Building a Sense of Place Across Channels

Andrea ResminiPERVASIVE INFORMATION ARCHITECTURES Building a Sense of Place across Channels WORKSHOP, UXLX 2012

ANDREA RESMINIhttp://andrearesmini.com @resmini

LETS MAKE GROUPS

PART 1CROSS-CHANNEL

COULD WE PLAYCHESS RIGHT HERE RIGHT NOW?

CHESS, MUFFET (http://www.flickr.com/photos/calliope/5347237755/)

(mspaforum.com)

MONSELICE (http://en.wikipedia.org/wiki/File:Monselice_z18.jpg)

INTERFACES ANDINTERACTIONS DIFFER

CHESS IN HARRY POTTER

WILDLY

THE RULES,NOT SO MUCH

WHAT IF I ASK YOU TO WRITE OR SEND A MESSAGE?

BYU EDU (news.byu.edu)

F. REMINGTON, SMOKE SIGNALS

OUIJIA BOARD, SCRIPTINGNEWS (http://www.flickr.com/photos/scriptingnews/3418293087/)

KAROTZ, THE NEW NABAZTAG

MESSAGES HAVE NO MEDIUM

INTERFACES ANDINTERACTIONS DIFFER

ACTIVITIES AND ARTIFACTS MERGE INTO COMPLEX EXPERIENCES

PRODUCT DESIGN BECOMES EXPERIENCE DESIGN From the Manifesto of Pervasive Information Architecture

EXPERIENCES TRAVEL ACROSS CHANNELS

THOUGH SOMETIMES THEY STILL DONT

contropiano.org

agricorner.com

WE STRUGGLE FORMEANING AND CLOSURE

“CUSTOMERS INTERACTWITH THE BRAND: THEYDONT CARE ABOUT THE CHANNEL” JESS MCMULLIN & SAMANTHA STARMER

HOW DO WEDESIGN ALL THIS?

ENTER THE PERVASIVE INFORMATION LAYER

Tron Legacy

The Matrix, Wachowsky Brothers

CYBERSPACE IS NOT A PLACE YOU GO TO BUT RATHER A LAYER TIGHTLY INTEGRATED INTO THE WORLD AROUND US – Institute For The Future

INTERFACES TOUCH-POINTSINFORMATION ARCHITECTURE

REDUCTION CORRELATIONPLACE-MAKING CONSISTENCY RESILIENCE CROSS-CHANNEL HEURISTICS

PLACE-MAKING INTRODUCES A SENSE OF BELONGING, REDUCESDISORIENTATION AND INCREASES LEGIBILITY AND WAY-FINDING MAKES US FEEL AT HOME

IN CHANNEL PLACE-MAKINGACROSS CHANNELS TWO AXES

EXERCISE #1

PART 2PLACE-MAKING

SPACE & PLACE

SPACE IS THE BASE EXPERIENCE OF OUR EMBODIMENT AS HUMAN BEINGS, AND IT IS OBJECTIVE, IMPERSONAL, UNDIFFERENTIATED

INFORMATION SPACES DO NOT USUALLY MAP TO A SINGLE PHYSICAL REPRESENTATION

BUT THEY NEED TO BE PLACES IF THEY WANT TO PROVIDE US WITH SATISFYING EXPERIENCES

PLACE INVOLVES, BESIDESPHYSICAL SPACE, MEMORIES, EXPERIENCES, ANDBEHAVIORAL PATTERNS: IT ISPERSONAL, SUBJECTIVE, AND COMMUNITARIAN

PLACE IS WHERE WE PAUSESPACE IS WHERE WE MOVE

The Name of the Rose, J, Annaud

The Name of the Rose, J, Annaud Scale model of the library

The Name of the Rose, U. Eco

The Name of the Rose, J, Annaud

COGNITIVE CONTINUITY IS NOTINTERFACE CONTINUITY

EXERCISE #2

KEVIN LYNCH, SKETCHES MNSU.EDU

DISTINCTIONS WERE MADE AMONG THE DIFFERENT PHYSICAL PARTS OF THE CITY THESE WERE ORGANIZED IN APERSONALLY MEANINGFUL MESH

PEOPLE WERE RECONNECTING PERCEIVED FRAGMENTS IN MEANINGFUL PATTERNS

THE IDEAS OF SPACE AND EMBODIMENT SHAPE THE WAY WE PERCEIVE REALITY crashlanden.wordpress.com

