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2020 | Buch

Why Primitive Interaction Design? Kapitel lesen Erstes Kapitel lesen

Primitive Interaction Design

verfasst von: Kei Hoshi, Dr. John Waterworth

Verlag: Springer International Publishing

Buchreihe : Human–Computer Interaction Series

Enthalten in: Springer Professional "Wirtschaft+Technik" , Springer Professional "Technik" , Springer Professional "Wirtschaft"

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Über dieses Buch

Interaction design is acknowledged as an important area of study, and more especially of design practice. Hugely popular and profitable consumer devices, such as mobile phones and tablets, are seen as owing much of their success to the way they have been designed, not least their interface characteristics and the styles of interaction that they support. Interaction design studies point to the importance of a user-centred approach, whereby products are in principle designed around their future users’ needs and capacities. However, it is the market, and marketing, that determine which products are available for people to interact with and to a great extent what their designed characteristics are.

Primitive Interaction Design is based on the realisation that designers need to be freed from the marketplace and industry pressure, and that the usual user-centred arguments are not enough to make a practical difference. Interaction designers are invited to cast themselves as “savages”, as if wielding primitive tools in concrete physical environments. A theoretical perspective is presented that opens up new possibilities for designers to explore fresh ideas and practices, including the importance of conscious and unconscious being, emptiness and trickery. Building on this, a set of design tools for primitive design work is presented and illustrated with practical examples.

This book will be of particular interest to undergraduate and graduate students and researchers in interaction design and HCI, as well as practicing interaction designers and computer professions. It will also appeal to those with an interest in psychology, anthropology, cultural studies, design and the future of technology in society.

Inhaltsverzeichnis

Frontmatter

Motivations and Inspirations

Frontmatter
Chapter 1. Why Primitive Interaction Design?
Abstract
In the first section of this first chapter, we consider how interaction design came to be the way it is, by selectively reviewing the relevant context from the history of design and of human–computer interaction (HCI). This motivates the need for a new approach to interaction design. In the second section, we outline the inspirations and background for we call Primitive Interaction Design, which leads us into the remainder of the book.
Kei Hoshi, John Waterworth
Chapter 2. Being Through Interaction
Abstract
Auguste Comte claimed that we have reached the stage of scientific progress based on a linear progression through history. It is very difficult for design, in our current information age, to identify new goals if we accept this linear and monodirectional hypothesis of progress. In this chapter, we examine the way we interact(ed) based on a circular view of history, indicating a return from intellectual doing and moving further towards being. Being through interaction is a consequence of the turn to the tangible in HCI, which reflects a sense of presence (of being) in a digital world, through interaction, that is essentially the same as our sense of presence in the physical world. We consider the importance of subjective time to the nature of being and discuss how designers can design to affect this. We present and compare dimensions of mind and of interaction, pointing to the parallels and the directions in which being through interaction is taking us. Finally, we present some of the main challenges for the primitive interaction design approach.
Kei Hoshi, John Waterworth

