting with Elizabeth Diller and Ricardo Scofidio, principals at architecture firm DS+R. As the film’s production designer, Barrett was responsible for making it a reality.

Throughout that process, he drew inspiration from one of his favorite books, a visual compendium of futuristic predictions from various points in history. Basically, the book reminded Barrett what not to do. “It shows a lot of things and it makes you laugh instantly, because you say, ‘those things never came to pass!’” he explains. “But often times, it’s just because they over-thought it. The future is much simpler than you think.”

That’s easy to say in retrospect, looking at images of Rube Goldbergian kitchens and scenes of commute by jet pack. But Jonze and Barrett had the difficult task of extrapolating that simplification forward from today’s technological moment.

Theo’s home gives us one concise example. You could call it a “smart house,” but there’s little outward evidence of it. What makes it intelligent isn’t the whizbang technology but rather simple, understated utility. Lights, for example, turn off and on as Theo moves from room to room. There’s no app for controlling them from the couch; no control panel on the wall. It’s all automatic. Why? “It’s just a smart and efficient way to live in a house,” says Barrett.

Today’s smartphones were another object of Barrett’s scrutiny. “They’re advanced, but in some ways they’re not advanced whatsoever,” he says. “They need too much attention. You don’t really want to be stuck engaging them. You want to be free.” In Barrett’s estimation, the smartphones just around the corner aren’t much better. “Everyone says we’re supposed to have a curved piece of flexible glass. Why do we need that? Let’s make it more substantial. Let’s make it something that feels nice in the hand.”"
her  spikejonze  design  ai  film  technology  ui  future  minorityreport  diller+scofidio  elizabethdiller  lizdiller  dillerscofidio  designfiction  speculativedesign  speculativefiction 
january 2014 by robertogreco
The Future of UI and the Dream of the ‘90s — UX/UI human interfaces — Medium
"In other words, we’re expected to translate our emotions through emotionless interfaces."



"While application interfaces probably don’t need to make use of immersive soundtracks, the addition of sound effects can add to a user’s experience (provided they have the option to opt-out.) Apps like Clear and Duolingo added cheery and triumphant sound effects to their completion actions. These sounds are a recognition of the user’s success and reinforces the visual mark of a, typically green, success state."



"What can we learn from the masters of animation and how can we apply that to our work in UI? Replicating what we see in everyday life reminds us of our personal experiences. In Disney animators Ollie Johnston and Frank Thomas’ book, The Illusion of Life: Disney Animation, they outline 12 basic principles to creating more realistic animations.

While not the key point of an interface, we can apply these principles on a micro-level. Excellent examples of delightful animation can be seen in Tweetbot, Apple Maps and Vine."



"While seemingly a very obvious way to communicate—copy and how we deal with inputs is often overlooked. In our rush to replace popular actions with iconography, designers often forget that sometimes copy can be just as powerful.

We can make use of copy to speak to users conversationally, eliminate the chore of form input or provide discoverable and fun easter eggs. All three ways give the illusion of a person behind the product or device."
ux  helentran  ui  interface  2014  design  minorityreport  animation  emotions  sound  frankchimero  journey  clear  duolingo  vine  tweetbot  pixar  maps  mapping  copy  content  writing  gestures 
january 2014 by robertogreco
Bye Dopplr | Magical Nihilism
"I learned a hell of a lot designing and building Dopplr. I still stand by a lot of the principles that we as a team tried to follow. Don’t build a website, build a part of the web. Be polite, playful and pertinent. Use copy as UI as well as possible. And perhaps most importantly in the last few weeks: always let the user leave – easily and gracefully, with all of their data."
mattjones  dopplr  design  2013  websites  webdev  networks  howtobeintheworld  ui  content  copy  playfulness  play  pertinence  dataportability  portability  data  politeness  connectivism  webdesign 
november 2013 by robertogreco
Progressive Reduction — LayerVault Blog
"I’m very excited to talk about a technique that we’ve started using at LayerVault. We call it Progressive Reduction.

Culture of Reduction
The principles mentioned in our Flat Design Era post are the consequence of a culture of reduction—an important place to start. Without the right product culture, implementing the ideas in this post won’t help you much.

