We now expect objects tocommunicate, a cultural shift madeevident when we see children searchingfor buttons or sensors on a newobject, even when the object has nobatteries or plug. Talk to Me: Design andthe Communication between People andObjects thrives on this important late-twentieth-century development in theculture of design, which can be describedas a shift from the centrality of function tothat of meaning, and on the twenty-first-century focus on the need to communicatein order to exist.
Interaction Design is "the practiceof designing interactive digitalproducts, environments, systems,and services.”Like many other design fieldsInteraction Design also has aninterest in form but its mainfocus is on behaviour.
Things maycommunicate withpeople,but designers write theinitial script that lets usdevelop and improvisethe dialogue.
Bill Moggridge and Bill Verplankhttp://www.youtube.com/watch?v=C3rxCLhzmXY
The number of active mobilephones in Britain has now reached76.4 million –more than the countrys populationof 61.9 million, says a report by atelecommunications regulatoryauthority.
“the appearance of most digital productsbears no relation to what they do” Since machines have become more orless standardized in shape, and sincematerials, finishes, and colors do notprovide enough distinction, designershave had to resort to an old human trick:a face. We expect our smart objects tocommunicate their complexity as well astheir instructions in a clear and engagingway through their interface.
How many phones vHow much interaction
The Turing test is a test of a machinesability to exhibit intelligent behaviour. InTurings original illustrative example, ahuman judge engages in a natural languageconversation with a human and a machinedesigned to generate performanceindistinguishable from that of a humanbeing. All participants are separated fromone another. If the judge cannot reliablytell the machine from the human, themachine is said to have passed the test.CAPTCHA is a form of reverse Turing test..The rationale is that software sufficientlysophisticated to read and reproduce thedistorted image accurately does not exist(or is not available to the average user), soany system able to do so is likely to be ahuman.
But we talkto objectsAnd theydo whatwe ask…mostly.
“the Singularity,” was first mentioned by computerscientist and writer VernorVinge in a speech in1993. “Within thirty years, we will have thetechnological means to create superhumanintelligence,” he said. “Shortly after, the humanera will be ended.”9 Author and futurist RayKurzweil reiterated the omen in 2005In 2011 a computer called Watson beat the twosturdiest human champions of the television quizshow Jeopardy!, but designers cannot count onCPUs—whether as mighty as Watson’s or asnimble as an iPad’s—to know how to behave likereal people.
By 2050 the Singularity asPENSION PLANS WILL SPLIT SOCIETY predicted in the early 2000’s by the likes of Ray Kurzweil, has WORK arrived. The human race is LONGER increasingly supported byWILL artificial intelligence, with WE RETIRE internal organs replaced as and ‘NORMAL’ when they fail. People can live as long as they like… or as long as they can afford.
“Some of the Singularity’sadherents portray a future wherehumans break off into twospecies: the Haves, who havesuperior intelligence and canlive for hundreds of years, andthe Have-Nots, who are hamperedby their antiquated, corporealforms and beliefs. Of course,some people will opt forinadequacy…”June 13, 2010, the New York Times
Whether they use the skin andshell of objects as an interfaceor animate them from within,designers are using the wholeworld to communicate and areset on a path that istransforming it into aninformation parkour andenriching our lives withemotion, motion, direction,depth, and freedom.
Design and design-relatedexperiments are propelling usfurther and further into theunknown.It might seem that design hasabandoned its tested, grounded,functionalist territory to ventureinto an ambiguous universewhere its essence is confusedand a crisis of identity arises