Leonardo's Laptop: Human Needs and also the New Computing Technologies Ben Shneiderman, 2002. Cambr...

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Leonardo's Laptop: Human Needs and also the New Computing Technologies
Ben Shneiderman, 2002. Cambridge, MA: MIT Press, [ISBN -262-19476-7, 269 pages, including
index, $24.95 USD.]
Ben Shneiderman sees Leonardo da Vinci's ubiquitous notebooks, packed with sketches, hypotheses,
and inventions, as models for a new, more humane form of computing--one that is much
morecreative and sociable, and universally usable. Imagining how Leonardo might build a laptop
computer, Shneiderman pleads for any renaissance in the manner we build and document
technology. He paints a practical utopia.
Building on more than a quarter century ofresearch and teaching, and consulting on human-
computer interaction, this book rises above the information on usability research, interface
guidelines, and debates about statistical significance. Utilizing the long view, Shneiderman argues
that the old, bad computing paradigm tended to emphasize technological progress, even though
plenty of confused and frustrated users disliked the products. Too often, he says, these items had
"incomprehensible terminology, poor online assistance, and nasty failures" (p. 12).
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The intention of new computing is to serve human needs, rather than to replace people with
automation or robots, Shneiderman says. So, speak up if you realise an interface confusing! He
urges customers to loudly upbraid the perpetrators ofunfriendly and ugly, and unusable products.
But if you have a hand in developing a high-tech product, he urges you to get creative.
He sees creativity at the heart in the design process--and at the peak from the pyramid of human
needs. In fact, he envisions software that can "enable many people to be creative more of the time"
(p. 208). But how? He sees three paths.
* One path emphasizes inspiration, as soon as of "Aha! " that comes after long preparation; so

2. Shneiderman yearns for playful software that encourages brain-storming, free association, and
alternative perspectives.
* An additional way to become creative involves problem-solving; Shneiderman argues that software
can support that process as to what-if scenarios insimulations and spreadsheets, and modeling
software.
* A third approach views human context as the most significant aspect of the creative process, so
Shneiderman likes software enabling collaboration with peers, advice from mentors, and emotional
support from friends and family. Dismissing everyday creativity (a fresh twist on the glossary
definition, say), Shneiderman hopes to see software that brings together all three approaches for
what he calls evolutionary creativity--refining and applying existing paradigms or methods in new
ways.
To encourage evolutionary creativity, then, Shneiderman argues that the computers should help us
move easily back and forth through all of the following activities:
* Trying to find information
* Visualizing to discover and understand relationships
* Talking to peers and mentors, getting ideas and support
* Thinking up new combinations of ideas through free association
If and simulation tool, * Exploring possible scenarios through what-s
* Composing artifacts or performances
* Replaying and reviewing sessions to reflect
* Disseminating results to win recognition and to expand the resources available to other people in

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In this particular book, Shneiderman gives us interesting ideas on techniques that computing can
enable most of these activities. He does not provide specific guidelines, but he expands our sense of
what we could be doing, with a breadth of vision that can only come from experience, and a fondness
for creative thinking like Leonardo's.
He stresses human needs, not technological advances. So relationships come first, and then human
activities--a long time before instructions per second. True creativity gives people more control,
more options, more ways to reach out to others.
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To accomplish designs which help people expand relationships, Shneiderman suggests that we
envision the way our audiences move through their circles of relationship, from the interior world of
the self, outward to friends and family, then colleagues and neighbors, and finally the bigger world
of fellow consumers and citizens in a global market-place. The relationships expand in size while
shrinking in the degree of interdependence, shared knowledge, and trust. Of course, we wrestle with
the variety of audiences we face, and we find it difficult to define our relationship using them as
writers. On the other hand, inside the old computing world, designers found relationships
disturbing, and uncomfortable:
Focusing on relationships is really a new direction for many people in the
computing field. After all, the basic notion of the individual
computer was tied to our prime degree of introversion among
information-processing professionals. (p. 83)
Having postulated four circles of relationship, Shneiderman summarizes the activities that users
want to participate in:

4. * Collecting information (reading documents, listening to stories, exploring libraries)
* Relating (asking questions of others, engaging in meetings, joining dialogs, developing trust)
* Creating (visualizing, planning and brainstorming exploring alternatives, simulating outcomes,
coming up with a design)
* Donating (disseminating what you have come up with, through reports, events, training and
meetings mentoring)
Based on this analysis, Shneiderman suggests a grid for fostering creativity through technology. The
four stages of human activity constitute the columns, and also the four circles of relationship form
the rows. By filling in the matrix for a particular project, we can uncover human needs we might not
otherwise have thought of, expanding our original definition of our work and breaking away from
preconceptions.
To show how such a method might take us beyond mere usability, Shneiderman provides case
studies, describing how he, his students, and like-minded designers have applied some form of this
matrix to projects, making e-learning, e-commerce, e-healthcare, and e-government more
responsive, intriguing and educational and democratic.
Grounded in actual design, his ideas are less visionary than those of Leonardo but more
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JONATHAN PRICE runs The Communication Circle in Albuquerque, NM. An associate fellow of STC,
he belongs to the American Society of Journalists and Authors. They have coauthored Hot text: Web
writing that really works, The best of shopping on the internet, Fun with digital imaging, and How to
communicate technical information.