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Space, Place, and Place-making


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Lecture held for the students of the Information Architecture program, Malmö Högskolan in Malmö, Sweden

Lecture held for the students of the Information Architecture program, Malmö Högskolan in Malmö, Sweden

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  • 1. ANDREA RESMINI & LUCA ROSATI Pervasive Information Architecture SPACE, PLACE, AND PLACE­MAKING     MALMÖ HÖGSKOLAN ­ MAR 25 2010
  • 2. Game of the goose boardgame, 19th century LET'S PLAY    
  • 3. think of experience as play    
  • 4. 1999 1ST SCENARIO    
  • 5. Meet James. He wants to travel (Mh. Copenhagen. That seems a fun place to be) JAMES WANTS TO TRAVEL    
  • 6. He's going for it (Let's hope the travel agency is open. Have to remember the hotel) HE WALKS
  • 7. He's going for it “Well, yes, you could buy a direct flight, but then ...” HE TALKS    
  • 8. He's going for it “Of course we cannot provide you with a bus card now, but ...” … AND TALKS    
  • 9. He gets to København Psst, he's here! “Excuse me? I'm looking for the Lille Havfrue Hotel? Excuse me?” HE TRAVELS
  • 10. Then he has maps and memories (Now, where did I put that map? Mh. And the pictures of the ...) HE GETS BACK    
  • 11. A totally scientific model, 1999 ??? ... user experience @#%! whew! process touch points or obstacles? THIS WAS JAMES' UX    
  • 12. 2009 2ND SCENARIO    
  • 13. Meet Mario. He wants to travel (Mh. Malmö. And good prices. Going there) MARIO WANTS TO TRAVEL    
  • 14. He's going for it (Oh come on! Damn site wouldn't let me buy a bus card?) HE BROWSES    
  • 15. He gets to Malmö Psst, he's here! “Pass me the map, will you? No, not Google, the ... Aww ...” HE TRAVELS    
  • 16. Then he has maps and memories (Now, where did I put that map? And the pictures of ...) Image: Media Heaven Ltd HE GETS BACK    
  • 17. A totally scientific model, 2009 @#%! whew! user experience process touch points or obstacles? THIS WAS MARIO'S UX    
  • 18. Game of the goose boardgame again, 19th century WASN'T THIS IT?    
  • 19. *click* talk *click* check-in choose search walk *click* browse save *click* switch jacques de vaucanson, 1737 … A GAME OF THE GOOSE?    
  • 20. a game is by definition a suboptimal but engaging way to achieve a goal: question is, do we have to play a rather tiresome game anytime we engage in complex experiences that bridge media and contexts? EXPERIENCE IS NOT A GAME    
  • 21. IS THIS HOW IT HAS TO BE?    
  • 22. 2019? NTH SCENARIO    
  • 23. Meet Pranav. He wants to travel (Hey, seems like an interesting place. And it got four stars!) Pranav Mistry, Sixth Sense demo PRANAV WANTS TO TRAVEL    
  • 24. He's going for it (Let's ring the agency. And it got four stars!) Pranav Mistry, Sixth Sense demo HE TALKS    
  • 25. He's going for it (Now, get to check that web site and see who's around) Bruce Branit, World Builder HE BROWSES    
  • 26. Being delayed (Mh. Flight is delayed. Can take it easy. Buy some souvenirs) Pranav Mistry, Sixth Sense demo HE TRAVELS    
  • 27. Then he has maps and memories (This one is ok. This one is not. Where are the ones at the museum?) Pranav Mistry, Sixth Sense demo HE GETS BACK    
  • 28. awesome, hu? THIS IS LIKE … WOW!    
  • 29. but the question is: who designs this? And how? A ROLE FOR IA?    
  • 30. THIS IS A LOT OF IA    
  • 31. AND THIS IS A LOT OF IA    
  • 34. … AND HERE ...    
  • 35. … AND HERE ...    
  • 36. the point is BUT WHAT'S THE POINT?    
  • 37. 1 “cyberspace is not a place you go to but rather a layer tightly integrated into the world around us” Institute for the Future CYBERSPACE IS HERE    
  • 38. and this layer or layers is mostly information CYBERSPACE IS INFORMATION    
  • 39. 2 products are becoming services, parts of ubiquitous ecologies UBIQUITOUS ECOLOGIES    