The idea behind Progressive Reduction is simple: Usability is a moving target. A user’s understanding of your application improves over time and your application’s interface should adapt to your user."

[Follow-up post: "Implementing Progressive Reduction" http://layervault.tumblr.com/post/42442865260/implementing-progressive-reduction ]
design  minimalism  ui  ux  2013  reduction  progressivereduction  layervault  interface 
august 2013 by robertogreco
Dark Patterns - User Interfaces Designed to Trick People
"A Dark Pattern is a type of user interface that has been carefully crafted to trick users into doing things, such as buying insurance with their purchase or signing up for recurring bills.

Normally when you think of “bad design”, you think of the creator as being sloppy or lazy but with no ill intent. This type of bad design is known as a “UI anti-pattern” Dark Patterns are different – they are not mistakes, they are carefully crafted with a solid understanding of human psychology, and they do not have the user’s interests in mind.

Watch the slidecast below for details:"
darkpatterns  patterns  ui  usability  design  ux  via:caseygollan  psychology  manipulation  tricks  trickery  illintent  deception 
july 2013 by robertogreco
Magic Ink: Information Software and the Graphical Interface
"The ubiquity of frustrating, unhelpful software interfaces has motivated decades of research into “Human-Computer Interaction.” In this paper, I suggest that the long-standing focus on “interaction” may be misguided. For a majority subset of software, called “information software,” I argue that interactivity is actually a curse for users and a crutch for designers, and users’ goals can be better satisfied through other means.

#Information software design can be seen as the design of context-sensitive information graphics. I demonstrate the crucial role of information graphic design, and present three approaches to context-sensitivity, of which interactivity is the last resort. After discussing the cultural changes necessary for these design ideas to take root, I address their implementation. I outline a tool which may allow designers to create data-dependent graphics with no engineering assistance, and also outline a platform which may allow an unprecedented level of implicit context-sharing between independent programs. I conclude by asserting that the principles of information software design will become critical as technology improves.

#Although this paper presents a number of concrete design and engineering ideas, the larger intent is to introduce a “unified theory” of information software design, and provide inspiration and direction for progressive designers who suspect that the world of software isn’t as flat as they’ve been told."

[Via: http://www.technologyreview.com/view/514306/yahoos-weather-app-has-no-cool-interactions-and-thats-amazing/ ]

[See also: http://www.theonion.com/articles/internet-users-demand-less-interactivity,30920/ ]
design  interface  software  ui  usability  ux  interaction  interactiondesign  humans  bretvictor  via:johnpavlus  information  technology  infromationsoftware 
april 2013 by robertogreco
Technologies for Aging Gracefully Lab | TAGlab
"The Technologies for Aging Gracefully lab (TAGlab) designs software, systems, and experiences that support aging through the life course."



"Who We Are
TAGlab is comprised of talented individuals with backgrounds in computer science and engineering, human-computer interaction and human factors, graphic and interface design, and psychology.

Our Projects
We work with researchers and clinicians to find ways that digital media can help people remain vigorous and independent, strengthen ties to family and community, and preserve their identity as they age.

Outreach
The TAGlab is dedicated to building partnerships in our community. Together with community-based agencies and senior organizations, we raise awareness about our research and actively investigate the technology needs of our aging population."
aging  behavior  via:spencerbeacock  utoronto  interfacedesign  psychology  design  ui  compsci  engineering 
february 2013 by robertogreco
Connecting
"The 18 minute "Connecting" documentary is an exploration of the future of Interaction Design and User Experience from some of the industry's thought leaders. As the role of software is catapulting forward, Interaction Design is seen to be not only increasing in importance dramatically, but also expected to play a leading role in shaping the coming "Internet of things." Ultimately, when the digital and physical worlds become one, humans along with technology are potentially on the path to becoming a "super organism" capable of influencing and enabling a broad spectrum of new behaviors in the world."
costumerexperience  via:tealtan  video  massimobanzi  blaiseagüerayarcas  youngheejung  helenwalters  lizdanzico  raphaelgrignani  robertfabricant  ericrodenbeck  jonaslöwgren  robertmurdock  andreiherasimchuk  jenniferbove  interactiondesign  design  microsoft  interaction  ui  ux  from delicious
december 2012 by robertogreco
mattkersley/Responsive-Design-Testing
"Responsive Design Testing
This tool is for everyone who needs a quick and easy way to test their website design in multiple screen widths.

