Podcast appearances and mentions of donald norman

In this session we talk about the importance of user experience and user experience design. My guest is Meag Doherty, who works for the National Institutes of Health in the USA and is a Fellow of the Software Sustainability Institute (SSI). https://www.software.ac.uk/fellowship-programme/meag-doherty Meag's Fellow profile at the SSI. Check out the link to her contributions on the same page.https://www.youtube.com/watch?v=rmM0kRf8Dbk The YouTube page to the full clip from Donald Norman, the author of 'The Design of Everyday Things'https://designmuseum.org/discover-design/all-stories/what-is-good-design-a-quick-look-at-dieter-rams-ten-principles Dieter Rams, the influential industrial designer and his 10-point thesis on what makes a good designhttps://en.wikipedia.org/wiki/A_Pattern_Language The book by Christopher Alexander on design principles and the importance on finding a common (pattern) languagehttps://www.uxdesigninstitute.com/blog/history-of-ux/ A bit of history on User Experience (UX)Support the Show.Thank you for listening and your ongoing support. It means the world to us! Support the show on Patreon https://www.patreon.com/codeforthought Get in touch: Email mailto:code4thought@proton.me UK RSE Slack (ukrse.slack.com): @code4thought or @piddie US RSE Slack (usrse.slack.com): @Peter Schmidt Mastadon: https://fosstodon.org/@code4thought or @code4thought@fosstodon.org LinkedIn: https://www.linkedin.com/in/pweschmidt/ (personal Profile)LinkedIn: https://www.linkedin.com/company/codeforthought/ (Code for Thought Profile) This podcast is licensed under the Creative Commons Licence: https://creativecommons.org/licenses/by-sa/4.0/

Donald A. Norman ist ein renommierter Psychologe, Kognitionswissenschaftler und Usability-Experte, der für seine bedeutenden Beiträge zur Psychologie, zur menschlichen Wahrnehmung und zur Gestaltung benutzerfreundlicher Produkte und Systeme bekannt ist. Er hat viel zur Entwicklung von Konzepten und Prinzipien beigetragen, die die Gestaltung von Software, Websites und anderen interaktiven Systemen verbessern sollen, um die Benutzerfreundlichkeit zu erhöhen. Ich schaue in dieser Podcastfolge auf drei seiner wichtigsten Bücher.

My guest today is artist, Rhea Myers. Rhea is a programmer, essayist, researcher, thinker, and art practitioner who has been working in the medium of blockchains for over a decade. In this conversation, Rhea takes us through some of the works and writing in her 2011-2021 retrospective, Proof of Work, which is a gorgeous book in the print edition. I've been wanting to interview Rhea for some time. It was exciting to sit down with her for this sprawling and deep conversation about art, technology, culture, politics, and everything in between. I hope you enjoy the show. As always, this show is provided as entertainment and does not constitute legal, financial, or tax advice or any form of endorsement or suggestion. Crypto has risks and you alone are responsible for doing your research and making your own decisions. Links Hosted by @nnnnicholas Rhea Myers' site Rhea's github Brainfuck Rhea's ongoing shows (at the time of recording) GEN/GEN Gazelli Art House London Exploring the Decentralized Web – Art on the Blockchain: Notes From the Ether Mark Fisher Exiting the Vampire Castle Charles Harrison) Erin Hoffman, "EA Spouse" Donald Norman on Jacques Carelman's "Coffeepot for Masochists" @cybourgeoisie Marguerite deCourcelle Thread of excerpts from Rhea's book Is Art Chapters (00:00:00) Intro (00:17:50) Is Satoshi the best artist (00:18:35) DuChamp's art coefficient / art leverage (00:19:29) Baron von Munchausen (00:25:00) Fungibility & politics (00:29:00) The World's First Bitcoin Artist (00:31:27) MYSOUL (2014) (00:35:05) Project based art practice (00:37:10) Do you feel ethical obligation to improve the world? (00:42:30) Facecoin (2014) (00:43:45) Secret Artwork (2018) (00:49:15) Art Coins (Coloured) (2015) (00:50:50) Dogecode (2014) (00:53:00) TORCHED H34R7S (2015), Marguerite deCourcelle, and Cybourgeoisie (00:58:45) Dogecode continued (01:01:30) Bitcoin VMs via Indexing: Counterparty, Dogecode, Ordinals, Ethscriptions (01:17:50) Working as simple as possible with the primitive at hand (01:25:06) Critical Coins (2015) (01:40:00) Andreas Anronopoulos

Pour ce premier épisode, nous retrouvons Margaux Membré, Alternante UX/UI designer chez La Redoute. Elle nous parle de sa transition professionnelle : du développement web à l'UX design. En passant en revue, son parcours, les changements dans son travail, l'évolution de sa réflexion, son salaire ou encore sa manière d'appréhender le design, en bref on va voir sa vie d'alternante chez La Redoute ! Les Tips de nos invités :

The world is a mess. Our dire predicament, from collapsing social structures to the climate crisis, has been millennia in the making and can be traced back to the erroneous belief that the earth's resources are infinite. From racial equity to climate change, Norman says that many designers don't interpret certain problems as design problems when they should. “The challenge is to use the principles of human-centered design to produce positive results, products that enhance lives and add to our pleasure and enjoyment. The goal is to produce a great product, one that is successful, and that customers love. It can be done.” — Don Norman Where once industrial designers focused primarily on form and function, materials and manufacturing, today's issues are far more complex and challenging. As a result, the skills of the designer are not well suited for modern times. New skills are required, especially for such areas as interaction, experience, and service design. This show will pass through some questions like: Doe this new approach to be focused on the product, calling ourselves as product designers, created a kind of gap between the focus on the user? What is our next step looking from a future perspective of the industry making design part of this? What are the biggest problems in design education nowadays? What is the value of education? For this, we invited Donald Norman the co-founder and Principal Emeritus of Nielsen Norman Group. Norman's formal education is in Electrical Engineering and Psychology. He has served as a faculty member at Harvard, the University of California, San Diego, Northwestern, and KAIST (South Korea). He has also worked in the industry as a VP at Apple and an executive at HP and a startup. Follow Don Norman on these links: https://www.linkedin.com/in/donnorman/ https://jnd.org/ Norman's books: Design for a Better World: Meaningful, Sustainable, Humanity Centered https://amzn.to/3jmRhdL O design do futuro https://amzn.to/3PLiQJy O design do dia a dia https://amzn.to/3FHZErD Design emocional https://amzn.to/3YHhm7c Related Links: https://www.fastcompany.com/90669651/inside-don-normans-herculean-quest-to-fix-design-education https://jnd.org/why_design_education_must_change/ https://www.researchgate.net/profile/Donald-Norman-3/publication/235700801_Wir_brauchen_neue_Designer_Why_Design_Education_Must_Change/links/54a2b47e0cf256bf8bb0d448/Wir-brauchen-neue-Designer-Why-Design-Education-Must-Change.pdf https://jnd.org/tag/book/ https://www.nngroup.com/videos/design-elderly/ ----------------------------- The past year we decided to start this new project called Good Morning UX, an extension of another show called Bom Dia UX, with such special-international guests. Actually, we invited a lot of professionals who are references for us and that have so much history in our industry. This is the Good Morning UX, a recorded show produced and launched on the Design Team channel twice a month.

A conceptual update of affordance theory that introduces the mechanisms and conditions framework, providing a vocabulary and critical perspective. Technological affordances mediate between the features of a technology and the outcomes of engagement with that technology. The concept of affordances, which migrated from psychology to design with Donald Norman's influential 1988 book, How Artifacts Afford: The Power and Politics of Everyday Things (MIT Press, 2020), offers a useful analytical tool in technology studies—but, Jenny L. Davis argues in How Artifacts Afford, it is in need of a conceptual update. Davis provides just such an update, introducing the mechanisms and conditions framework, which offers both a vocabulary and necessary critical perspective for affordance analyses. The mechanisms and conditions framework shifts the question from what objects afford to how objects afford, for whom, and under what circumstances. Davis shows that through this framework, analyses can account for the power and politics of technological artifacts. She situates the framework within a critical approach that views technology as materialized action. She explains how request, demand, encourage, discourage, refuse, and allow are mechanisms of affordance, and shows how these mechanisms take shape through variable conditions—perception, dexterity, and cultural and institutional legitimacy. Putting the framework into action, Davis identifies existing methodological approaches that complement it, including critical technocultural discourse analysis (CTDA), app feature analysis, and adversarial design. In today's rapidly changing sociotechnical landscape, the stakes of affordance analyses are high. Davis's mechanisms and conditions framework offers a timely theoretical reboot, providing tools for the crucial tasks of both analysis and design. Jenny L. Davis is Associate Professor of Sociology at Australian National University.  Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. He is the author of Community Media Representations of Place and Identity at Tug Fest: Reconstructing the Mississippi River (Lexington, 2022). His general area of study is on media representations of people and place at festivals and celebrations. He is currently working on his next book where he conducted research on an annual canoeing and kayaking event that takes place on the Upper Mississippi River. To learn more about Michael O. Johnston you can go to his website, Google Scholar, Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A conceptual update of affordance theory that introduces the mechanisms and conditions framework, providing a vocabulary and critical perspective. Technological affordances mediate between the features of a technology and the outcomes of engagement with that technology. The concept of affordances, which migrated from psychology to design with Donald Norman's influential 1988 book, How Artifacts Afford: The Power and Politics of Everyday Things (MIT Press, 2020), offers a useful analytical tool in technology studies—but, Jenny L. Davis argues in How Artifacts Afford, it is in need of a conceptual update. Davis provides just such an update, introducing the mechanisms and conditions framework, which offers both a vocabulary and necessary critical perspective for affordance analyses. The mechanisms and conditions framework shifts the question from what objects afford to how objects afford, for whom, and under what circumstances. Davis shows that through this framework, analyses can account for the power and politics of technological artifacts. She situates the framework within a critical approach that views technology as materialized action. She explains how request, demand, encourage, discourage, refuse, and allow are mechanisms of affordance, and shows how these mechanisms take shape through variable conditions—perception, dexterity, and cultural and institutional legitimacy. Putting the framework into action, Davis identifies existing methodological approaches that complement it, including critical technocultural discourse analysis (CTDA), app feature analysis, and adversarial design. In today's rapidly changing sociotechnical landscape, the stakes of affordance analyses are high. Davis's mechanisms and conditions framework offers a timely theoretical reboot, providing tools for the crucial tasks of both analysis and design. Jenny L. Davis is Associate Professor of Sociology at Australian National University.  Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. He is the author of Community Media Representations of Place and Identity at Tug Fest: Reconstructing the Mississippi River (Lexington, 2022). His general area of study is on media representations of people and place at festivals and celebrations. He is currently working on his next book where he conducted research on an annual canoeing and kayaking event that takes place on the Upper Mississippi River. To learn more about Michael O. Johnston you can go to his website, Google Scholar, Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

A conceptual update of affordance theory that introduces the mechanisms and conditions framework, providing a vocabulary and critical perspective. Technological affordances mediate between the features of a technology and the outcomes of engagement with that technology. The concept of affordances, which migrated from psychology to design with Donald Norman's influential 1988 book, How Artifacts Afford: The Power and Politics of Everyday Things (MIT Press, 2020), offers a useful analytical tool in technology studies—but, Jenny L. Davis argues in How Artifacts Afford, it is in need of a conceptual update. Davis provides just such an update, introducing the mechanisms and conditions framework, which offers both a vocabulary and necessary critical perspective for affordance analyses. The mechanisms and conditions framework shifts the question from what objects afford to how objects afford, for whom, and under what circumstances. Davis shows that through this framework, analyses can account for the power and politics of technological artifacts. She situates the framework within a critical approach that views technology as materialized action. She explains how request, demand, encourage, discourage, refuse, and allow are mechanisms of affordance, and shows how these mechanisms take shape through variable conditions—perception, dexterity, and cultural and institutional legitimacy. Putting the framework into action, Davis identifies existing methodological approaches that complement it, including critical technocultural discourse analysis (CTDA), app feature analysis, and adversarial design. In today's rapidly changing sociotechnical landscape, the stakes of affordance analyses are high. Davis's mechanisms and conditions framework offers a timely theoretical reboot, providing tools for the crucial tasks of both analysis and design. Jenny L. Davis is Associate Professor of Sociology at Australian National University.  Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. He is the author of Community Media Representations of Place and Identity at Tug Fest: Reconstructing the Mississippi River (Lexington, 2022). His general area of study is on media representations of people and place at festivals and celebrations. He is currently working on his next book where he conducted research on an annual canoeing and kayaking event that takes place on the Upper Mississippi River. To learn more about Michael O. Johnston you can go to his website, Google Scholar, Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