Theories and Foundations

Frontmatter
Chapter 3. Savage and Trickster
Abstract
In this chapter, we explore the characteristic patterns of mythological thought and its universality, shared among all mankind, as a complement to the more detailed and logical thought of modern “civilized” society. We see both methods towards acquiring knowledge, scientific and mythical thought, as equally valid in design. They are two ways of thinking, rather than two stages in the evolution of thought. We then attempt to apply mythical thought as an alternative design approach to the ordinary interaction design mindset. We go on to examine the cultural role of Trickster, which in some ways can be seen as parallelling a potential cultural/social role of a designer. The designer seen as trickster offers such catalysts as raising awareness, creating optimal conditions for a cultural paradigm shift or even introducing a fundamental meta-narrative into a particular culture.
Kei Hoshi, John Waterworth
Chapter 4. Emptiness, Nothingness and the Interval in Between
Abstract
We discuss the perception of emptiness from the perspective of Japanese culture, because in the West “emptiness” has different, more limited meanings, with only negative cultural associations such as boredom, meaninglessness and more generally a lack of anything valuable. Why has Japan produced a culture with such a different view of emptiness? The answer can be found in a concept familiar to every Japanese person: “MA”. MA is universal and refers to both the interval, which gives shape to the whole, and the whole itself. In the second part of the chapter, we discuss the singularity and universality of MA in relation to design. The MA concept can be seen as the purest essence of distinctly Japanese thought. MA is time and space. The two cannot be considered separately. MA underlies almost everything and is an important component of communication. MA has no substantive meaning. Here we will attempt to reveal the hidden semantics intrinsic to a work of MA.
Kei Hoshi, John Waterworth
Chapter 5. Unconscious Interaction and Design
Abstract
This chapter deals with the unconscious, both in interaction and in design. Although the ideal of seamless interaction is that people do not need to think how to use digital technology, design researchers and design practitioners have tended to focus on explicitly revealing problems and solving them. These are problems that they can physically see and linguistically discuss. Although this may involve questions of how to design for mostly unconscious interaction, it does not generally take into account that there are different levels of the world in our everyday life: overt and covert, implicit and explicit, things you can and do talk about, and things you cannot and do not talk about. It is not just that people interact unconsciously and designers seek to achieve this as an aim, it is that there is such a thing as the unconscious, the submerged and unobserved fundament of our psychic existence. Beneath the clearly perceived, highly explicit surface phenomena, there lies a whole other world or even worlds. This applies equally to people interacting and designers (who are people too) designing. Once we understand this, it changes our view of human nature and how to design for and with it.
Kei Hoshi, John Waterworth

Design Untamed

Frontmatter
Chapter 6. The Designer as Savage
Abstract
The savage mind can be described as the thoughts of “primitive people” without writing. They desire to understand the world around them, its nature, and their society. They are thinkers and also handymen, using so-called bricolage, rather disinterested thinking and intellectual reasoning as a philosopher does, and to some extent a scientist. The term bricolage has also been used and discussed in many other fields, including anthropology, philosophy, critical theory, education, computer science and business. In this chapter, we attempt to identify design’s role neither as an economically viable tool, nor as carried out by conventional mainstream designers. We examine the significance of “design as bricolage” and explore just how bricolage can provide an alternative for new ways of approach to design and to using technology. Further, we argue for mythical thinking as an alternative creative mindset, as opposed to cultivated systematic thought that systematically proceeds from goals to means.
Kei Hoshi, John Waterworth
Chapter 7. Primitive Interaction Design: Methods
Abstract
In this chapter, we sketch out the practicalities of the primitive approach to designing interactive systems. We lay out methods for practices that incorporate key principles, which have been presented in earlier chapters. These methods include the capturing of experiences by applying interpretive phenomenological analysis; techniques for maintaining necessary emptiness for this; how to actively promote doing as being, unconscious design and interaction consequences; and how to approach design as bricolage, for example using morphogenetic prototyping.
Kei Hoshi, John Waterworth
Chapter 8. Primitive Interaction Design Examples
Abstract
In this chapter we present two examples of primitive interaction design in action. The first illustrates several of the principles that we have discussed earlier in the book: the use of myth as inspiration, unconscious (embodied) interaction, and designing for specific emotions. In the second, morphogenetic prototyping is introduced as a practical primitive design method for actively exploring interaction possibilities. In the application of this method, a particular kind of conceptual space is created, one in which the designer can easily draw parallels between, for example, architecture, biology and everyday life. This can be used to generate a field of interaction objects and gestures. By mapping the gestures to meanings and functions within the scope of, in this example, architecture and biology, a set of actions for a designed virtual space is created.
Kei Hoshi, John Waterworth
Chapter 9. Towards a New Culture of Interaction Design
Abstract
Design is seen in this book not merely as making technology easier to use, aesthetically attractive or economically consumable and profitable, but as opening up new possibilities, creative perspectives leading to new ways of interacting and being with technology. Design may have limited power, in itself, to change the world, but it can also be a critical tool to monitor the implications of new developments appearing on the market through progress in science and technology. For this, we must have possibility to change our beliefs, behaviours and attitudes within a new culture of interaction design.
Kei Hoshi, John Waterworth
Metadaten
Titel
Primitive Interaction Design
verfasst von
Kei Hoshi
Dr. John Waterworth
Copyright-Jahr
2020
Electronic ISBN
978-3-030-42954-6
Print ISBN
978-3-030-42953-9
DOI
https://doi.org/10.1007/978-3-030-42954-6

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