Permalink style testing
You can test any website, and provide the link to anyone you like by adding their URL to the end of the testing page address. For example: http://mattkersley.com/responsive?google.com

Installing on your own server
*Copy index.html and responsive.js onto your machine
*Update the deafultURL at the top of responsive.js to your own website
*Upload the files into a subdirectory on your server
*Navigate to the new subdirectory via a browser

Once you've uploaded, you can navigate your website from within the iframes, and the others will update. This won't work for external sites however due to browser security restrictions."
webdev  responsivewebdesign  ui  mobile  webdesign  css  testing  design  responsive  responsivedesign  from delicious
november 2012 by robertogreco
The Cooper Journal: The best interface is no interface
"Creative minds in technology should focus on solving problems. Not just make interfaces.

As Donald Norman said in 1990, “The real problem with the interface is that it is an interface. Interfaces get in the way. I don’t want to focus my energies on an interface. I want to focus on the job…I don’t want to think of myself as using a computer, I want to think of myself as doing my job.”

It’s time for us to move beyond screen-based thinking. Because when we think in screens, we design based upon a model that is inherently unnatural, inhumane, & has diminishing returns. It requires a great deal of talent, money & time to make these systems somewhat usable, & after all that effort, the software can sadly, only truly improve w/ a major overhaul.

There is a better path: No UI. A design methodology that aims to produce a radically simple technological future without digital interfaces. Following three simple principles, we can design smarter, more useful systems that make our lives better."
glowingrectangles  via:maxfenton  screens  square  paymentsystems  nfc  everyware  ubicomp  calmtechnology  markweiser  ambercase  kevinashton  adamgreenfield  donaldnorman  goldenkrishna  computing  nest  ui  cars  interfaces  interactiondesign  from delicious
august 2012 by robertogreco
7 myths about paper prototyping
Myth 1: “I can't draw well enough to create a paper prototype.”

Myth 2: “Wireframes are the same as paper prototypes.”

Myth 3: “I can do it just as well with Visio.”

Myth 4: “Whiteboarding is just as effective.”

Myth 5: “Users behave differently with a paper prototype than with a real system.”

Myth 6: “It looks unprofessional.”

Myth 7: “I can't prototype interactivity.”

[via: http://paige.saez.usesthis.com/ ]
paper  paperprototyping  ui  wireframes  design  webdesign  ux  usability  prototyping  webdev  from delicious
july 2012 by robertogreco
Augmented Paper - Matt Gemmell
"For me, software experiences that feel like Augmented Paper are those that second-guess our (developers’) natural tendency to put functionality first, or to think of our apps as software. Apps are only incidentally software; software is an implementation detail. Instead, apps are experiences. Design an experience. Make it as beautiful — and as emotionally resonant — as it can possibly be. Then adorn the core experience and content with only as much functionality as is absolutely necessary. Functionality…is like seasoning. A little is an enhancement; any more destroys the flavour…and may well be bad for you. These new classes of devices, so immediately personal and portable and tactile, aren’t desktop-era shrines demanding incantation and prostration. They’re empowering extensions to our real, actual lives - and that’s a profound thing. They take what was once prosaic or mundane, and give us just a taste of superpowers. They’re augmentations, and they should be beautiful."
instapaper  aesthetics  tactile  clear  invisibleinterfaces  instinctivecode  digital  minimalism  skeuomorph  tablets  augmentation  mobile  ipad  iphone  applications  augmentedpaper  mattgemmell  2012  via:preoccupations  designasexperience  ui  ux  windowsphonemetro  windowsphone7  metro  windows  design  ios  apple  android  wp7  from delicious
april 2012 by robertogreco
A Brief Rant on the Future of Interaction Design
"The next time you make breakfast, pay attention to the exquisitely intricate choreography of opening cupboards and pouring the milk — notice how your limbs move in space, how effortlessly you use your weight and balance. The only reason your mind doesn't explode every morning from the sheer awesomeness of your balletic achievement is that everyone else in the world can do this as well.