A conceptual update of affordance theory that introduces the mechanisms and conditions framework, providing a vocabulary and critical perspective. Technological affordances mediate between the features of a technology and the outcomes of engagement with that technology. The concept of affordances, which migrated from psychology to design with Donald Norman's influential 1988 book, How Artifacts Afford: The Power and Politics of Everyday Things (MIT Press, 2020), offers a useful analytical tool in technology studies—but, Jenny L. Davis argues in How Artifacts Afford, it is in need of a conceptual update. Davis provides just such an update, introducing the mechanisms and conditions framework, which offers both a vocabulary and necessary critical perspective for affordance analyses. The mechanisms and conditions framework shifts the question from what objects afford to how objects afford, for whom, and under what circumstances. Davis shows that through this framework, analyses can account for the power and politics of technological artifacts. She situates the framework within a critical approach that views technology as materialized action. She explains how request, demand, encourage, discourage, refuse, and allow are mechanisms of affordance, and shows how these mechanisms take shape through variable conditions—perception, dexterity, and cultural and institutional legitimacy. Putting the framework into action, Davis identifies existing methodological approaches that complement it, including critical technocultural discourse analysis (CTDA), app feature analysis, and adversarial design. In today's rapidly changing sociotechnical landscape, the stakes of affordance analyses are high. Davis's mechanisms and conditions framework offers a timely theoretical reboot, providing tools for the crucial tasks of both analysis and design. Jenny L. Davis is Associate Professor of Sociology at Australian National University.  Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. He is the author of Community Media Representations of Place and Identity at Tug Fest: Reconstructing the Mississippi River (Lexington, 2022). His general area of study is on media representations of people and place at festivals and celebrations. He is currently working on his next book where he conducted research on an annual canoeing and kayaking event that takes place on the Upper Mississippi River. To learn more about Michael O. Johnston you can go to his website, Google Scholar, Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

A conceptual update of affordance theory that introduces the mechanisms and conditions framework, providing a vocabulary and critical perspective. Technological affordances mediate between the features of a technology and the outcomes of engagement with that technology. The concept of affordances, which migrated from psychology to design with Donald Norman's influential 1988 book, How Artifacts Afford: The Power and Politics of Everyday Things (MIT Press, 2020), offers a useful analytical tool in technology studies—but, Jenny L. Davis argues in How Artifacts Afford, it is in need of a conceptual update. Davis provides just such an update, introducing the mechanisms and conditions framework, which offers both a vocabulary and necessary critical perspective for affordance analyses. The mechanisms and conditions framework shifts the question from what objects afford to how objects afford, for whom, and under what circumstances. Davis shows that through this framework, analyses can account for the power and politics of technological artifacts. She situates the framework within a critical approach that views technology as materialized action. She explains how request, demand, encourage, discourage, refuse, and allow are mechanisms of affordance, and shows how these mechanisms take shape through variable conditions—perception, dexterity, and cultural and institutional legitimacy. Putting the framework into action, Davis identifies existing methodological approaches that complement it, including critical technocultural discourse analysis (CTDA), app feature analysis, and adversarial design. In today's rapidly changing sociotechnical landscape, the stakes of affordance analyses are high. Davis's mechanisms and conditions framework offers a timely theoretical reboot, providing tools for the crucial tasks of both analysis and design. Jenny L. Davis is Associate Professor of Sociology at Australian National University.  Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. He is the author of Community Media Representations of Place and Identity at Tug Fest: Reconstructing the Mississippi River (Lexington, 2022). His general area of study is on media representations of people and place at festivals and celebrations. He is currently working on his next book where he conducted research on an annual canoeing and kayaking event that takes place on the Upper Mississippi River. To learn more about Michael O. Johnston you can go to his website, Google Scholar, Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Donald Norman is perhaps the most influential design educator of all time. Don is often cited as the father of user interface design and user experience design. He is best known for his book The Design of Everyday Things and is set to release a new book early next year – Design for a Better World.In his latest book, Don argues that design principles can provide solutions to many of the complex global problems we are currently facing.In this episode, Dart and Don discuss how business leaders can shift to a more sustainable, and humanity-centered approach to business while maintaining a thriving economy. They discuss the impact design has on human behavior, the incredibly important role designers play in society, why everyday things are often designed poorly, and much more. Topics Include: - The difference between human-centered design and humanity-centered design- Circular Economies- Designing products and services with ecosystems in mind- How product design can massively influence human behavior- Training designers in sustainably- How better regulation can help reduce negative externalities- Don's experience working for Apple- Work design- And other topics…Donald Norman is Distinguished Professor Emeritus of Cognitive Science and Psychology and founding director of the Design Lab at the University of California, San Diego. Business Week has named Don as one of the world's most influential designers of all time. He was an Apple Vice President, has been an advisor and board member for numerous companies, and has three honorary degrees. His numerous books have been translated into over 20 languages.Resources Mentioned:Design for a Better World by Donald Norman: https://www.amazon.com/Design-Better-World-Sustainable-Humanity-Centered/dp/0262047950The Design of Everyday Things by Donald Norman: https://www.amazon.com/Design-Everyday-Things-Revised-Expanded/dp/0465050654/Emotional Design by Donald Norman: https://www.amazon.com/Emotional-Design-Love-Everyday-Things-ebook/dp/B005GKIYD4/ The Psychology of Everyday Things by Donald Norman:https://www.amazon.com/Psychology-Everyday-Things-Don-Norman/dp/0465067093