THIS IDEA OF SPACE HAS NOTHING TO DO WITH GEOMETRY cxmagazine.com

SPACE IS NEITHER PHYSICAL NOR MATHEMATICAL, AND HAS MAN AT ITS CENTER flickr.com, CC 2.0

SPACE IS NOT HOMOGENEOUS: ALL REFERENCES HAPPEN WITHIN A SUBJECTIVE SYSTEM flickr.com, CC 2.0

SPACE IS PATHS AND EXPERIENCE. IT CORRESPONDS TO WHAT WE PERCEIVE emotionaladroit.wordpress.com

SPACE IS ACTUALLY A SEQUENCE OF HISTORICALLY DEFINED IDEAS OF SPACE englishbaby.com

THAT IS, IT HAS EVOLVED FOR ALMOST ANYONE flatearthsociety.org

#1 CONTEXT IS SPATIAL

d resmini wheres that pic ofPeter dancing naked on thetable at the office?

http://www.flickr.com/photos/46037115@N04/4233027629/

@resmini wheres that pic ofPeter dancing naked on thetable at the office?

http://gm25liveen.web-log.nl/george_michael_25_live_en/blog/index.html

MEDIA ALWAYS IMPLYSPATIAL RELATIONSHIPS

NOT UNDERSTANDINGTHESE RELATIONSHIPS = BAD

PETER ->

#2 COMMUNICATION IS ABSTRACTION

#3 WE UNDERSTAND THE ABSTRACT BY MEANS OF THE CONCRETE

LE PETIT POUCET, OR LITTLE THUMB

SCARLETT JOHANSSON REVIVES CINDERELLA FOR DISNEY

LANGUAGE MUSICRHYTHM MATHEMATICSSPACE TIME PLACE

BRITANNICA.COM

MONOLOGIC POLYLOGIC DIALOGIC

DICTATIONCYLINDERS

SHORTHAND

SHIPS LOGS

DIARYENTRIES

NEWSPAPERS CLIPPINGS GRUNGERABBIT.COM

TYPEWRITTEN TEXT

PHASE #1 DRACULASCASTLE.EU

PHASE #2 ASSOMMOIR.WORDPRESS.COM DRACULASCASTLE.EU

PHASE #3 DRACULA3d

PHASE #4

1 2 3 4

SO, HOW DO WECOMMUNICATE PLACE?

2 1 1 3

1 1 1 1

SCENECAMERA POVAUDIENCE

“ The enlargement of the engraved wedding announcement appears as an entirely new picture. The room suddenly disappears and the hand which holds the card flashes up. Again when we have read the card, it suddenly disappears and we are in the “ same room again

SOMEWHERE ELSE1 2 SCENE SCENE

THIS IS ALL ABOUT MEANING AND SENSE-MAKING

“ Another marked peculiarity of the Impressionists is the truncated composition, the placing in the foreground of the picture of fragments of figures and objects. There is thought and purpose in this “ apparent oddness. Child, 1887

com/d/arthistory/1/0/I/n/gc_bm_0309_04.jpg

WE ARE INSIDETHE PAINTINGS

#4 ALL MEDIA EVOLVE ALANGUAGE FOR SENSE-MAKING AND PLACE-MAKING

SCENECAMERA POVAUDIENCE

TRADITIONALLY SPACE HAS BEEN USED TO TIE LOOSENARRATIVES INTO STORIES

QUESTS CONNECT MAPS WITH PERSONAL SPACE

QUESTS ARE A MIDDLEGROUND BETWEEN NARRATIVE AND ACTIONABILITY

THEY BUILD A SENSE OF PLACE THROUGH STORYTELLING

“PLACE IS A WAY TOUNDERSTAND THE WORLD” YI FU TUAN

GROUNDHOG DAY, 1993

“HES TRAPPED IN SOME KIND OF TIME WARP.”“A SUPERNATURAL FORCE IS SHOWING HIM HIS WEAKNESSES.” ROGER EBERT

SOURCE CODE, 2011

“ITS A F***ING VIDEOGAME!” EVERYONE

SUCKER PUNCH, 2011

DATABASE

3D NAVIGATION

WE ARE LEARNING HOW TO UNDERSTAND ABSTRACTEDINFORMATION SPACE SPATIALLY

PLACE-MAKING#1 PLACE IS SET APART, IDENTIFIED AND IDENTIFIABLE#2 PLACE HAS A NAME#3 PLACE HAS BOUNDARIES#4 PLACE HAS TRANSIENT PERMANENCE#5 PLACE AGGREGATES AND REUSES MEMORIES#6 PLACE WORKS SELECTIVELY#7 PLACE HAS DISTINCTIVE SOCIAL AND FUNCTIONAL QUALITIES#8 PLACE IS PERPETUALLY CHANGING

EXERCISE #3

THANK YOU @resmini

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Building a Sense of Place Across Channels

by Andrea Resmini

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