With an entire body at your command, do you seriously think the Future Of Interaction should be a single finger?"

[via: http://twitter.com/debcha/status/134055293440106497 ]

[follow-up: http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/responses.html ]
interactiondesign  design  future  ux  ui  touch  apple  microsoft  haptic  senses  2011  hands  human  humans  complexity  bretvictor  from delicious
november 2011 by robertogreco
Bootstrap, from Twitter
"Bootstrap is a toolkit from Twitter designed to kickstart development of webapps and sites. It includes base CSS and HTML for typography, forms, buttons, tables, grids, navigation, and more."
design  web  twitter  webdesign  ui  github  webdev  tools  toolkits  css  html  typography  webapps  bootstrap  from delicious
august 2011 by robertogreco
Use pictures to direct the user’s gaze - The Web Usability Blog
"You can influence where people look<br />
<br />
Photographers know that the eye gaze direction of the person in a picture dictates the eye gaze direction of the person who’s looking at the picture. It’s in just about every book on photography ever published.<br />
<br />
What does this mean for your website?<br />
<br />
If you use pictures of people on your website, make sure they’re looking at something you want your visitors to look at as well."
design  usability  ui  graphicdesign  layout  webdev  photography  eyegaze  webdesign  from delicious
august 2011 by robertogreco
The Case of The Traveling Text Message - Michele Tepper - Interactions Everywhere
"Last year, the BBC and Masterpiece Mystery aired a new adaptation of the Sherlock Holmes stories called Sherlock. It’s available now on Netflix Watch Instantly, so if you haven’t seen it yet, go check it out.

But I’m not here to talk about how fantastic the concept and the writing are, or how much I love the performances, or even how anxiously I’m awaiting the next series. I want to argue that the thing that makes this series really groundbreaking is something very subtle: the way director Paul McGuigan handles titles…

…instead of cutting to the character’s screen, Sherlock takes over the viewer’s screen.

But none of that takes away from the achievement, which screenwriter John August calls “the one to beat.” I fully expect the text messaging style McGuigan brought us in Sherlock to become part of the visual narrative vernacular, coming soon to a screen near you."
design  writing  television  ui  text  userinterface  narrative  film  tv  2011  sherlock  timcarmody  screens  computers  mobile  phones  storytelling  perspective  filmmaking  classideas  glowingrectangles  from delicious
july 2011 by robertogreco
Desire Lines: Let Your Audience Shape Your Design | Van SEO Design
"As designers we want to control how people perceive our designs and keep people on our predefined path. We create lines for the eye to follow so they notice what we want them to notice. We direct them to the actions we want to them to take. We create navigation through our sites for how we expect people to travel our web pages.

And then along come real people who use our sites and view our pages, however they like. These people are creating desire lines through our websites. We can try our best to force them to do it our way, but they won’t. They’ll either do it their way or leave. A better approach would be to understand where the desire lines in our sites being created and adjust our designs to those desire lines."
design  desirelines  elephantpaths  deschooling  control  use  users  web  reading  statistics  ui  accommodations  from delicious
june 2011 by robertogreco
From Transportation to Pixels - Mike Kruzeniski
"…summary of a talk Windows Phone Design Team has given…originally posted on the Windows Phone Developer Blog.

In November, myself & Albert Shum drove a few hours north to visit our friends at the Vancouver User Experience Meetup, to talk about Metro & the design philosophy behind Windows Phone. The beginning of the presentation traced the roots of the Windows Phone Metro design language, a topic we’ve spoken about at a number of developer conferences (Watch Albert at MIX 2010). From there, we decided to push the discussion a bit further this time, to look at where we see Metro going next. As you can imagine, this was a lot of fun. Our presentation was over an hour long and covered a lot of material, so rather than just posting the slides up, I’ll describe the talk in its four parts. First, the story of Metro. Second, a look back at history of UI design. Third, visions of future UI design in Science Fiction. Fourth and finally, where we see UI (& Metro) headed in the future."