Welcome to the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. This podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details.The text version of this interview has been edited for length and clarity. Find the full audio version above or in your favorite podcast app.For episode 005, Wayne Ashley interviews Nick Fortugno, co-founder of the New York-based game studio Playmatics and designer of numerous digital and non-digital projects, including board games, collectible card games, large-scale social games, and theater.INTRODUCTION AND ROLEPLAYINGHey Nick, thanks for joining us. I'm really excited to dig into some of your background, ideas, projects, and particularly your alternative vision for a future of theater. I see you as a catalyst, a kind of cultural interlocutor making links across different forms of knowledge and practice, and the work you've done really attests to this. You've designed video and board games as well as outdoor public games. You're the co-founder of Playmatics, a New York game studio and the lead designer on many theater works, including Frankenstein AI and The Raven. And of course, one of the lead creators of the blockbuster mobile game Diner Dash. But first I want to go back a bit. Your cousin introduced you to roleplaying when you were quite young and you ran your first game of Dungeons and Dragons at six years old. Is it too much to assume that roleplaying is one of the most critical activities for you, if not a central organizing practice leaking into everything you do? Give us a sense of how roleplaying has activated much of your thinking and practice.Nick Fortugno: I think a central organizing principle is like a good way of thinking about it. It doesn't inform all of my work in a literal sense, but it's the heart of how I think about aesthetics. In Dungeons and Dragons, essentially what you do is you tell stories with other people and you use a rule system to adjudicate disagreement. You have a lot of “I hit you”—“no you didn't” stuff in roleplaying so you need rules to deal with that. When you're storytelling in that system and you're the person responsible for making the story, you don't story-tell the way you do in other forms where you have an idea of the story in your head and you're figuring out how to implement it in a way that will affect the audience. Instead, the players or the protagonists are interacting with you and they're changing it constantly. And so you don't know where the story is going. You have ideas of where you could go, you have ideas of what you might want to happen, but you're really in this collaborative process. And so this idea of improvising and using systems to generate things and being responsive to the interactions of other people is very much at the heart of my work. It's how I teach, how I think about storytelling centrally, and it informs a lot of my aesthetics. So yeah I would not be the person I was today if my cousin Joey didn't teach me D&D (Dungeons and Dragons) in Glen Ellyn, Illinois.DESIGN THINKINGYou're also a prolific researcher, not only of games, but of literature, theme parks, new technologies, and performance. I'm thinking about a previous discussion we had where in one breath you mentioned cultural forms that most people would never bring together in the same conversation. The list is long, but indulge me here: the British theater company Gob Squad, Galaxy's Edge at Disneyland, Harry Potter hotel, the theater collective The Wooster Group, the blockbuster event Sleep No More, the novels of Joyce and Pynchon, Evermore Park in Utah, and the epic video game Elden Ring. This cluster excites me because it's how we think as well, across these kinds of groupings. You also use this concept of affordances to enable you to think systematically across all these activities. Can you say more about that?NF: Affordance is a concept from design thinking, Donald Norman really popularized it. It's the idea that a form has features about it that lead to certain kinds of use. There are things that are intuitive in a way, or natural in a way, that come from a form. If I put a handle in a certain place, you hold the handle and that changes your use of the device. That idea that the forms start speaking to certain kinds of use cases is very central to thinking about interactive design. Because when you're a designer in those spaces you make the affordances. You don't tell users what to do. You give them something and you have them do it. That's why it's interactive. It's not like a roller coaster where I strap myself in and I just ride the rails that were put out in front of me. It's more like a theme park where there's just a bunch of stuff. But I don't go wandering off into the most boring part of the theme park. I go towards the lights, I go towards the sound, I go towards the interactive things. The design of those things that attract me, the things that challenge me, the obstacles and the rewards, all of that stuff moves me around in those spaces. This is central to the way I think about my practice.LITERATURE, PLAY AND AMBIGUITYYou have a BA in graduate study and literature. In our previous conversation, you noted an overlapping relationship between post-war American literature and the kinds of interactive narratives found in gaming. Do I have that right?In our other podcasts I've been really interested in what brings disparate people to these emerging hybrid media spaces. They come from film, dance, theater, visual art, and gaming. I think you're the first person in our podcast series making connections between Pynchon and James Joyce with interactive gaming structures. I'm curious about how you came to make these connections.NF: When I got interested in literature I was drawn to postwar postmodernist approaches to writing, like I'm thinking fifties, sixties, and seventies. But really you could stretch it from a Borgesian and Joycean and Steinean space up through the modern day. There's still authors like Ali Smith doing stuff like this. But when you look at like things like Pynchon and Nabokov in particular, their works start becoming a little bit obsessed with interpretation. Interpretation becomes the center of the novel. The novels become games about interpretations. There are other authors in that space who are really breaking down the sense of what you're supposed to consume from the story because they are, in a meta way, thinking about the fact that you're interpreting them. Whether it's Crying of Lot 49 asking you to think about what communication systems are and then challenging you on how we interpret conspiracies. And that's also all over Foucault's Pendulum. Or a book like Lolita, which is basically laughing in your face about your attempts to understand it. Or Pale Fire for that matter, which I think is an even deeper experiment. What you see over and over again is this idea that the novel is a game that the reader is playing with the novelist. It's not a puzzle. You're not going to get the answer out of it. That's not the point. And certainly postmodern poetry and people like Asbury would argue that if you got one meaning out of a poem, you didn't really read the poem anyway. The work becomes something that you as the audience have some ownership of because it is open to you and because it's an ambiguous object that you have to work with. That's what got me. I was already, just from roleplaying, very used to the idea that I participate in stories and that they come from this relationship with me and the text.So I don't like talking about interactive narrative. I think that's a bad phrase because I I'm always interacting with story. That's not new, what's new is the types of affordances of interaction that I get from stories, and what the possibilities for changing those stories are, and how much the story is a fixed thing that I encounter, and how much the story is flexible to my input. To me, the literature study was partly just giving me an outlet for stories and a place where stories can actually be quite experimental because when you just write it's cheap to make crazy worlds. It's the same amount of ink to write a crazy world as it is to write a realistic one. You can go very far with literature in a way that would be harder to do in film because you have to shoot all that stuff. The drive of novels from the modernist period on has been a drive towards more and more stylistic experimentation and that has been really engaging to me because you start seeing it as almost a formal thing. You can look at it like a structure and then you can see that the structure is doing something. Joyce's Ulysses is an excellent example of that. Each chapter is written stylistically and formally different. There are chapters that are dialogues, there are chapters where the stream of consciousness changes radically, there are chapters that drift, and that's part of the narrative. If you go back to the Oulipo experimentation that Calvino and other French and Italian authors were doing, they were literally creating that whole idea of branching trees. You start to see that there are patterns of structures of story that we can start to establish.That's the approach I take to this question of rhetoric. Exploration is a set of tropes, and branching is a set of tropes. It's similar, whether you're branching in a YouTube video or branching in a choose your own adventure, or branching in a game like Until Dawn. The branching is similar, it has similar tropes. So we can look at it structurally and say, well, what does the structure do? How do the choices in the design of the structure change things independent of content. And then what is the intersection between the content and the structure?DYNAMIC STRUCTURES AND GAMESIt's interesting to note how the strategies found in avant-garde and experimental literature have leaked into, or have become one of the dominant ways of constructing narrative within popular culture, video games, and even marketing. What was on the periphery has, in a sense, moved to the center and become part of the entertainment industry.NF: I think so because as you start moving into more dynamic and particularly digitally dynamic work it starts to have to be structural. Although that spills back into the analog, especially as internet of things (IOT) becomes very reduced in size and cost and technology starts coming back into the real world. You start seeing this there too.I'm riffing a lot on arguments in a book called Expressive Processing by Noah Wardrip-Fruin. If I make a piece of work that changes with every user and produces a different outcome, then the output of that work is not really an analysis of that work. If the work has a hundred thousand possibilities, one possibility is such a small segment of what it could be. That it gives me information as a user, but I can't really critique the work from that perspective. I have to look at the structure because it's procedural, it's not predetermined. And I think as we start moving into works that are like that, and since computers enable us to do that, that's what computers are good at is that kind of dynamic procedural, then we start to see that structural analysis and system design become more and more important. As it does, and we see the affordances that has, we can start pulling those affordances into other forms where we see similar audience relationships. So I don't think: does theater need this? Does film need this? Does installation need this? No, It doesn't need it. You can make good art without it, and obviously we have made thousands of years of good art without it, but the possibilities of the art change when you start seeing those things. That's why I think it's starting to permeate. Digital games are a very big industry and there's been a lot of really interesting storytelling in them. I don't think all people who study this stuff know that because it's locked a bit behind barriers of picking up a PlayStation 4 controller and trying to get through it. Shadow of Colossus, for example, is one of the most important digital works ever made. But not many people experience it because it's a really hard digital game. And it has to be hard. That's part of its aesthetic. But I think that the people who have bridged this are starting to see that you can inherit things from those forms into these other spaces. That's just changing the way we think and then you start to see work in the world that is just more procedural. Work that does just become more dynamic in its nature. Then you end up with stuff like LARP (Live action role-playing) where, you can't make LARP the way you make theater because I don't know what the players are gonna do. So my scripts in LARP can't be like a theater script, it doesn't make sense. I need a structure that will support 40 people running around doing random things.PARTICIPATORY EXPERIENCES DRIVEN BY TECHNOLOGYThis brings me to theater, particularly two participatory theatrical installations that you co-created. First, Frankenstein AI: a monster made by many which was an AI powered immersive experience that premiered at the 2018 Sundance Film Festival. And The Raven, which was performed as part of the Lincoln Center's New York Film Festival in 2019. Tell us what audiences might have experienced when they participated in Frankenstein AI and what was the genesis of that work?NF: Frankenstein AI has had a couple of different forms. Its original form was a small audience immersive experience where you came into a room and you interacted with another audience member at a surface computer that was like built into a table. It was formulated as an artificial intelligence asking you questions about what it was like to be human and you're sort of marking values on the table using a physical computing device that looked like an ouija board. That information was sent to an actual AI that was in a cloud which was used as the seed to determine a mood that the AI had. And then when you finished that exercise, you were brought into a room that was mapped with projections and IOT procedurally played drums and you would have a chance to talk to the artificial intelligence. The artificial intelligence would generate a question and then it would be delivered in text to speech to the audience in the room. And then the audience in the room would direct the docent to type a question into a typewriter and that would be sent back to the AI. This was all formulated where there's this AI that's been created, it has escaped into the internet and it is trying to understand what it is and what humanity is. And it's using the narrative of Frankenstein as this thing that was created that doesn't understand its role as a seed to understand where it's going. The whole thing was essentially a meditation on two things. One is this question of what is AI and what should we be worried about AI? These were the conversations that I had with Lance Weiler and Rachel Eve Ginsburg who were the co-creators of that project. My big argument was that everyone worries about Terminator, but what we should really be worried about is Kafka. AI is not a monster that takes us over. AI is a thing that doesn't understand us and then just acts procedurally in ways we don't understand.This is around the time that Microsoft had released an AI that became wildly racist and we were thinking about what it meant that we're teaching AI and how could we make a piece that gets people to reflect on the idea that we're engaged with artificial intelligence in the world? We are training it and we are going to teach the AI what it does. So if that's the case, what is our responsibility? The whole piece was kind of a meditation on that process. I did the creative technology design on that and some of the interactive narrative design of the sequencing of it. I'm very proud of that piece personally, because it was the first piece of creative technology that I ever actually showed in an exhibit. I worked on the technology that connected all of devices. So it meant that when the AI changed mood, the projections changed, and the drums changed and it pulled the AI's response and then fed that into the speech to text and delivered it into the room. So I basically did the technology that connected the surface tables to the AI, to the projectors, and to the drums. This was a topic of research I've had for a long time about how technology could be used to create these like kind of seamless connections between things. You didn't see anything happen, you just asked a question and suddenly the projections and drums changed. I call that seamless technology—technology that doesn't have clear lines where it connects. I think that could be a kind of magic and that was important to me. What did you learn from producing Frankenstein AI that changed your approaches when you then began to develop The Raven? How does The Raven work as an experience that grew from or built upon your previous work?NF: The Raven was an immersive performance where we allowed an audience into The American Irish Historical Society where they experienced a magically real story of Edgar Allan Poe's The Raven. The center of the technology of the piece was that every user had a lantern that they carried around with them. The lantern was an IOT device that was reading beacons in the space and connected to a central system. The audience also had a set of headphones that were playing audio for them. So most of the audio that was present in the piece came from the headset that was being played based on where they were and based on a character they picked at the beginning of the piece. Everyone was sort of playing a performer in the piece. The performer Ava Lee Scott, who was playing Poe and co-wrote the piece, was moving through the space as Poe meditating with these characters. But you, as the audience, were one of the people that Poe knew from his life or his creations. What Lance Weiler and I carried from Frankenstein AI was this idea that we could create a central technology system that was guiding all these users without having to have actors on top of those users moving them around. And that the storytelling could really be based on their decisions, because it was in part based on where you went and what you encountered. The other thing that Frankenstein AI taught me, in a real sense, was that these technologies could be stable. The work had a server system, that's how it ran, it was a server that was running on a small piece of technology called the Raspberry Pi. We turned it on and on the first day when we were running it we just didn't turn it off. We wanted to see if it would stay up overnight. And then we didn't turn it off for two full weeks. It just ran nonstop for two weeks and it never broke. We never had to restart it. So that taught me these things can be made battle ready. We brought a similar kind of technology to The Raven. There were obviously different technical constraints to The Raven and there were different bugs we were facing, but we went through a similar process of creating a central system that guided the narrative. If we do that right and we have the right affordances to connect to the audience that can take the place of a bunch of docents, a bunch of rules, a bunch of structures, and people can just explore. Then through that exploration they can find story. I should say that we worked with pretty robust technologies on that project. We were in partnership with Microsoft and we were using pretty heavy Azure servers and things like that, but it was not for heavy lifting stuff. It was for reliability of the delivery of the material. And then we built this gigantic XML file that was the branching script of the entire piece so that we knew where people were. We could time lights and sound cues and things like that.THE LIMITS OF THEATERWhat I find compelling about both of these projects is their capacity to posit alternative models for theater's future. They either directly or implicitly suggest that theater needs to be remediated or fixed. For the purposes of this discussion, can I make that assertion?NF: Yeah, I will also defend traditional theater, but… [laughs]That's good [laughs], but what is it about certain kinds of theater that need to be remediated and how are your explorations accomplishing this? I'm very careful to say alternative models and I'm not asking you to generalize. I think from our audience's perspective, people are going to ask: what's wrong with the kind of theater that I do? And why do I need these other systems? Why do I need to even consider these technologies? All these kinds of questions are implied, for better or worse, in the kind of work that you're proposing and the kind of exciting research that you're carrying out.NF: First of all, there's just aesthetic possibilities that are very hard to create in a linear format like theater. Guilt is hard to create in an audience. Triumph is hard to create in an audience because they don't do anything. You can get to shame, but there's types of shame you can't get to. So there's aesthetics that become possible just when someone is culpable and when someone has the ability to achieve. That becomes kind of interesting. Games have lots of emotions attached to victory and failure that can be leveraged in all sorts of interesting and weird ways. There are pieces like The Privilege of Escape, which was an escape room that was a meditation on systemic bias. That's an interesting example of a piece where the designer was trying to use the affordances of games to demonstrate a problem in the world. And games typically do that. There's just pure emotions that are inaccessible to linear media. I think because there aren't affordances for the audience to access them, despite the diversity of emotions that these forms can create. The second possibility is, it's a question of how you want to engage with your audience. As an artist, I don't really like telling people stories, that doesn't really engage me.You're the second person we've interviewed who has talked disparagingly about stories and storytelling. Say more about that.NF: I don't mind being blunt about this. I'm not that interested in my biology. I'm not that interested in my history. I don't find those things that interesting. I don't think I have a vision of storytelling that's so powerful that some muse came to me uniquely and now the word of heaven is coming through my body or something. And this isn't to knock people who do that, there are geniuses who make that work, but that's not how I create and that's not what I do. What I want is to play with you. I want to be able to engage with you and you know, catch the ball you throw and throw it back. And this isn't altruistic just to be really clear, I mean I like doing that with people, but it's also really fun to catch a bunch of balls coming at you in crazy directions and keep the whole thing on track. There's an artistry to that. That's what running an RPG is, it's like throwing track in front of a moving train. So I think that's really powerful and you get things that you would never get otherwise. Similarly, if you jam you get something that you would never get when you compose. The improvisation and the participation of other people leads you to create something new and you can do that with audiences. And you can do that with audiences in ways that don't make crappy, thin, gray, over-democratized work. Because I'm not saying that's not a problem, if you just let everybody come in and cook in the kitchen then you get no food or you get bland food or inedible stuff. Structures make it possible for people to participate in ways that are meaningful, but controlled, that fit within the aesthetic. So people understand what kinds of creations are possible in this space. And that is a whole set of techniques that then allows audiences to come in completely ignorant of what you're doing and then tell a story that they helped make that is still in the aesthetic you wanted. There's a magic to that that I think is really powerful. It opens up whole new kinds of forms and it's a different way of engaging with the world for the audience and I think that's powerful because we haven't really seen it before. There are some experiences like that, but they tend to be very high demand on the creativity or they tend to be gate-kept or they're high skill-based. And what immersive theater can do that I think is unique and independent of digital games and LARPs, is that they can be approachable. I can show up and not really know much and still participate. And I think that's a space that's really powerful. And then the third beat that I just have to mention all the time is that tickets are very expensive to these things. They charge a lot of money to get people into those things. I think that there's opportunity, from a business perspective, if you can figure out the scaling. You're seeing pieces like Particle Ink in Las Vegas which is a piece with projection mapping and dance where they're starting to figure out how to grow the audiences in ways that don't hurt the piece. You start looking at genuine business models for keeping those things up. What are other business models that can keep dancers, actors, and set designers involved? Because none of those people are going away in immersive theater, we need all of those people. We need them the same way we need them in other forms. It's a parallel skill if not an identical skill right. So we're not telling actors they're out of work. We had actors in The Raven, the actor was the center of The Raven in a lot of ways, but the actor was supplemented by all of these other things to create a new form where people can explore and make choices and feel directly engaged.NEW FORMS OF PEDAGOGYGiven this technologically seamless environment within which performance might take place, do you see the training of actors taking a different path? Or different ways for how writers produce scripts? Do we need new kinds of training for scenographers, sound and lighting designers that will accommodate and respond to these ideas and new approaches to performance? NF: Well acting, for example, in these kinds of cases, has a lot more improvisation in it. It's much more deeply based in that kind of improvisation, but it's also a lot about vulnerability. This is something that I'm just going to riff off of a writer and actor that I know Char Simpson would talk about. Char was part of the Blackout Haunted House for many years and talks very much about how they created vulnerability and that the creation of vulnerability was really important. That becomes a different way of thinking about acting. But also the idea that an audience member might ask you your favorite color and you need an answer that seems natural. That's a more roleplaying kind of acting than I think some actors are trained in, of course some actors are good at that. You don't know what's going to happen so you can't write a script the way you would normally write a script. It has to have some variation in it. You have to think about it more like story, like world building. I think directing changes because I don't know when we're gonna hit a specific moment or I don't know what perspective I'm gonna be coming from in a specific moment. So I have to think differently about that too. And you see that in digital games which will sometimes have cut scenes that are very film-like, but they'll also have scenes where users can walk around and watch what's happening. Which is why when we talk about VR we talk more about immersive theater because the viewpoint is not singular, it is a multiple viewpoint environment. So I'm thinking about it more from that perspective. Theater in the round is also relevant here. Again, that's not a new form, but it solved this problem. So maybe VR should look at theater in the round and then learn some lessons for how you keep an audience's attention in a broad space. And in fact, we're getting that big, we could think about station-based theater where people are really just drifting over a whole plaza and engaged in an experience. Are these forms going to change acting, writing, directing and set design? Sure, of course they are because the affordances of the audience are going be different and that's going to lead to different outputs. But it's not like we made up all this stuff just because the technology came along. We had happenings, we had station-based theater, we had rituals.I'm thinking about the Ramlila which I participated in India many decades ago in Varanasi. This is a month-long event that is played out over the entire city in which the inhabitants take on all the various roles. The city performs and becomes an immersive ritual and religious space. So there are absolutely precedences that are centuries old that we can draw upon. I'm thinking about how the pedagogical needs of theater will continue to change in response to these new forms that are becoming more and more central to our lives.NF: Yeah I teach immersive and dynamic narrative and I teach it in the way that we've been talking about. I teach it in this very broad, cut-across-media way. Media does not matter for the purpose of the class, that's not what it's about. It's about the tropes that the media use and how those things relate. And then you see this in disciplines like narratology where people are really coming at narrative from lots of different directions and trying to figure out how stories get told.Another point that's just very important to me is in the intersection of these forms. Because you're not going to get immersive theater from theater alone. There's a bunch of pieces that theater doesn't really know about like interaction design and a sort of multiple viewpoint about the pacing for that kind of stuff. Games understand that, but games don't understand what theater's good at. Games don't understand how you create scenes or understand how you create dramatic power, and games don't understand the value of liveness, frankly. Some of that we can get from LARPs, but LARPs aren't theater either. So it really is in the intersection of all of these fields.I think more of this is happening. You're seeing escape rooms get more theatrical. I think it's too slow, like way too slow. We could have gotten to where we are five years ago and we could be five years ahead of where we are right now. But you're starting to see some of that thinking happen. You're starting to see immersive pieces that are bringing some game elements into them. You can have conversations with people about VR where you talk about digital games and they don't scoff. This focuses again on the ideas of interaction and affordance and how those relate to storytelling that changes the orbit of everything. And then the skills that people have been learning, like the acting, writing, directing, set design, costuming, they all have a place. They're all going to be there, they're just going to circle around a different sun. And that sun is this audience member who can change what you do. That's different.Nick, thanks for all of the conversations we've had. I look forward to working with you. I think you're a really important thinker and maker, and your experiments and research bring a lot of insight into the future of performance.NF: Thank you, I appreciate that there are people like you that are thinking about these problems and working in these problems. Like with your own wonderful work and that podcasts like this exist to have these conversations. I look forward to a really bright future because there's other people like you in it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com

