Leonardo's Accessories for Hudl: Human Needs as well as the New Computing Technologies Ben Shneiderm...

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Leonardo's Accessories for Hudl: Human Needs as well as 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, full of sketches, hypotheses, and
inventions, as models for a new, more humane form of computing--one that is far morecreative and
sociable, and universally usable. Imagining how Leonardo might build a hudl accessories computer,
Shneiderman pleads for the renaissance in the way 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 details of usability research, interface guidelines,
and debates about statistical significance. Taking the long view, Shneiderman argues that the old,
bad computing paradigm tended to emphasize technological progress, even though a great deal of
confused and frustrated users disliked these products. Too often, he says, these kinds of products
had "incomprehensible terminology, poor online assistance, and nasty failures" (p. 12).
The goal of new computing is to serve human needs, rather than to replace people with automation
or robots, Shneiderman says. So if you locate an interface confusing, speak up! He urges customers
to loudly upbraid the perpetrators ofunfriendly and ugly, and unusable products. But in case you
have a hand in building a high-tech product, he urges you to get creative.
He sees creativity at the heart of your design process--and at the peak in the pyramid of human
needs. In fact, he envisions software that can "enable more people to be creative more of the time"
(p. 208). But exactly how? He sees three paths.

2. * One path emphasizes inspiration, as soon as of "Aha! " that comes after long preparation; so
Shneiderman yearns for playful software that encourages brain-storming, free association, and
alternative perspectives.
* Another way to become creative involves problem-solving; Shneiderman argues that software can
support that process with 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 brand new twist over a glossary
definition, say), Shneiderman hopes to find out software that literally brings together all 3
approaches for which he calls evolutionary creativity--refining and applying existing paradigms or
methods in new ways.
To http://www.clothingattesco.com/page/search encourage evolutionary creativity, then,
Shneiderman argues which our computers should help us move easily forward and backward
through all of the following activities:
* Searching for information
* Visualizing to understand and find out relationships
* Speaking to mentors and peers, getting ideas and support
* Thinking up new combinations of ideas through free association
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3. If and simulation tool, * Exploring possible scenarios through what-s
* Composing artifacts or performances
* Replaying and reviewing sessions to reflect
* Disseminating leads to win recognition and to expand the resources accessible to other people
inside the field
In this book, Shneiderman gives us interesting ideas on methods computing can enable many of
these activities. He does not provide specific guidelines, but he expands our sense of what we should
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--prior to instructions per second. True creativity gives people more control, more options,
more ways to reach out to others.
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To obtain designs that assist 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 relations, then colleagues and neighbors, and finally the larger world of
fellow citizens and consumers in a global market-place. The relationships expand in size while
shrinking from the degree of interdependence, shared knowledge, and trust. As writers, of course,
we wrestle with the variety of audiences we face, and we find it difficult to define our relationship
together. On the other hand, in the old computing world, designers found relationships disturbing,
and uncomfortable:
Working on relationships is actually a new direction for many people within 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
would like to participate in:
* Collecting information (reading documents, listening to stories, exploring libraries)

4. * Relating (asking questions of others, engaging in meetings, joining dialogs, developing trust)
* Creating (planning, brainstorming and visualizing exploring alternatives, simulating outcomes,
creating a design)
* Donating (disseminating what you have come up with, through reports, meetings, events and
training mentoring)
Based on this analysis, Shneiderman suggests a grid for fostering creativity through technology. The
four stages of human activity form the columns, as well as 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 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
educational, interesting and responsive and democratic.
Grounded in actual design, his ideas are less visionary than those of Leonardo but more immediately
applicable on the job. Leonardo's laptop, then, turns out to be an inspiring metaphor for that new
computing--an image of the items we should be developing as participants in user-centered design,
and a reminder of what we need to demand if we ourselves use technology.
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 works well, The best of internet shopping, Fun with digital imaging, and How to
communicate technical information.