[Now here: http://kruzeniski.com/2011/from-transportation-to-pixels/
and here: http://blogs.windows.com/windows_phone/b/wpdev/archive/2011/02/16/from-transportation-to-pixels.aspx ]
design  mikekruzeniski  windowsmobile7  windowsphone7  windowsphonemetro  ui  typography  motion  digital  vannevarbush  bumptop  designfiction  gestures  eink  2011  wp7  metro  microsoft  from delicious
may 2011 by robertogreco
How Print Design is the Future of Interaction - Mike Kruzeniski
"Products like Flipboard are attractive because they are consciously and carefully designed to highlight the content, instead of crowding the experience with UI tools. The design of these experiences is being driven by new thinking in interaction design, where visual design is central to the experience, rather than painted on at the end. Once the traditional elements of UI are torn away, designers can concentrate their efforts on working iwth the content that remains. And it ends up looking a lot like Print. If we pull Visual Design to the front of the product creation process, we can break free of the bad design habits that surround us. As Interaction Designers we can stop polishing our icons, and focus on communicating the content inside, clearly and with style. The rewards are simple: more beautiful products that are easier to use, and beautifully branded experiences with more room for self-expression."

[Now here: http://kruzeniski.com/2011/how-print-design-is-the-future-of-interaction/ ]
2011  mikekruzeniski  technology  digital  print  design  content  undesign  overdesign  history  interaction  interface  experience  ui  flipboard  printdesign  adamgreenfield  typography  pacing  instapaper  iconography  imagery  objectivity  markboulton  berg  berglondon  vannevarbush  paulrand  andreiherasimchuk  from delicious
may 2011 by robertogreco
Kid Design - Research>Education>Current Projects
"At the Human Computer Interaction Lab at the University of Maryland we believe that children should have a voice in making new technology for kids. Children's ideas need to be heard throughout the entire technology design process. Therefore, in 1998 we began a unique technology design team.  Seven children, ages seven to eleven, join with researchers from computer science, education, art, robotics, and other disciplines, twice a week. Together we have become an intergenerational, interdisciplinary design team.  The team pursues projects, writes papers and creates new technologies.<br />
<br />
We have a chance to change technology, but more importantly we have a chance to change the life of a child. Every time a new technology enables a child to do something they never dreamed of, there are new possibilities for the future."
design  children  research  usability  ui  ux  humancomputing  hcil  human  technology  from delicious
february 2011 by robertogreco
Kicker Studio: Why You Want (But Won’t Like) a Minority Report-style Interface
"Instead of looking to Minority Report for inspiration, might I suggest we look to a humbler source for the future of gestural interfaces: public bathrooms. The toilet flushes as you walk away; the sink turns on as you put your hands under it; a paper towel dispenses with a wave of a hand. This is everyday magic, so natural we seldom even think about it. These are the kind of gestural interfaces I want to have in my living room, my kitchen, my hobbies, my workplace. Interactive gestures that blend into our activities, enhancing them in ways that aren’t gimmicky or tiring, and yet are beautiful, fluid, expressive. That’s the future I want to live in."
interface  minorityreport  dansaffer  design  ux  ui  gestures  from delicious
november 2010 by robertogreco
Don’t listen to Le Corbusier—or Jakob Nielsen : Cheerful Sofware Manifesto
"Cheerful software, above all, honors the truth about humanity:

Humans are not rational beings.

A human is a walking sack of squishy meat and liquids, awash in chemicals.

We laugh. We cry. Sometimes we laugh while crying. We love, and hate, and dream about tomorrow while paying no attention to today. We do ridiculous things in pursuit of love or happiness or self-esteem. We sabotage ourselves. We see faces in inanimate objects, clouds, rock formations, and unevenly toasted bread. Then we sell them on eBay.

We pray to giant humans up in the sky. We think that a fly could be our grandmother. We work for free because we’re bored. We create art, dance, and sing even if we are starving. We give to others when we have little, or we give none when we have a lot, even if we gain no clear survival benefit either way."