Jasper van Kuijk is universitair docent en doet onderzoek naar hoe user-centered design en innovatie werkt in de praktijk en schrijft elke zaterdag in de Volkskrant een column Hoe moeilijk kan het zijn over bruikbaarheid. Daarnaast is Jasper cabaretier (met bijvoorbeeld deze show op Netflix met goede titel) en doet dit jaar mee aan De Slimste Mens. Jasper heeft het ideetje in mijn hoofd geplant om deze podcast te starten en daarom ben ik blij om na een jaar eindelijk ook hem te kunnen hebben geïnterviewd. Voor Jasper bestaan er drie perspectieven op design, die alle drie heel waardevol zijn maar die wel goed zijn om uit elkaar te houden. Deze drie zijn: Design als vormgeving: glanzend roestvrijstalen waterkokers, mat zwarte kaarthoudertjes, mooie vormgeving (zoals het bijvoorbeeld aan de Art Center College of Design in Pasadena lesgegeven wordt) Design als kunst: ontwerpen om vragen te stellen, zoals bijvoorbeeld de PhoneBloks van Dave Hakkens; een modulaire telefoon, die commercieel en technisch niet kansrijk is, maar waardoor we wel gaan nadenken waarom onze mobiele telefoons zo kort meegaan (typisch ontwerpen zoals dit aan de Design Academy in Eindhoven lesgegeven wordt) Design als oplossing: ontwerpen voor het verbeteren van een situatie, waarbij het idee bestaat dat er een probleem en een oplossing is, hoewel dit ook vaak niet klopt (dit is typische het soort ontwerpen dat op onze faculteit en andere technische universiteiten) Volgens Jasper zit tussen design als kunst en als oplossing ook nog iets als exploratief ontwerpen, denk hierbij aan provocative design of een scenario. Hoewel ik hoopte dat Jasper als tip het boek The Design of Everyday Things van Donald Norman zou geven, is zijn tip eigenlijk om altijd het probleem helder te krijgen, ofwel het eerste deel van de Double Diamond van de British Design Council, die ook weer een bril is. Zijn concrete tip is om te luisteren naar seizoen 1 van de BBC Podcast 13 Minutes to the Moon, die volgens Jasper gaat over radicale innovatie. De podcast gaat over het Apollo ruimteprogramma om naar de maan te gaan en dan specifiek de 13 minuten van de powered descent van de maanlander. Elke minuut van de gesprekken tussen astronauten en mission control worden helemaal geanalyseerd en je merkt bijvoorbeeld dat de meeste mensen die meewerkten aan deze maanlanding tussen de 20 en 30 jaar oud waren. Het laat vooral zien dat innovatie onzeker is en daarom vaak niet leuk is.

A experiência do usuário era originalmente um ideal a ser buscado, porém, acabou se tornando uma qualidade de projeto e depois um cargo responsável por esta qualidade. Frente aos desafios éticos que os produtos digitais estão pondo à profissão, faz-se necessário recuperar o ideal original proposto por Brenda Laurel.Esse foi o tema abordado no meetup Ética em produtos digitais da comunidade Coproduto. A transcrição abaixo foi realizada gentilmente por Bruna Villar e Marina Neta. Transcrição Boa noite a todes. Vou falar sobre experiência do usuário como ideal ético. Essa é uma apresentação bem curta, direta, para tentar recuperar algo que a gente está hoje perdendo e que estava nas origens dessa disciplina chamada Experiência do Usuário (ExU). Essa é uma reflexão de um acadêmico falando sobre experiências que acontecem no nosso dia-a-dia no mercado de trabalho, mas que podem também ser transformadas através da nossa conscientização. A questão fundamental da Ética é: qual é a maneira ideal do mesmo se relacionar com o Outro? Esses conceitos são um pouco filosóficos, mas eles têm uma referência concreta do dia-a-dia muito fácil de entender: o Mesmo é você e as pessoas são próximas a você, parecidas com você; o Outro é o distante, o diferente, aquele que não é igual a você. Então, Ética diz respeito à maneira como você se relaciona com "eles". Existe a possibilidade de você ou do grupo que você faz parte ignorar esses outros. Pode ser também que você ou o grupo que você faz parte se considere superior ao outro. Ou, pior ainda, você pode se achar no direito, na vantagem, ou na oportunidade de colonizar, escravizar ou precarizar, que é reduzir as condições de trabalho do Outro. A Ética nos ajuda a questionar se essas práticas podem ser consideradas morais ou imorais, justas ou injustas, mas, em última análise, a ética está se perguntando se isso é ético, porque acontece muito de uma coisa moral se tornar imoral conforme a gente vai mudando nossos padrões culturais. Enquanto isso não acontece, nós temos a Ética como uma referência do ideal. A Ética confronta aquilo que temos como um comportamento normal, tradicional, até mesmo legal dentro do Direito. A Ética confronta o atual com aquilo que é o ideal, nos ajudando a repensar o Direito, nossos hábitos, nossos costumes e padrões culturais. É para isso que serve a Ética. Vamos aplicar o pensamento da Ética na área de Design de Produto Digitais. Quem seria o Outro dos designers de produtos digitais? Para perceber isso, é preciso elevar o nível de consciência. No meme abaixo, é somente depois de ultrapassar o nível do fator de projeto que se percebe que o usuário é uma pessoa diferente do Mesmo, é o Outro. Se você expandir ainda mais a sua consciência, você vai perceber que você também é um usuário para outros designers, porque você usa produtos digitais aos quais você não projetou e você sofre, portanto, o que um usuário sofre. Então, quais seriam os ideais do design de produtos digitais? Bom, nós temos um conceito de Experiência do Usuário que é diferente do conceito de Interface do Usuário, ou UI é diferente de UX. No meme fica bem claro que as intenções dos designers, o que eles queriam que os usuários fizessem, não corresponde necessariamente ao que os usuários realmente fazem. Se a interface é complicada, o usuário vai buscar uma gambiarra, vai buscar uma maneira de realizar os seus desejos, que não necessariamente é a maneira "oficial", a maneira preferida pelos designers. Isso é a origem do termo Experiência do Usuário, um ideal que foi perdido devido a um patriarcado. Quem definiu esse termo não foi Donald Norman. Na verdade, é um erro comum e antiético atribuir o crédito desse termo a este homem branco do Norte Global. Quem criou o termo Experiência do Usuário foi a designer, professora e pesquisadora Brenda Laurel. Em 1986 ela escreveu um capítulo que fez parte de um livro que o Norman editou e que ela falava que a experiência do usuário deveria ser um padrão ideal, não o que os usuários estão dispostos a aguentar ao interagir com a interface, mas sim a experiência ideal como ela deveria ser, de maneira que o usuário não sofra e que a gente sempre pense nesse ideal, persiga esse ideal. [...] in seeking design principles for good interfaces, we must, it seems to me, concern ourselves with the best case, and ask, not what the users are willing to endure, but what the ideal user experience might be, and what sort of interface might provide it (Laurel, 1986, p. 72). Norman utilizou esse termo de Outro jeito a partir de 1993 para definir o que dava para fazer dentro da Apple quando ele foi diretor do grupo responsável por essa área de interfaces e experiências do usuário. Essa informação consta até mesmo no histórico oficial da empresa de consultoria que ele fundou junto com Jakob Nielsen após ser demitido da Apple por ocasião da volta de Steve Jobs ao comando da empresa. Ele transformou o ideal da Experiência do Usuário em um cargo profissional. Se recuperarmos o ideal, não importa o cargo profissional. O importante é confrontar constantemente o ideal da experiência do usuário com o atual da experiência do designer. Eu uso esse modelo que ajuda visualmente a pensar sobre essa diferença. A experiência do designer nunca é igual à experiência do usuário, porque se tratam de pessoas diferentes, de grupos sociais diferentes. Enquanto designers costumam ser pessoas que têm privilégios, que têm várias vantagens dentro da sociedade (tanto é que chegaram na posição em que eles podem definir como vão ser as interfaces do sistema) os outros, os usuários, as pessoas pobres, negras, indígenas, mulheres e demais, muitas vezes só conseguem ter experiências de usuárias, porque é o que cabe dentro da nossa divisão do trabalho na produção de produtos digitais. Então, é importante colocar-se na posição de reconhecer que você possui privilégios quando você é designer, ao mesmo tempo em que existem outras pessoas que possuem menos privilégios. O que você faz quando se conscientiza de seus privilégios? Você compartilha seu poder para que haja uma equalização gradual dessa relação para que, no futuro, exista uma outra relação de produção digital em que todo mundo seja designer de seus próprios sistemas. Quando a experiência do usuário é projetada como ideal, acredita-se, então, que sempre é possível fazer melhor para o Outro do que a solução atual. E é assim que eu ensino os meus estudantes de design a se preocuparem com os outros. Na imagem abaixo, vê-se um projeto de experiência de música aumentada, na qual os estudantes criam vários estímulos táteis, sonoros e olfativos, pensando no corpo de outra pessoa, em como ela vai interagir, como ela vai sentir a experiência musical. Assim, vão percebendo como pessoas diferentes vão dar sentidos diferentes para a proposta, nunca da mesma maneira como designers gostariam que fosse. Fazer melhor para o Outro, então, implica sempre em cuidar, aprender e se deixar transformar pela interação com o Outro. Isso é um princípio ético do design de experiência do usuário que está sendo perdido quando o Outro é tratado como um apêndice, uma peça do sistema, ou, principalmente, como apenas um número dentro de uma planilha de estatísticas, com metas para bater. Obrigado e espero que a gente tenha um diálogo interessante a respeito dessa provocação. Vídeo O vídeo abaixo contém o debate completo organizado pela comunidade Coproduto. Áudio Experiência do usuário como um ideal ético MP3 8minComente este post

Neste episódio do Uso, logo existo, conversamos com a nossa UX Researcher Diéssica Gaige sobre o que de fato é Design Thinking e sua importância para a estratégia de UX. Entenda as reais aplicações dessa estratégia, além de receber ótimas dicas de conteúdos para se aprofundar no tema e aplicar no dia a dia do seu negócio. Livros indicados no episódio: Design Emocional - Donald Norman - https://bit.ly/3nInMSV O Design do dia a dia - Donald Norman - https://amzn.to/3tIzsJ0 Do design thinking ao design doing - Jon Kolko - https://amzn.to/3tLbYmH --- Send in a voice message: https://anchor.fm/attritec/message

Donald Norman is an Elementary Education major at Columbus State University. On this episode, Donny shared his experiences as a father to his son Finn and how they have informed his critical reflection, work with elementary students, and his intentional science pedagogy. * * * * * * * * * * * * * * * * * * * * * Dr. Aaron R. Gierhart is an Assistant Professor of Elementary Education at Columbus State University in Columbus, Georgia, and previously taught in the Illinois public schools for 11 years. You can follow him on Twitter and Instagram @aaronrgierhart Email: gierhart_aaron@columbusstate.edu Podcast Socials: Facebook & Instagram @JourneysOfTeaching & Twitter @JourneysTeach Thank you to Mitch Furr for the podcast theme music and Adam Gierhart for the logo artwork.

