Supplementary Reading: Donald Norman, Emotional Design, 99-133
"Fun and pleasure, alas, are not topics often covered by science. Science can be too serious, and even when it attempts to examine the issues surrounding fun and pleasure, its very seriousness becomes a distraction. Yes, there are conferences on the scientific basis of humour, of fun ("funology" is the name given to this particular endeavor), but this is a difficult topic and progress is slow. Fun is still an art form, best left to the creative minds of writers, directors and other artists. But the lack of scientific understanding should not get in the way of our enjoyment. Artists often pave the way, exploring approaches to human interaction that science then struggles to understand. This has long been true in drama, literature, art, and music, and it is these areas that provide lessons for design. Fun and games: a worthwhile pursuit." (Norman, 100)
Norman attempts to deconstruct fun several times in the book, most usefuly on page 105, in reference to the work of human factors expert and designer Patrick Jordan, when he defines four types of pleasure: physio-pleasure, socio-pleasure, psycho-pleasure and ideo-pleasure.
Showing posts with label Readings. Show all posts
Showing posts with label Readings. Show all posts
Wednesday, February 13, 2008
Wednesday, February 6, 2008
Supplementary Reading: Psychogeography
"Although conventional maps convey a certain abstract, geometric kind of 'truth' about the urban
environment, the psychogeographical maps were supposed to convey a social, experiential or existential 'truth'. The maps show an experience of space as fragmented and discontinuous; areas which are experienced as distinct are pulled apart on the map. However, the arrows serve to relate the different areas and are based on the forces of attraction and repulsion or exclusion experienced in the course of the dérive." (http://mypages.surrey.ac.uk/pss1su/lecturenotes/documents/nakedcity.html, accessed February 6, 2008)
Supplementary Reading: Psychogeography
environment, the psychogeographical maps were supposed to convey a social, experiential or existential 'truth'. The maps show an experience of space as fragmented and discontinuous; areas which are experienced as distinct are pulled apart on the map. However, the arrows serve to relate the different areas and are based on the forces of attraction and repulsion or exclusion experienced in the course of the dérive." (http://mypages.surrey.ac.uk/pss1su/lecturenotes/documents/nakedcity.html, accessed February 6, 2008)
Supplementary Reading: Psychogeography
Supplementary Reading: Dan Saffer, Designing for Interaction, 89-119
Supplementary Reading: Dan Saffer, Designing for Interaction, 89-119
"The craft of interaction design is really the craft of creating the models, diagrams and documents that communicate the designer's designs. These representations, and the testing of those with clients and users, are the designer's bread and butter. They are what designers use to do their most important work, moving their knowledge and vision from their minds and hearts to their hands and to the design itself . . . Designers should strive to make each representation a designed artiact, filled with smart, deliberate choices." (Saffer, 119)
"The craft of interaction design is really the craft of creating the models, diagrams and documents that communicate the designer's designs. These representations, and the testing of those with clients and users, are the designer's bread and butter. They are what designers use to do their most important work, moving their knowledge and vision from their minds and hearts to their hands and to the design itself . . . Designers should strive to make each representation a designed artiact, filled with smart, deliberate choices." (Saffer, 119)
Friday, January 25, 2008
Supplementary Reading: James Corner, Mappings, 213-252
Supplementary Reading: James Corner, Mappings, 213-252
"Mapping is a fantastic cultural project, creating and building the world as much as measuring and describing it. Long affliated with the planning and design of cities, landscapes and buildings, mapping is particularly instrumental in the construing and constructing of lived space. In this active sense, the function of mapping is less to mirror reality than to engender the re-shaping of worlds in which people live." (Corner, 213)
"Mapping is a fantastic cultural project, creating and building the world as much as measuring and describing it. Long affliated with the planning and design of cities, landscapes and buildings, mapping is particularly instrumental in the construing and constructing of lived space. In this active sense, the function of mapping is less to mirror reality than to engender the re-shaping of worlds in which people live." (Corner, 213)
Supplementary Reading: Edward Tufte, Envisioning Information, 12-35
Supplementary Reading: Edward Tufte, Envisioning Information, 12-35
"Even though we navigate daily through a perceptual world of three spatial dimensions and reason occasionally about higher dimensional arenas with mathematical ease, the world portrayed on our information displays is caught up in the two-dimensionality of the endless flatland of paper and video screen. . . . Escaping this flatland is the essential task of envisioning information - for all the interesting worlds (physical, biological, imaginary, human) that we seek to understand are inevitably and happily multivariate in nature. Not flatlands." (Tufte, 12)
"Even though we navigate daily through a perceptual world of three spatial dimensions and reason occasionally about higher dimensional arenas with mathematical ease, the world portrayed on our information displays is caught up in the two-dimensionality of the endless flatland of paper and video screen. . . . Escaping this flatland is the essential task of envisioning information - for all the interesting worlds (physical, biological, imaginary, human) that we seek to understand are inevitably and happily multivariate in nature. Not flatlands." (Tufte, 12)
Supplementary Reading: Colin Ware, Information Visualization 201-240
Supplementary Reading: Colin Ware, Information Visualization 201-240
"The Brain is a powerful pattern-finding engine; indeed, this is the fundamental reason that visualization techniques are becoming important. Ther is no other way of presenting information so that structures, groups and trens can be discovered among hundreds of data values. If we can transform data into the appropriate visual representation, its structure may be revealed." (Ware, 239)
"The Brain is a powerful pattern-finding engine; indeed, this is the fundamental reason that visualization techniques are becoming important. Ther is no other way of presenting information so that structures, groups and trens can be discovered among hundreds of data values. If we can transform data into the appropriate visual representation, its structure may be revealed." (Ware, 239)
Thursday, January 10, 2008
Supplementary Reading: The Design of Everyday Things 12-17
The Design of Everyday Things 12-17
"Without a good model we operate by rote, blindly; we do operations as we were told to do them; we can't full appricate why, what effects to expect, or what to do if things go wring. As long as things work properly, we can manage. When things go wrong, however, or when we come upon a novel situation, then we need a deeper understanding, a good model (Norman, 13-14)"
"Without a good model we operate by rote, blindly; we do operations as we were told to do them; we can't full appricate why, what effects to expect, or what to do if things go wring. As long as things work properly, we can manage. When things go wrong, however, or when we come upon a novel situation, then we need a deeper understanding, a good model (Norman, 13-14)"
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