[via: http://twitter.com/jeeves/status/6585252130594816 ]
architecture  software  lecorbusier  interactiondesign  jakobnielsen  emotion  love  usability  ui  soul  psychology  philosophy  webdesign  ux  manifesto  interaction  advice  design  manifestos  webdev  from delicious
november 2010 by robertogreco
Eye blog » The app of A Humument. ‘The iPad is one of the oldest things in the world … a pad or a slate.’
"JLW: I just interviewed the designer Paula Scher in Eye 77, who hates computers but loves the iPad.<br />
TP: I’m a bit like that. It’s different things at different times, a serious research tool, or a communication device, but it’s a toy, I can play with it and find things I didn’t know existed.<br />
<br />
JLW: It’s like a cross between a stained glass window and a book.<br />
TP: It’s also one of the oldest things in the world, as its called, a pad or a slate. This is a child’s slate like the one I had when I was five years old."
ipad  slates  bookfuturism  books  ui  writing  design  apple  2010  art  ahumument  tomphillips  from delicious
november 2010 by robertogreco
Review - Drag, Drop, Review.
"If you are doing iPhone UI design, Review is the quickest way to judge your mockups on an actual device. Review will accurately display your mockups on both Retina and older displays."
ui  ux  webdesign  development  macosx  mac  ipod  iphone  applications  mockup  mobile  software  prototyping  testing  iphonedev  apps  ios  osx  webdev  from delicious
november 2010 by robertogreco
Swype | Text Input for Screens
"Swype provides a faster and easier way to input text on any screen. With one continuous finger or stylus motion across the screen keyboard, the patented technology enables users to input words faster and easier than other data input methods—at over 40 words per minute. The application is designed to work across a variety of devices such as phones, tablets, game consoles, kiosks, televisions, virtual screens and more."
android  keyboard  mobile  input  swype  applications  writing  touchscreen  usability  ui  typing  interface  iphone  ios  from delicious
august 2010 by robertogreco
Features/Spiral Home View - Sugar Labs
"This is an enhancement to the Home View to enable the display of more icons. The idea is that after the circle becomes too large, rather than shrinking the icons, it morphs into a spiral. Only after the spiral no longer fits on the screen do the icons shrink."
olpc  interface  homeview  sugar  sugarlabs  ui  from delicious
august 2010 by robertogreco
Craighton Berman: Where is my digital version of the desk blotter, the back of a receipt, or painter’s palette?
"The digital world lacks these kind of informal places for scribbling things to remember in the short term. There are probably thousands of note-taking applications out there, meant to capture small bits of information—but I have yet to encounter any that match the spontaneity of the tangible world’s solutions, or the casual ability to place bits of info in a visual manner. Where is my digital version of the desk blotter, the back of a receipt, or painter’s palette?"

[Sent him an email pointing to a few examples that approach the "digital version of the desk blotter, the back of a receipt, or painter’s palette."

Desktastic for Mac OS X
http://www.panic.com/desktastic/

Edgies for Mac OS X
http://www.oneriver.jp/Edgies/index_e.html

The Sugar UI (on the OLPC) shows clipboard items (from copy-paste) on the side.
http://www.sugarlabs.org/index.php?template=gallery&page=media_02
http://www.sugarlabs.org/index.php?template=gallery&page=galler y]
digital  craightonberman  informal  software  computing  interface  ui  ux  mac  macosx  sugar  olpc  destastic  edgies  osx  from delicious
august 2010 by robertogreco
Entelligence: Let's get digital -- Engadget
"one of the things I like about WP7 is that it's not a digital UI pretending to be analog. The user interface is flat...no photorealistic depictions of real world items, no shading, & no 3D effects. Everything is conveyed through the use of fonts, shapes & color. It's digital & it's proud. Overall, I like it, & the more I use it, the more I prefer it. Returning to a more digital approach means Microsoft was able to rethink the nature of applications and services and create the concept of hubs, where like functions meet similar functions w/out need for separate applications. It takes some getting used to, but the more I use it, the more natural it feels."