Intro.(1:42) - Start of interview.(2:28) - Nell's "origin story." She's the oldest of three girls, including former Harvard Law School Dean and current Professor Martha Minow. Her father, Newton Minow, was the Chairman of the FCC under JFK and authored a famous speech on the "vast wasteland" of TV (that still resonates 60 years later). She was influenced to speak out from an early age when she saw problems. Her ambition was to become a prosecutor but she moved to D.C., where she worked at the EPA and later at the White House OMB.(4:24) - On meeting Bob Monks, and being asked to join his "new startup" ISS in the mid 1980s (now the largest proxy advisory firm) to advise institutional investors on corporate governance. She didn't know much about corporate governance before joining ISS. "I arrived at the best possible time: the whole field was just beginning so I feel like George Washington or D.W.Griffith because I was there right at the start, out of pure luck." Since then, "Bob Monks and I have built and sold four different [corporate governance related] businesses."(6:57) -  On working as a shareholder activist with LENS ($100m fund) from 1990-2000: "All my career experiences have converged on system analysis: why things don't work as they are supposed to." "ISS had originally been conceived with an activist business plan, but it pivoted to focus instead on independent research for institutional investors. It was at Lens where we focused on activism."(10:23) - Strategy at Lens: "We bought stock in companies that were not living up to their potential." "About a third of companies would say that that they were already way ahead of us and had a plan in place, a third would say that the ideas were pretty good, and a third would fight us." "We did not have much AUM but we knew a lot of the institutional investors, and sometimes they would ask us to look at specific companies because they trusted us." "We sold Lens to Europe's largest institutional investor, however we kept the part we liked which was the in-house research, that became the Corporate Library."(12:43) - On starting The Corporate Library ("we called it intentionally the most non-controversial name because we had a reputation for being very provocative.") "We started by publishing reports on employment contracts of CEOs in S&P500." "My dream was to rate corporate boards like (AAA-to-junk) bonds, and that was the product that we developed, which we hoped to sell to investors [who did not buy it] but we sold them instead to D&O insurers [they loved it.]" "We later acquired GovernanceMetrics International (GMI) and took their name, and sold the whole shebang to MSCI."(17:44) - The history and focus of her current firm, ValueEdge Advisors: "We put on a conference every year for institutional investors, we prepare reports on various corporate governance issues for clients - it's sort of private label research."(18:48) - Her other focus as a movie critic. "The governance life is the frolic and detour, the movie life goes back as far as I can remember." Her favorite corporate governance movies: The Big Short, Owning Mahowny (featuring Philip Seymour Hoffman and involving the biggest bank embezzlement in Canada).(22:48) - Her take on politics in the boardroom. Discussion around her article "The Choice for CEOs on Political Issues is Not “Yes or No”, It’s “Helps the Brand or Hurts the Brand.” "If the people listening to this podcast take-away one recommendation from me it would be the following: subscribe immediately to Judd Legum's newsletter called Popular Information. He keeps track of companies that stated in January that they would not make any political contributions to candidates that would not certify the elections [and failed to live up to those promises.]" "It's no longer possible for a CEO to remain neutral."(27:10) - Her take on the "controversial" Coinbase CEO and Basecamp CEO statements.(29:04) - Her take on the rise of ESG: "It's a bit the best of times and worst of times scenario":Best of times: ESG is supplemental to GAAP (which does not measure human capital well). "The difference between CSR and ESG is that the former had the implication of being sort of a trade-off (limiting profits for some kind of a balancing test) while ESG makes no concession of any kind, it's 100% financial and 100% about assessing risk." "So any claim that ESG is against shareholder value is not well founded." The second point is that ESG is a huge issue for Millennials and the next generation... they care tremendously about this topic (relevant for employers and employees)." This has led to a significant amount of capital pouring into ESG.Worst of times: "It's such a nascent field that there is no consistency, and the ambitions are in excess of the data that's available." "There are a lot of carpetbaggers coming in and labeling themselves as ESG who don't know what they are talking about."(34:12) - Her take on the BRT corporate purpose restatement (2019) and stakeholder capitalism: "Six Reasons We Don’t Trust the New “Stakeholder” Promise from the Business Roundtable." (her article from Sept 2019). "The last thing I want is for CEOs to be making public policy and deciding how much pollutants they can put out in the air." If we had to rate general knowledge on ESG: on the "E" I would give us B- on our understanding of the relevant factors, on the "G" we could get a B+ on our understanding of governance risks, "S" is the big messy category where who knows what we are talking about." There are groups like SASB that are doing excellent work.(39:21) - Her take on boardroom diversity: "I am very supportive of the Nasdaq and Goldman Sachs approaches that are ultimately market based approaches." "I am not in favor of quotas." "I think we still have a long long way to go." "I would prefer that instead of a quota system we had a rebuttable presumption, for example: if you do not have at least a third of diverse directors in your board you should explain why not and what steps you're taking to improve." "I feel very strongly that if the CEO package is a disgrace, then you should vote no on pay, and on the members of the compensation committee - no matter if they are diverse directors." "If they can't get it right on pay, they should not be on comp committee or the board."(43:15) - Her take on private company governance and dual class shares: "I'm in favor of the market [letting the people create whatever governance and capital structures they want] but personally I would never buy limited voting stock [via dual class shares] in companies." "I am not in favor of prohibiting dual class shares but I think it's a bad idea." "I support CII's position of adding sunset provisions." "The important thing about governance is to have performance standards not design standards." "When we were grading boards of directors, the areas with most conflicts of interests [between boards and shareholders] were CEO pay [CEOs wanted less variability and shareholders want more variability] and M&A [most acquisitions don't add any value]." "Does the board make good decisions? That's the ultimate test, it's not because somebody is someone's second cousin or if there is diversity or if they put or not their governance policies on their website" "This is why I would always vote in favor of Berkshire Hathaway's board, they make good decisions."(48:08) - Her final take-away for public company directors: "We were very good at predicting what was wrong, never that good in predicting what was right. We were better at finding evidence of terrible rather than evidence of greatness, and that's why insurers loved our product because it was about risk." "You can get 90% of your way to governance by looking at CEO pay."(49:35) - The books that have greatly influenced her life:The Psychology of Everyday Things, by Donald Norman (1988)Bird by Bird, by Anne Lamott (1994)(50:31) - The movies that have mostly influenced her life:Sullivan's Travels, directed by Preston Sturges (1941)Inherit the Wind, directed by Stanley Kramer (1960) *she wrote a law review article on this movie: An Idea is a Greater Monument Than a Cathedral: Deciding How We Know What We Know in Inherit the Wind (1995)(52:17) - Her mentors (outside her family):Robert A. Monks (business partner of 35 years).(54:05) - Her favorite quotes:"It is not your responsibility to finish the work [of perfecting the world], but you are not free to desist from it either" Pirkei Avot  ("you don't have to do everything, but you have to do something")"The funniest mortals and the kindest are those who are most aware of the baffle of being, don't kid themselves our care is consolable but believe a laugh is less heartless than tears.” by W.H. Auden in a poem called “Tonight at Seven-Thirty." ("when corporate misbehavior is so outrageous it helps if I can laugh at it, and then get angry...")"Always take the high road, it will either shame the other side into good behavior or it will drive them crazy" Her mom.(56:08) - Her "unusual habit" that she loves: San Diego's Comi Con (she never misses it, and calls it the "Iowa Caucus of popular culture"). "The people there are the most passionate and independent minded fans."(56:55) - The living person she most admires: her parents. They exemplify what is to have a full life: "Speak truth to power, to be part of the solution, and to be always there for your family."Nell Minow is the Vice Chair of ValueEdge Advisors. She was Co-founder and Director of GMI Ratings from 2010 to 2014, and was Editor and Co-founder of its predecessor firm, The Corporate Library, from 2000 to 2010. Prior to co-founding The Corporate Library, Ms. Minow was a Principal of Lens, a $100 million investment firm that took positions in underperforming companies and used shareholder activism to increase their value. Her other professional experience includes serving as a Principal of Lens Investment Management, as President of Institutional Shareholder Services, Inc., and as an attorney at the U.S. Environmental Protection Agency, the Office of Management and Budget, and the Department of Justice. If you like this show, please consider subscribing, leaving a review or sharing this podcast on social media. __You can follow Evan on social media at:Twitter @evanepsteinSubstack https://evanepstein.substack.com/Music/Soundtrack (found via Free Music Archive): Seeing The Future by Dexter Britain is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License

sito del Podcast : https://strategiait.infosito transcribe service: https://transcribe.refacturing.comsito aziendale: https://www.refacturing.comcorso GTM: https://refacturing.it/corso-gtm-base/corso base API MVP : https://gumroad.com/l/HoYrSIT Newsletter su: https://it.refacturing.comVideo sulla playlist: https://youtu.be/ssrxbUYHWWIIlaria Mauric:https://tangible.ishttps://twitter.com/ilariamaurichttps://www.ilariamauric.itLean UX e Sense & Respond di Jeff Gothelf e Josh Seiden (https://www.goodreads.com/book/show/13436116-lean-ux https://www.goodreads.com/book/show/29502593-sense-and-respond)La caffettiera del masochista e Emotional Design di Donald Norman (https://www.goodreads.com/book/show/3876199-la-caffettiera-del-masochista-psicopatologia-degli-oggetti-quotidiani https://www.goodreads.com/book/show/841.Emotional_Design)Technically wrong di Sara Wachter Boettcher (https://www.goodreads.com/book/show/38212110-technically-wrong#)Ruined by design di Mike Monteiro (https://www.goodreads.com/book/show/44432844-ruined-by-design)

Emma, Gil, and Scott have a roundtable discussion in which they discuss the three sales channels, or markets, your board game can be available in: hobby, specialty, and mass. What are the differences between them, and how can a game move from one to another? SHOW NOTES 0m48s: Erica and Sen are joining the show! You can watch them in the Meeple Syrup Show. Some of Sen's games: Junk Art, Akotiri, and Jiangshi: Blood in the Banquet Hall. Some of Erica's games: Bosk, Roar: King of the Pride, Kodama 3D, Scott Pilgrim Miniatures The World, Steven Universe: Beach-A-Palooza, and the forthcoming Rat Queens. Here's Sen's appearance on Ludology 236 - Role With It. 2m11s: The hobby "classics": Catan, Carcassonne. The new hotness as of this recording: Bonfire, Carnegie (which is so hot, it's not even out yet...).  2m55s: More info about PSI, the sales agent Gil (and many other publishers) use to sell their games to publishers. 4m11s: Yep. 4m36s: Wingspan, Terraforming Mars, Codenames 11m15s: Phoenix Games and Mox Boarding House in Seattle. Emma also mentions Century: Spice Road, Exploding Kittens, Just One, and her game Abandon All Artichokes. 16m49s: Gloomhaven: JOTL, Pan Am 17m46s: Yes, Gil's told this anecdote before. He's talking about Avowel, the mobile version of his game Wordsy. 27m00s: Wingspan was written up in both the New York Times and Smithsonian Magazine, among others. 33m17s: We had Kim Vandenbrouke on in Ludology 212 - Inventing Play. 40m03s: Yes, Gil made the same point in the last episode. Still relevant! 41m37s: Not sure why Gil brought up Root but completely forgot about Fort, from the same publisher! It's a better example. 44m24s: The idea of affordances and signifiers from a design standpoint was popularized by Donald Norman in his book The Design of Everyday Things. This subject came up when we chatted with game designer and graphic designer Daniel Solis in Ludology 204 - The Eyes Have It. 45m11s: Kingdom Builder 47m39s: Seven Wonders 50m01s: The story of Lizzie Magie, Charles Darrow, and the way The Landlord's Game eventually became Monopoly is worth knowing about. You can read about it here. 55m51s: Verrater and Muerter.  59m12s: Emma and Gil gushed about their Quivers a bit more than they expected to!  1h01m27s: Red Raven made their game Megaland exclusive to Target when it was released in 2018. The Star Wars: X-Wing Miniatures Game also had components exclusive to Target. 1h04m23s: Scott is referring to the mechanism in each game in the Betrayal family of games, in which the game assigns one player to turn against the other players in one of dozens of wildly different scenarios. 1h08m31s: We discussed complexity in Ludology 238 - Unraveling Complexity. 1h11m33s: Gil likes to occasionally return to this lukewarm review of Catan from 1998, complaining about game length, runaway leader, and balance issues. The more things change... 1h12m13s: Here's Emma's talk for the Tabletop Mentorship Program about playtesting! 1h13m48s: More info about the AEG Pitch Project. Also, more info about Scott's forthcoming game Alien: Fate of the Nostromo.

Tudo com o Paulo Monteiro veio acompanhado com mais duas coisas. Demissão mais duas coisas, faculdade mais duas coisas, emprego novo mais duas coisas. Mas o que ele nunca deixou escapar foi o sentimento e a energia de que tudo daria certo no final. Paulo Monteiro é designer em uma agência de publicidade e busca melhorar a cada dia, sempre com muito estudo e dedicação, afinal ele fez uma transição de carreira durante a pandemia, após uma demissão numa cidade nova. Apesar de sua pouca idade, a nossa conversa pode ser bacana para você perceber que nunca é tarde para mudar, para recomeçar. O episódio está disponível nas principais plataformas de áudio. http://bit.ly/3ioCU40 Links Úteis Para entrar em contato: Perfil no Instagram do Paulo Monteiro. LinkedIn e Behance. Para ler: 'O design do dia a dia', de Donald Norman: https://amzn.to/3qNOARg 'Por que fazemos o que fazemos?', de Mario Sergio Cortella: https://amzn.to/3bshGz4 Ficha Técnica Sonorização: Mathias Lobo Branding: Thamara Maura Mídias Sociais: Paulo Monteiro Produção Executiva: David Varelo --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

[Design] Resenha do livro "Emotional Design : Why We Love or Hate Everyday Things"de Donald Norman. O autor, um cientista comportamental, defends os mistérios por trás dos motivos que fazem a gente amar alguns objetos do dia-a-dia e odiar outros. A resenha escrita está aqui.

Wir stehen auf den Schultern von Giganten. Es gibt kaum noch Bereiche in Forschung, Wissenschaft und Technologie, in denen kein Wissen existiert. Über das Verhältnis von Mensch und Technologie gibt es einen riesigen Bereich an wissenschaftlichen Publikationen, Büchern, Ratgebern und fragwürdigen Publikationen. Ein Dschungel, den ich ein bisschen lichten möchte. Bücher lesen ist ein exzellenter Weg, das Denken und Handeln von anderen Menschen zu verstehen und davon zu lernen. In dieser Episode stelle ich drei Bücher - je eins von Donald Norman, Alan Cooper und Gilles Colborne - vor, die für mich wichtig waren und sind.

Presentadores: Karla Lizbeth Rodríguez Rodríguez, Carolina Retana Ramos, Eduardo Varelas Aldana y Dora Luz González Bañales Curso: Diseño Centrado en el Usuario Temas que abordamos: 1)¿Qué es Diseño Centrado en el usuario? 2)¿Quién es Steve Krung? 3)¿Cuáles son sus libros más famosos? 4) ¿Cuáles son las lecciones principales de su libro? 1) ¿Qué es User eXperience? 2)¿Quién es Donald Norman? 3)¿Cuáles son sus libros más famosos? 4) Para Donald Norman ¿por qué es importante el diseño emocional? 1) ¿Qué es Usabilidad? 2)¿Quién es Jakob Nielsen? 3)¿Qué podemos encontrar en la página de https://www.nngroup.com/? 4) ¿Porqué Jakob Nielsen en considerado el padre de la usabilidad? Fuentes: https://openwebinars.net/blog/10-claves-de-usabilidad-de-steve-krug/ https://teoriavision.wordpress.com/2008/07/10/diseno-emocional-interview-donal-a-norman/ https://es.ryte.com/wiki/Jakob_Nielsen https://www.nngroup.com/articles/definition-user-experience/ https://www.iebschool.com/blog/diseno-centrado-en-el-usuario-analitica-usabilidad/ Foto de bongkarn thanyakij en Pexels

Personalisations and customisations exist for the sole reason that we should be able to make anonymous objects, our own - by altering them, reassembling them, designing them - to fit our personalities. In this process, our belongings become unique to us, and we hold them very dear to us. If we did not personalise what we own, it would have no attachment or bonding, and more importantly - it would not be an extension of our identities. We just didn't think of it this way, but we are all designers. This episode is based on an excerpt from "Emotional Design" by Donald Norman. Please rate & review this podcast here: https://podcasts.apple.com/in/podcast/the-31-5-guy-podcast/id1528897344 You can find me at https://rounakbose.in Links: https://www.instagram.com/the31point5guy/ https://twitter.com/The31point5Guy https://medium.com/the-31-5-guy https://www.linkedin.com/in/rounakbose1997/ ~ The 31.5 Guy

Polygraph tests, or lie-detector tests as they are commonly known, do not read minds. Nor do they read lies. They rely on small but significant physiological changes to predict whether a lie has been spoken, stemming from changes in certain emotions. You would be better off, calling them "emotion-detectors". False alarms are so often, and the underlying working principles dish out so flawed results in real life, that the National Research Council of the United States National Academics, has declared it unusable for legal and security screening. This episode is based on an excerpt from Emotional Design, written by Donald Norman. You can find me at https://rounakbose.in Links: https://www.instagram.com/the31point5guy/ https://twitter.com/The31point5Guy https://medium.com/the-31-5-guy https://www.linkedin.com/in/rounakbose1997/ ~ The 31.5 Guy

Olá, Boas vindas para você que está estudando com o "Curso" Básico GRATUITO de User Experience (UX)! Beleza? Vamos lá? Termo cunhado por Donald Norman enquanto trabalhava como pesquisador na Universidade California San Diego (UCSD), no artigo User-Centered System Design: New Perspectives on Human-Computer Interaction (Norman & Draper, 1986) e popularizado em 1988 no Psychology of everyday things (re-batizado como The design of everyday things) “...é uma filosofia baseada nas necessidades e interesses do usuário, com ênfase em fazer produtos usáveis e inteligíveis.” - Donald Norman Resumindo: É um processo de design que se concentra nas necessidades e requisitos dos usuários. Venha aprender conosco e não esqueça de nos enviar seu feedback pelo grupo do Telegram, ou em nossas redes sociais. ----------------------------- Livros indicados: Design Emocional - Donald Norman Design do Dia-a-Dia - Donald Norman Design Centrado no Usuário, por Travis Lowdermilk ----------------------------- * Entre no grupo do Telegram * https://t.me/joinchat/HUYCHEQ_Qqf_FMh4F-07DA ----------------------------- Esta é uma iniciativa do Canal DesignTeam aplicado por Rodrigo Lemes e Rafael Burity com o objetivo de democratizar e facilitar o acesso a um conteúdo, que consideramos básico e essencial, a todos que desejam conhecer um pouco mais de User Experience e entender por onde começar a estudar para ser um profissional no mercado. A idéia não é dizer que através deste conteúdo você estará se formando um profissional pronto para o mercado, mas sim que consumindo este curso em formato de podcast você terá um conteúdo consistente e sólido de forma gratuita. O curso foi dividido em 4 módulos com a seguinte estrutura: Módulo A - Fundamentos de UX Módulo B - Conhecendo o usuário (Discovery/Research) Módulo C - Desenvolvimento Módulo D - Validação Iremos começar com o módulo A com os fundamentos de UX que contém 8 episódios. Ep 1: Introdução e panorama geral de UX Ep 2: Elementos de UX Ep 3: Design Centrado no usuário Ep 4: Guarda-Chuva de UX Ep 5: Mercado de UX Ep 6: O olhar de UX Ep 7: Princípios do UX Ep 8: Os processos de UX na fase de Mapeamento e estratégia ----------------------------- * Assine o Canal * https://www.youtube.com/c/designteambr?sub_confirmation=1. ----------------------------- Siga-nos nas redes sociais! Rodrigo Lemes Linkedin: https://www.linkedin.com/in/rodrigolemes Twitter: https://twitter.com/rodrigolemes Rafael Burity Linkedin: https://www.linkedin.com/in/rafaelburity Twitter: https://twitter.com/rafaelburity

Demian Brener, fundador y CEO de OpenZeppelin.com y reciente emprendedor Endeavor, nos cuenta como el libro The Design of Everyday Things, escrito por Donald Norman, le dio un marco conceptual para concebir la creación de productos, que finalmente lo llevó a crear OpenZeppelin.

¡Terminamos de leer otro libro en el club de lectura! Este libro escrito en 1988 fue un básico en la biblioteca de diseñadores hasta ahora. A través de la lectura, aprendimos que todos somos diseñadores que deben dejar de ver al diseño como una disciplina y usarlo como herramienta para incorporarlo directamente a sus servicios y estrategias. ¿En realidad recomendamos este libro? ¿Cómo nos ha ayudado a entender procesos de interacción de servicios, productos y estrategias entre los diseñadores y las personas? Visita nuestro micro-sitio con recursos completamente gratuitos a través de este link: https://www.ecomportamiento.org/desig... Compra The Design of Everyday Things aquí: https://amzn.to/2wMPrei Si quieres saber más sobre los libros que abordan temas de ciencias del comportamiento o behavioral design y discutir conceptos clave, el Instituto Mexicano de Economía del Comportamiento tiene para ti el Bookhavioral Club, no te pierdas las transmisiones semanales todos los viernes a las 10 a.m. hora de Ciudad de México.

Parliamo di Storytelling e dell'arte di raccontare storie con Mick Odelli, ospite House Of Minds for Social, divulgatore di Youtube, creativo digitale ma soprattutto storyteller multidisciplinare. Mick ci svela alcuni segreti dello Storytelling e a proposito di narrazione ci racconta in prima battuta la sua storia di crescita personale e professionale. Alcuni spunti interessanti che Mick ci offre: - La sua definizione di Storytelling - L'importanza di emozionare per far ricordare esperienze alle persone ("Wow Experience"). Ti segnalo i libri che abbiamo citato in questa Live, clicca al link per l'acquisto: - "La caffetteria del masochista" di Donald Norman: http://amzn.to/2l9zrdu - "Uno psicologo nei Lager" di Viktor Frankl: http://amzn.to/1kPBm3h ---- Per vedere i prossimi appuntamenti di "House of Minds for Social", il nuovo format di Instagram nato ai tempi del Coronavirus per trascorrere insieme questo tempo libero, ecco il link: https://www.houseofminds.it/for-social Gli appuntamenti scorsi li trovi invece nella playlist "Coronavirus, quarantena e tempo libero: le mie live", ecco il link: https://urly.it/34zb9 - Per seguire le live in diretta, seguimi su Instagram: https://www.instagram.com/luca.mazzuc... - Per seguire House of Minds su Instagram, ecco il link: https://www.instagram.com/houseofmind... - Acquista qui il tuo biglietto per il grande evento del 7-8 Novembre 2020 di crescita personale: https://bit.ly/3cTXExm - Se vuoi rimanere aggiornato con i contenuti di Mick Odelli, ecco il suo canale Youtube: http://tiny.cc/ti2jmz

En la tercer semana revisando esta lectura, hablaremos sobre lo importante que es considerar el comportamiento humano al momento de diseñar. Tenemos que hacer evidente a nuestros usuarios hasta dónde pueden accionar el diseño, qué es lo que pueden hacer con el diseño que les presentamos y qué recibirán cuando interactúen con nuestro producto, servicio o estrategia. ¿Existe una diferencia entre la idea de diseñar restricciones para los usuarios desde el producto físico y la idea que revisamos en la lectura pasada, Nudge? Acompáñennos a descubrirlo. Visita nuestro micro-sitio con recursos completamente gratuitos a través de este link: https://www.ecomportamiento.org/desig...Compra The Design of Everyday Things aquí: https://amzn.to/2wMPrei Si quieres saber más sobre los libros que abordan temas de ciencias del comportamiento o behavioral design y discutir conceptos clave, el Instituto Mexicano de Economía del Comportamiento tiene para ti el Bookhavioral Club, no te pierdas las transmisiones semanales todos los viernes a las 10 a.m. hora de Ciudad de México.

Parliamo di Storytelling e dell'arte di raccontare storie con Mick Odelli, ospite House Of Minds for Social, divulgatore di Youtube, creativo digitale ma soprattutto storyteller multidisciplinare.Mick ci svela alcuni segreti dello Storytelling e a proposito di narrazione ci racconta in prima battuta la sua storia di crescita personale e professionale. Alcuni spunti interessanti che Mick ci offre:- La sua definizione di Storytelling- L'importanza di emozionare per far ricordare esperienze alle persone ("Wow Experience").Ti segnalo i libri che abbiamo citato in questa Live, clicca al link per l'acquisto:- "La caffetteria del masochista" di Donald Norman: http://amzn.to/2l9zrdu- "Uno psicologo nei Lager" di Viktor Frankl: http://amzn.to/1kPBm3h----Per vedere i prossimi appuntamenti di "House of Minds for Social", il nuovo format di Instagram nato ai tempi del Coronavirus per trascorrere insieme questo tempo libero, ecco il link: https://www.houseofminds.it/for-socialGli appuntamenti scorsi li trovi invece nella playlist "Coronavirus, quarantena e tempo libero: le mie live", ecco il link: https://urly.it/34zb9- Per seguire le live in diretta, seguimi su Instagram: https://www.instagram.com/luca.mazzuc...- Per seguire House of Minds su Instagram, ecco il link: https://www.instagram.com/houseofmind... - Acquista qui il tuo biglietto per il grande evento del 7-8 Novembre 2020 di crescita personale: https://bit.ly/3cTXExm - Se vuoi rimanere aggiornato con i contenuti di Mick Odelli, ecco il suo canale Youtube: http://tiny.cc/ti2jmz

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Durante el mes de abril estaremos reseñando The Design of Everyday Things de Donald Norman. Un libro escrito en 1988 que sostiene la idea de la que hablaremos el día de hoy: todos somos diseñadores. Resolveremos preguntas como: ¿cuál es la importancia de considerar al diseño como una herramienta y no solo como una disciplina? Y también comenzaremos a discutir los conceptos más importantes para continuar con la lectura.

John Helmer talks to Leonard Houx, Director at the eLearning Network and Senior Instructional Designer at Cass Business School. In an age when people who do his job are more often called learning designers or learning experience designers, how relevant is the history of instructional design to challenges we face today? As someone who knows both higher education and organisational learning, Leonard is uniquely placed to give insights on both. He also talks about his early love of skateboarding and how it causes him to reflect on how successive generations of designers tend to reinvent the wheel. 01:24    Skateboarding and Instructional Design 03:52   Who should we be reading? 04:51    ID in Higher Education 08:55   Pitfalls of learning experience design 12:43    Zombie Ideas 20:19    Can people learn from experience? 28:09   Learning experience design and UX 34:30   Ignorance of ID in Higher Ed Writers and thinkers on instructional design referenced by Leonard in this podcast: David Merrill Robert M. Gagné Siegfried Engelmann Charles Reigeluth John Sweller Paul Kirschner Jeroen J. G. van Merriënboer Books cited: Diana Laurillard Laurillard, D. (2002). Rethinking University Teaching. A conversational framework for the effective use of learning technologies. London: Routledge ISBN 0415256798 . Didau, D. (2015) What if everything you knew about education was wrong? Carmarthen: Crown House. Also mentioned: Donald Norman, who coined the term 'user experience' (UX) Jacob Nielsen, co-founder with the above of influential UX consultancy Neilsen Norman Sponsors: Visit Make Real's shiny new website: https://makereal.co.uk Contact Leonard Houx Twitter: @leonardhoux LinkedIn: https://www.linkedin.com/in/leonardhoux/ Contact John Helmer Twitter: @johnhelmer LinkedIn: https://www.linkedin.com/in/johnhelmer/ Website: http://johnhelmerconsulting.com/  