[via: http://twitter.com/tcarmody/status/20098622824 ]
analog  digital  technology  design  wp7  windowsphone7  microsoft  ui  ux  skeuomorph  windowsphonemetro 
august 2010 by robertogreco
Every user a developer, part II, or: Momcomp « Adam Greenfield's Speedbird
"The things which I’ve painted as trivial here are admittedly anything but. But they are, I sincerely believe, how we’re going to handle — have to handle — the human interface to this so-called Internet of Things we keep talking about. Each of the networked resources in the world, whether location or service or object or human being, is going to have to be characterized in a consistent, natural, interoperable way, and we’re going to have to offer folks equally high-level environments for process composition using these resources. We’re going to have to devise architectures and frameworks that let ordinary people everywhere interact with all the networked power that is everywhere around them, and do so in a way that doesn’t add to their existing burden of hassle and care.

Momcomp, in other words. It’s an idea whose time I believe has come."
programming  future  internetofthings  development  design  adaptive  ux  ui  tools  momcomp  usability  android  everyware  adamgreenfield  participation  google  appinventor  interaction  invention  literacy  computing  content  mobile  making  technology  alankay  hypercard  jefraskin  bencerveny  junrekimoto  tednelson  dougengelbart  spimes  iot 
july 2010 by robertogreco
Prologue: Iron Man 2 | Motionographer | Motion graphics, design, animation, filmmaking and visual effects
"Not since the Minority Report have interfaces played such a major role in a Hollywood blockbuster. For Iron Man 2, Prologue lifted screen design elements off of flat surfaces and into the three dimensional world surrounding Tony Stark. As he struts through his secret lab, a virtual world of swirling data and wireframe plans pops forth from the genius playboy’s fingertips, creating a seamless dance between man and machine that elegantly echoes the symbiosis between Stark and his exoskeleton."
via:timo  motiongraphics  interface  ui  ux  ironman  ironman2  design  film 
july 2010 by robertogreco
What Apple needs to do now « Adam Greenfield’s Speedbird
"Oh, but that interface. Or more particularly, the design of applications and utilities. The worrisome signs that first cropped up in the iPhone 3G Compass app, and clouded the otherwise lovely iPad interaction experience, are here in spades. What’s going on here is an unusual, unusually false and timid choice that, in the aggregate, amounts to nothing less than a renunciation of what these devices are for, how we think of them, and the ways in which they might be used.
apple  design  osx  ux  iphone  ipad  adamgreenfield  skeuomorph  userinterface  applications  ui  interaction  metaphor  affordance  interface  usability  2010  ios 
june 2010 by robertogreco
ignore the code: Gestures
"In a way, gestural user interfaces are a step back, a throwback to the command line. Gestures are often not obvious and hard to discover; the user interface doesn’t tell you what you can do with an object. Instead, you have to remember which gestures you can use, the same way you had to remember the commands you could use in a command line interface.
via:daringfireball  ipad  iphone  touch  touchscreen  experiencedesign  design  gestures  interaction  interface  hci  gui  ux  ui  apple  2010  commandline 
may 2010 by robertogreco
Facebook is Dying - Social is Not (by @baekdal) #opinion
"There is one question that I hear all the time. Is Facebook going to last, or is it just a fad? My answer is always the same. If you are trying to find an excuse for not doing “social,” then Facebook is here to stay. But, if you ask “is Facebook going to last?” Then the answer is no; it’s already dying.
2010  facebook  ethics  complexity  socialmedia  socialnetworking  social  business  privacy  internet  design  ui  ux 
may 2010 by robertogreco
I have some opinions about the RWW Facebook login hilarity - Quiet Babylonian
"If you are an interface designer, understand that the current state of URLs and bookmarking is so confusing and obscure to many people that they'd rather just type in the name of the thing they want into a search engine and go. And when they get there, the whole system of website logins is so confusing that they just look for the nearest thing looking like a login field and hope that it works. ...
2010  informationliteracy  ui  usability  users  readwriteweb  facebook  empathy  security  design  passwords  computing  computers  internet  ipad  culture  technology  ux  web 
may 2010 by robertogreco
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