Professor Scott Rogers joins Gil and Emma once again! This time, we're discussing Scott's time as an Imagineer designing games and experiences for Disneyland, and his subsequent work designing VR attractions. It's a fascinating topic, with a surprising amount of overlap into any kind of game design!  Show notes: 05m45s: More info about Disney Play here.  08m06s: Scott is right, sportscaster Al Michaels was indeed traded for Oswald the Lucky Rabbit.  18m16s: Ludology 189 - Missing Selinker, wherein Mike Selinker shares a funny story testing Sorcerers of the Magic Kingdom:  30m20s: The Design of Everyday Things, by Donald Norman. Highly recommended to anyone who wants a better understanding of how people interact with objects.  40m53s: The history of how Tetris has chosen its pieces is really fascinating!  41m29s: Some more information about Legends of Frontierland: Gold Rush. 46m09s: We discussed dark rides and the challenge of choice in an immersive environment Ludology 214 - Escape from Reality with Strange Bird Immersive.  52m34s: Two-Bit Circus, the place in LA where you can experience the Terminator-themed dark ride that Scott worked on.  1h02m46s: Geoff interviewed Curtis Hickman, CCO of The Void, in GameTek 134.  1h05m51s: More info about Dreamscape. 1h06m37s: More info about Evermore. 1h10m58s: We discussed emergent vs. embedded narrative in Ludology 213 - Your Humble Narrator. 1h11m24s: Look, it was a long recording session, okay? :)

For a very special episode, we speak with world renowned design researcher Donald Norman (UC San Diego). Together with Frederik Ueberschär and Caisael Beardow of the MSc study association Infuse, he talks about why he believes Industrial Design Engineering in Delft is the best design school in the world, why he likes being wrong and how power comes from the “But…” References in this episode: Vanity Fair –Lawrence Sher Klaus Krippendorff – The Semantic Turn Nathan Shedroff & Christopher Noessel - Make it so

Après 50 épisodes, la saison 2 se conclut sur l'une des grandes figures du design centré sur l'utilisateur. Je vous souhaite une bonne écoute et on se retrouve très vite dans la saison 3 de Parlons Design. ||| Téléchargement gratuit du fameux article de Donald Norman : https://gumroad.com/l/parlons-design-don-norman-unix (en le téléchargeant, tu feras également parti du futur sondage pour la saison 3). Si tu veux aider le podcast, partages le immédiatement avec tes amis ! Tu peux également me suivre sur twitter : @romainp_design Jingle par Studio Module : https://www.studio-module.com/ Le podcast est aussi disponible sur : - Apple podcast : https://itunes.apple.com/fr/podcast/parlons-design/id1286546174?l=fr - Spotify : https://open.spotify.com/show/4z5cKF4fXvhTQIC2rXO6An - OverCast : https://overcast.fm/itunes1286546174/parlons-design - Radioline : http://fr-fr.radioline.co/podcast-parlons-design - Flux RSS : http://romainpenchenat.free.fr/podcast/rss.xml #ParlonsDesign #Podcast #Design

L'épisode d'aujourd'hui traite du design émotionnel, sur la base du livre de Donald Norman, "Design émotionnel - Pourquoi aimons-nous (ou détestons-nous) les objets qui nous entourent ?". L'épisode aborde aussi qu'est-ce qu'une émotion et comment elles interagissent avec l'usager, l'environnement, les objets et services. - Retranscription de l'écoute en texte sur mon site ainsi que les sources utilisées et des exemples : https://massotmarion.wixsite.com/website/blog/culture-design-il-est-temps-de-casser-des-chaises-épisode-10 - Disponible sur Spotify, Deezer, iTunes Podcast, Youtube & l'application Podcast Addict - Logiciel de montage : Audacity Musique d'intro & d'outro : www.youtube.com/watch?v=MkNeIUgNPQ8 - Un podcast créé, produit et animé par Marion Massot, designer. Suivez-moi sur : Twitter : CultureDesign2  Facebook : Culture Design  Instagram : Culturedesign_bymarion  Twitter perso : Jedisigner  Page Facebook : Marion Massot, designer et bien plus encore  Site Web : https://massotmarion.wixsite.com/website/  - Vous pouvez me soutenir sur la plateforme de financement participatif Tipeee : https://fr.tipeee.com/culture-design

Vassiliki Khonsari: Producer & director specializing in interactive storytelling across screens (VR, Games, Documentary, Film) Independent Magazine calls her “One of the top ten filmmakers to watch”. Founding partner of iNK Stories, known for creating impact forward, immersive stories for global audiences. With background in Visual Anthropology, a Sundance fellow and member of Women’s Impact Network (PGA), Khonsari mentors and contributes to many organizations on reframing diversity, emerging tech and storytelling.Bio, Nick Dangerfield | Co-Founder | Planeta:Nick has worked with an assortment of artists that includes Jonas Mekas, Park Chan Wook, Moriyama Daido, Nick Waplington, Bruno S., Harmony Korine, and Justin Bieber.Nick has also built tools and platforms in the space of arts and culture for the last fifteen years, like the Playbutton, the Harinezumi camera, and to.be, as well as running Planeta. He’s now working on a live-sound transmission and adapting the David Bowie Archive for AR. Nick, Vassiliki and I are talking about Immersive Media in this episode. You'll hear us refer a couple of times to a previous conversation, which is a live version of the interview that was never recorded due to some technical issues at the venue. What's so exciting about this sequel to that first meeting, in addition to their generosity for coming back to record with me, is that we got to plunge fathoms deeper into the topic. It's a long one: but if you're like me and still deciding how to make sense of immersion and virtual media, spacial computing, and whether this will someday come together to the benefit of learners like us, then you should stick around for the full conversation. It might surprise you. Links for this episode:Donald Norman, Things that Make us Smart: https://www.amazon.com/Things-That-Make-Smart-Attributes/dp/0201626950/ref=sr_1_1?ie=UTF8&qid=1547492381&sr=8-1&keywords=things+that+make+us+smartInk Stories, Brooklyn: http://inkstories.com/Fire Escape by Ink Stories: http://inkstories.com/#FE"Hero": http://inkstories.com/#heroNewPlaneta.cc: https://planeta.cc/ David Bowie Virtual Collection: https://davidbowieisreal.com/Anomalisa: https://www.imdb.com/title/tt2401878/NIhilism and Technology: https://www.amazon.com/dp/1786607034/ref=cm_sw_r_tw_dp_U_x_KXnpCbMZT6CFSMagic Leap: https://www.magicleap.com/ See acast.com/privacy for privacy and opt-out information.

The term "User Experience" came from Donald Norman in the mid-90s. But we're not going to talk about that because he didn't intend to describe UX the way it is described today. Instead, we'll have Amanda Sandbeck and Jennifer Seipel join hosts Annie Halbert, Charles Edge, and Max Polski to talk about the emerging UX discipline at Jamf. This includes how User Experience has evolved at Jamf, how Amanda and Jen got into the field (there's a surprise buried in there), and how our UX department is evolving.  We might even tell you how to let us know some of the improvements you might like to see!

Naming your own radio station: what’s yours?   “If you could own a radio station, what would you call it?”, posted a man called Nick in a radio discussion board on Facebook the other day.   Now, this Facebook group is mostly comprised of people complaining about how words are being pronounced in radio news bulletins, or photographs of car registration plates that vaguely look like call letters, so this was a welcome change of pace. I grabbed some popcorn and started reading.   Quite a few imaginary station names ended with “FM”. Some used a frequency, too. I’d suggest that neither of these are a particularly good idea.   Jacobs Media have recently done a study of public radio listeners in the US (https://jacobsmedia.com/prts2018-results/) , and one of the findings lept out at me as being a good indicator of the changing world of radio consumption.   They asked respondents how they listened to their “home” public radio station. 69% of the time, listeners used a radio. 29% of the time, they were using some form of digital device (a “computer stream” being twice as popular, incidentally, as a mobile app).   Now, these are public radio listeners. The average age of the respondents was over 59. These are long-term, traditional, radio listeners - albeit ones who are internet savvy enough to complete a questionnaire on their favourite radio station’s website. But even these people are spending nearly a third of their time listening to the radio on something other than an AM/FM receiver.   So, I’d warn against using a frequency, or “FM”, in your station name if you can avoid it; since more and more listeners aren’t using either of those things to listen.   Back in the Facebook group, other people were coming up with interesting names. “The Pit”. “The Local”. “Vault”. “Planet Mate”.   In a book The Design of Everyday Things by Donald Norman, he discusses things he calls “affordances” - little clues to help us understand how something works. A really good example of an “affordance” is that metal strip on a office door: it’s put on the side of the door that you push, and it’s there precisely to let you know that you can push this door, and which side to push it.   “FM” or “105.9” is a little clue - an affordance - that this is a radio station. There’s a radio station in the UK called Jazz FM that hasn’t broadcast on FM since 2005; but people know, at least, that it’s a radio station (even if they’re confused as to why they can’t find it on their FM dial).   So, while I love the idea of calling a rock station “The Pit”: at least off-air, in its logo, it needs an affordance, too. I’d make the logo read “The Pit Radio”. Without it, after all, “The Pit” could be anything. The early days of digital radio in the UK were full of radio stations with random names - “The Groove” was one - that needed always clarifying with “we’re a radio station” afterwards, and that made no sense at all.   The world of smart speakers makes station names doubly important: since frequencies or wavebands are pointless on these devices.   It’s certainly the case that branding radio stations is more complicated now than it’s ever been. The word “Radio” might be the most important brand we have. Support the show. (https://www.patreon.com/radiofuturologist) This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

This week the brothers fall into the lab to Discuss celebrating the Fourf, Lebron's move to LA, Power, and Jameis Winston's ignant ass. The also welcome in Donald Norman, Founder of Blackberry Vine clothing, to chop it up about the culture. Tell ya momma about that ice Rell sold!!!!!

Milly Schmidt is a product leader, UX designer, and instructor who helps companies integrate design thinking into their business. In this episode you’ll learn about the importance of design thinking, how it can help you make better decisions, and the five step process to help you apply design thinking to your organisation right away.   Resources mentioned: The Design of Everyday Things (book), by Donald Norman, Design Thinking Bootcamp (course), by Stanford Sprint (book), by Jake Knapp from Google Ventures, User Experience Design (course), by General Assembly Service Design (course), by Academy XI Jared Spool Don't Make Me Think (book), by Steve Krug A List Apart Skills of the Modern Age   Key takeaways (starts at 30:37): Design thinking is a scientific process to solve human problems Employ design thinking to gather evidence for decision making Where does the nexus of power lie in your organisation? Reframe the terminology you use to talk about customers.

In this episode, Taylor Schon describes an object of emotional importance to her. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Rhys Demelo describes an object of emotional importance to him. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Alexis Oschild describes an object of emotional importance to him. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Ellie Tallman describes an object of emotional importance to her. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Connor Beaumont describes an object of emotional importance to him. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Brendan Sullivan describes an object of emotional importance to him. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Ashley Hiller describes an object of emotional importance to her. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Alain Benoit describes an object of emotional importance to him. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, John Ryan describes an object of emotional importance to him. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Taylor Merriott describes an object of emotional importance to her. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Djodson Camille describes an object of emotional importance to him. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Stephen Dwyer describes an object of emotional importance to him. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

In this episode, Zachary Sullivan describes an object of emotional importance to him. This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

This podcast series was developed as part of a college seminar on communication, design, and technology. In particular, this podcast series was inspired by Donald Norman’s book Emotional Design, in which he explores how and why we love or hate everyday things.

Employee engagement is an issue facing most all organizations, according to a Gallup survey. What is learning and development’s role in addressing this issue? Brandon Carson, Director of Learning at Home Depot and author of Learning in the Age of Immediacy, shared his opinion about this on episode 1 of the Learning and Development Stories podcast. “We know that employees are more likely to be engaged when they understand their expectations and when they are aware of the opportunities available to them,” Brandon said during the interview. “Learning organizations are in a great place to be advocates and stewards of that because we have direct relationships with employees and the business. We know that training provides opportunities for employees to realize their full potential at work.”  You can hear his additional insights on this subject by jumping to the 15:30 mark of the interview. The below summary highlights other key topics covered during the interview.  Stories On the positive side, Brandon points to a current project in which Home Depot is creating a mobile app for associates on the floor (2:47). It is a fairly transformative program as it is pushing Home Depot to re-think how learning occurs. It focuses on how people should be supported in their job by taking learning out of the back room in a transactional environment and bringing it into the context of employees’ work stream. “This has been the most interesting programs I have worked on with in recent years,” Brandon said. “We are trying to re-think how training takes place in this environment based on helping the customer and associate we support.” Brandon shared several personal anecdotes of lessons learned from his career (10:12). He notes that mistakes occur when: We think that the learning person has all the answers. Failure to actively listen to all involved. Ego is involved. Failure to figure out what drives the business value of whatever we are doing and understanding when training will have an impact. Strategies In terms of how to tie learning to business strategy (7:10), Brandon makes the following points: Learning organizations shouldn’t have their own Key Performance Indicators, but rather should align with the business KPIs. Say no to the things that will not bring value and say yes to the right things. The learning leader needs to have a really good understanding of how learning works. It requires a rethinking of how learning should function in the enterprise.  Knowledge Transfer Successful transfer of information that leads to new capabilities is a difficult task. According to Brandon, “It is a mash up of context, data, information, engagement, motivation and emotional output.” (23:30)  Who is responsible for the act of knowledge transfer? Brandon believes it is a partnership between the learning organization, the learner, the line manager and leadership.  Communicating the Value of Learning to Stakeholders Brandon highlights the example of a new learning initiative at Home Depot in which it wasn’t enough to just communicate to associates the value (30:00). “Just showing folks here is a cool app is not enough. It required buy-in from all different levels. We had to show from the learning organization’s perspective what the value was and talk about it quite a bit.” This is about instilling the culture of learning. Reliable Resources (35:00) Tool: curiosity, which fosters critical thinking and drives creativity and innovation. Reading: Edward Tufte’s website and a book by Donald Norman on the Design of Everyday Things. Recommended sources for external content that can be used for trainings: Home Depot produces most of its own content but does use Ted Talks videos and lots of product knowledge videos. Connect with Brandon Carson Brandon Carson is the Director of Learning at Home Depot and the author of "Learning in the Age of Immediacy – 5 Factors for How We Connect, Communicate, and Get Work Done”. Learn more about the book and connect with Brandon on Twitter and LinkedIn.  

Donald Norman, Professore emerito al MIT, è stato tra coloro che hanno indagato con maggiore acume e profondità il talvolta difficile rapporto tra uomo e macchina, illuminando anche aspetti propri del processo cognitivo della parte biologica di questo rapporto, l’uomo appunto. ..E’ lui l’ospite di questa puntata di Artscapes...Buon ascolto !

Donald Norman, Professore emerito al MIT, è stato tra coloro che hanno indagato con maggiore acume e profondità il talvolta difficile rapporto tra uomo e macchina, illuminando anche aspetti propri del processo cognitivo della parte biologica di questo rapporto, l’uomo appunto. ..E’ lui l’ospite di questa puntata di Artscapes...Buon ascolto !

We often hear that millennials are changing the workplace, but are they really so different from their older colleagues and how should L&D professionals respond to this challenge if so? This week on the GoodPractice podcast: Peter, James, Ross and Grant share their views on generational differences and the difficulties of using labels to describe people. If you'd like to share your thoughts on the show, you can find us on Twitter @RossGarnerGP, @petercasebow, @jamesmcluckie and @grantjgarner. You can also tweet @GoodPractice or @GoodpracticeAus.  If you want to find out more the blogs and articles we referenced, you can find a complete list below: David Attenborough, Life On Air: https://www.amazon.co.uk/d/cka/Life-Air-David-Attenborough/1849900019 Donald Norman, The Design of Everyday Things: https://www.amazon.co.uk/Design-Everyday-Things-revised-expanded/dp/0262525674 Hans Rosling, The Best Stats You've Ever Seen: https://www.ted.com/talks/hans_rosling_shows_the_best_stats_you_ve_ever_seen Hans Rosling: Don't use news media to understand the world: https://www.youtube.com/watch?v=xYnpJGaMiXo

No programa de hoje Almir e Ricardo conversam com Mauro Pinheiro e Ricardo Arthur sobre o ensino e o pensar acadêmico da interação Mauro Pinheiro http://mauropinheiro.com/ http://www.feiramoderna.net/artigos/ Ricardo Artur Carvalho http://ppd.esdi.uerj.br/?page_id=1174 https://uerj.academia.edu/RicardoArturCarvalho http://ricardoartur.com.br/ Portfolio dos alunos ESDI de Design de Interação https://www.behance.net/Esdi_int LIFE: Laboratório de Interfaces Físicas Experimentais http://www.life.dad.puc-rio.br/projetos.html Ambient Devices http://www.ambientdevices.com/ Video sobre Affordance, design de porta e Donald Norman. https://youtu.be/yY96hTb8WgI BUXTON, W. Sketching user experience: getting the design right and the right design. Morgan Kaufmann, 2007. LOWGREN, Jonas: Interaction Design. In: The Encyclopedia of Human-Computer Interaction. https://goo.gl/hnSeHG WEISER, Mark. The Computer for the 21st Century. https://goo.gl/qncXBt Jesse James Garret: The Elements of User Experience. http://www.jjg.net/elements/ Diagram de Jesse sobre elementos de UX http://www.jjg.net/elements/pdf/elements.pdf Marcos Martins http://ppd.esdi.uerj.br/?page_id=126 Rejane Spitz https://www.siggraph.org/artdesign/gallery/S01/69.html Rita Couto http://goo.gl/su0N4B Design e Crise de Gui Bonsiepe http://goo.gl/PJJhgS Vídeo com Gui Bonsiepe http://goo.gl/EAxyD9 Thomas Kuhn… o tal do “paradigma” wink emoticon https://pt.wikipedia.org/wiki/Thomas_Kuhn Acessem todos programas em www.visualmente.com.br Entrem em contato e mandem suas sugestões, dúvidas e etc nos nossos canais: facebook: www.facebook.com/vismaismente twitter: @vismaismente e-mail: contato@visualmente.com.br feed: feed.visualmente.com.br

Nous discutons avec Vincent Hubert des objets connectés, souvent désignés comme l’Internet des objets (IoT pour Internet of Things en anglais). Passionné d'informatique depuis les Vic-20 de son enfance, Vincent possède près de 20 ans d'expérience dans différents rôles à l’intérieur d'organisations couvrant le spectre entier entre la très petite taille et la très grande. Diplômé en génie informatique, il a réalisé ses premiers projets embarqués au siècle dernier, sur Z-80. Communicateur et vulgarisateur infatigable, il tente encore d’expliquer à son entourage en terme qu’ils peuvent comprendre ce qu’il fait de ses journées. En 2010, il fonde sa propre entreprise Hubiq Techno-conseils qui offre des services de consultation en développement d'application Windows ou sur plateformes embarquées. Liens Internet des objets Personal Home Safety Agent Hackster.io Raspberry Pi Livre: The Design of Everyday Things par Donald Norman Livre: Emotional Design: Why We Love (or Hate) Everyday Things par Donald Norman

Voce del glossario a cura di Danieli Tamara TEDDY …probabilmente ci verrebbe in mente Teddy Bear, il compagno inseparabile di ogni bambino. E, se invece di un orsetto, Teddy fosse il nostro compagno elettronico? Teddy sarebbe in grado di memorizzare tutti i nostri pensieri, i ricordi e le conoscenze, fin da quando eravamo piccolissimi. Teddy ci renderebbe disponibile qualsiasi informazione nel momento stesso in cui noi ne abbiamo bisogno. In una visione utopistica l’interazione fra noi e Teddy diventerebbe estrema e Teddy sarebbe parte integrante del nostro corpo. Realisticamente, Teddy, è un tassello, un frammento, di quella “conoscenza distribuita” fra menti, strumenti e artefatti, che caratterizza la società multimediale. Una conoscenza quindi che non può essere racchiusa dentro di noi, che non può essere concentrata né localizzata. Una conoscenza frammentata e distribuita, accessibile nei modi e nei tempi che a noi fanno più comodo. Un esempio classico di Teddy è un qualsiasi dispositivo per la riproduzione di Podcast, audio e video. Il podcasting è un sistema che permette di scaricare da internet, in modo automatico, file audio e video di nostro interesse. Ci interessa avere a disposizione le voci dall’e-learning? Possiamo scaricarle sul nostro Teddy, e riascoltarcele off-line dove e quando vogliamo, in modalità non lineare e discontinua. Trovare l’informazioni che ci serve nel momento in cui ci serve. La prestigiosa Università di Berkeley ha reso disponibili interi corsi ed eventi con l’utilizzo del sistema del podcasting, rendendoli comodamente fruibili live e on-demand. Donald Norman è colui che ha per primo immaginato Teddy. Di Teddy ha scritto: “Avere l’informazione a portata di mano è una delizia, una prospettiva troppo allettante. Supponiamo che un domani ognuno di noi possa disporre di un piccolo assistente personale da portarsi sempre appresso dovunque, capace di fornire in ogni momento l’informazione necessaria per mandare avanti le faccende della vita con efficienza e senza intoppi.”

Orit Shaer reads an excerpt from The Design of Everyday Things by Donald Norman, published by Basic Books. "Why do we put up with the frustrations of everyday objects that we can't figure out how to use... that claim in their advertisements to do everything but that make it almost impossible to do anything?"

Paul Klint is hoofd van de onderzoeksafdeling Software Engineering aan het Centrum voor Wiskunde en Informatica en leider van de onderzoeksgroep Software Analysis and Transformation. Hij is hoogleraar aan de Universiteit van Amsterdam en opleidingsdirecteur van de Master Software Engineering. Je kunt Paul op Twitter volgen via @paulkint. In deze aflevering praten we met Paul over de complexiteit van het onderzoek in het software vakgebied, de twee gezichten van het vak (software engineering en computer science) en de weg naar volwassen wetenschappelijk software engineering onderzoek. We discussiëren met Paul over de overdracht en afstand tussen de wetenschap en de praktijk en stippen een van zijn belangrijkste kennisgebieden aan: geautomatiseerde programmatransformaties. Als laatste geeft Paul zijn visie op certificering in ons vakgebied. Het interview is deze keer opgenomen door Arne Timmerman met Michel Rijnders als sidekick. Je kunt deze software craftsman en liefhebber van functioneel en dynamisch programmeren volgen op Twitter via @mrijn. In 1982 is Paul gepromoveerd op een onderzoek naar zogenaamde stringmanipulatietalen, programmeertalen die kunnen worden gebruikt bij het ontwikkelen van tekstverwerkers: From Spring to Summer. Als aanvulling op de voortdurende discussie die gaat over de twee gezichten van het software vakgebied, een bekend artikel van Steve McConnell: Software Engineering, Not Computer Science. Informatie over het onderzoek van de onderzoeksgroep van Paul vind je op de website van het Centrum voor Wiskunde en Informatica. Het bekende concurrency framework dat Paul noemt is Hadoop, gebaseerd op het MapReduce programmeermodel van Google. De Software Improvement Group is een van de belangrijkste spin-offs uit de onderzoeksgroep van Paul. Het belangrijkste project waar de onderzoeksgroep van Paul op dit moment aan werkt is de domein-specifieke taal Rascal. In deze presentatie wordt de 'software vulkaan' uitgelegd. Abonnees van de Automatiseringsgids kunnen een artikel van Paul uit 1999 online teruglezen. Snowbol, de moedertaal die Paul heeft gevormd. Twee boeken waar in de Podcast over wordt gesproken: The Inmates Are Running the Asylum van Alan Cooper en The Design of Everyday Things van Donald Norman. This podcast is in Dutch - Deze podcast is in het Nederlands My Podcast Alley feed! {pca-92dab0518ba527971101e35638ac61f8}

Durante o Congresso de Design da Informação na semana passada, participei de algumas conversas interessantíssimas. Uma delas resolvi gravar; era sobre a morte do designer. José Pirauá e eu discutíamos se a morte do autor proclamada por Barthes em 1968 também valia para os "autores" designers. Se, num projeto, diversas pessoas interferem no processo, como afirmar que apenas uma é autora do resultado? Se o designer é quem conhece o verdadeiro sentido do projeto, porque é que as pessoas não estão preocupadas em descobrir as intenções da forma? Existe um designer da Wikipedia? Se todos são designers, como afirma Donald Norman, então ninguém é exclusivamente designer? O designer morreu? [MP3] 31 mb 1hora Na gravação, discutíamos nossos argumentos até os 8 minutos, quando se aproximou Manoel Schroeder, professor de Design da Tuiuti e Unibrasil , e começamos a entrevistá-lo informalmente a respeito das questões levantadas. A conversa foi longe. Esse assunto já havia sido tocado numa discussão não menos inspirada com Hugo Cristo, a qual me fez repensar alguns conceitos. Comente este post

Ao final da disciplina Semiótica e Informação que cursei junto com o pessoal da Gestão da Informação, escrevi um aplicando o conhecimento teórico da Semiótica no contexto da Arquitetura da Informação que foi aprovado no evento de iniciação científica da UFPR. Desenvolvi um protocolo de perguntas para ser usado em testes com usuários, visando entender melhor a decisão de clicar num link e não no outro. Dessa forma, é mais fácil encontrar uma solução para um rótulo ou hierarquia confusa. Gosto de pensar com a Semiótica, porque ela permite explorar o que outras áreas não se aventuram por falta de evidências concretas. Para mim, processos mentais não pode ser avaliados em sua totalidade apenas por evidências concretas, apenas pela mera análise do comportamento (Psicologia Behaviourista). É preciso admitir e explorar as sutilezas da mente. Quem já leu The Design of Everyday Things ou qualquer outro texto de Donald Norman sabe como é fascinante a Psicologia Cognitiva aplicada ao design. Para mim, a Semiótica é ainda mais fascinante, porque permite especular ainda mais. A Semiótica defende, por exemplo, o uso do raciocínio abdutivo que, ao contrário do dedutivo, tenta gerar hipóteses a partir da mera observação da situação. Abdução é o nome bonito para o método de "tentativa-e-erro", tão empregado no uso de computadores. Como já falei anteriormente, a Semiótica é o estudos dos signos, essa unidade conceitual que serve para mediar a relação entre nós e o mundo. Explico nesse podcast como acontece essa relação e que implicações isso tem para a Arquitetura da Informação, por exemplo: Processo de aquisição de signos [MP3] 7 minutos Na minha agenda de pesquisa agora além do Perfil Semiótico, tenho esse protocolo de perguntas. Alguns leitores me mandaram email dizendo que pretendem pesquisar essa área também. Se você também estiver interessado, manifeste-se. Quem sabe montamos um grupo de pesquisa virtual? O artigo que escrevi conta com os slides em powerpoint incluindo o áudio da apresentação que vou fazer no evento citado. Comente este post

Technological gadgets promise to ease the burden of every day living, but often prove more trouble than they are worth. On this week's program, we explored making technology more fun and user-friendly with Prof. Donald Norman from Northwestern University.