  • 40. we have to move from the design of artifacts to the design of processes ARTIFACT TO PROCESS    
  • 41. we have to move from the design of products to the design of experiences PRODUCT TO EXPERIENCE    
  • 42. we do not design interfaces we do not design single interactions we design cross-media experiences EXPERIENCE IS CROSS-MEDIA    
  • 43. we design with heuristics A METHODOLOGY    
  • 44. place-making reduction consistency correlation resilience HEURISTICS    
  • 45. place-making reduction consistency correlation resilience GROUNDING    
  • 46. place-making reduction consistency correlation resilience REFINING    
  • 47. the capability to help users reduce disorientation and increase legibility and way­finding in digital, physical, and hybrid environments PLACE-MAKING    
  • 48. the capability to provide and sustain internal and external, in- context, on-task coherence CONSISTENCY    
  • 49. the capability of a human­ information interaction model to shape and adapt itself to specific users, needs, targets, and seeking strategies RESILIENCE    
  • 50. the capability to reduce the stress and frustration associated with choosing from an ever growing set of information sources, services, and goods REDUCTION    
  • 51. the capability to suggest relevant connections between pieces of information, services, users, and goods to help users achieve explicit goals or stimulate latent needs CORRELATION    
  • 52. SPACE AND PLACE    
  • 53. rhythm is the connection between time and space RHYTHM, TIME, SPACE    
  • 54. Little Thumb and his brothers LOST IN SPACE    
  • 55. Cinderella LOST IN TIME    
  • 56. space is the grounding concept for time space is the grounding concept for place EVERYTHING IS SPATIAL    
  • 57. space and place are different SPACE IS NOT PLACE    
  • 58. space is the base experience of our embodiment it is objective, impersonal, undifferentiated SPACE IS NOT PLACE    
  • 59. place includes, besides physical space, memories, experiences, and behavioral patterns associated with the locale it is personal, subjective, and communitarian PLACE IS NOT SPACE    
  • 60. THIS IS A PLACE    
  • 61. THIS IS A PLACE    
  • 62. THIS IS A PLACE    
  • 63. THIS IS NOT    
  • 64. social media and ubiquitous computing have escalated this sense of place and belonging on the Web THE WEB IS A PLACE    
  • 65. THIS IS A PLACE    
  • 66. BUT THIS IS NOT    
  • 67. spatial metaphors have always been applied to the Web: navigate, up, down, to be on, to be out, go to BEING ELSEWHERE    
  • 68. but the Web is not the first medium to have a necessity to develop a language for the representation of presence and embodiment MOVIES, GAMES, FINE ARTS    
  • 69. Masaccio, Payment of the Tribute SIMULTANEITY    
  • 70. Duchamp, Nude descending the stairs SEQUENCE    
  • 71. Miller, The Dark Knight SIMULTANEITY + SEQUENCE    
  • 72. LucasArts, Maniac Mansion: Day of the Tentacle SPACE AS A STAGE    
  • 73. LucasArts, Maniac Mansion: Day of the Tentacle MAPS AS THEATER    
  • 74. Nintendo, SuperMario SPACE AS CHALLENGE    
  • 75. Nintendo, SuperMario MAPS AS CHALLENGES    
  • 76. Snow, map of the area surrounding the Broad Street Pump SPACE AS CORRELATION    
  • 77. Ubisoft, Prince of Persia Sands of Time SPACE AS DISCOVERY    
  • 78. Irrational Games, Bioshock SPACE AS IMMERSION    
  • 79. Ubisoft, Myst IMMERSION CAN BE TRICKY    
  • 80. movies are intriguing: how come we do not (usually) get lost in movies? after all, we move around a lot MOVIES    
  • 81. Laurel & Hardy FILMING ON STAGE    
  • 82. If this is a movie, this guy is ... DEVELOPING A LANGUAGE ...    
  • 83. … exchanging glances with John Mellencamp … OF MEANING    
  • 84. Demme, Silence of the Lambs LANGUAGE CAN TRICK US    
  • 85. Tarantino, Pulp Fiction SPACE TIME PLACE TRICK US    
  • 86. @resmini d resmini Public space and private place on Twitter SPACE + PLACE ARE TRICKY    
  • 87. the languages the fine arts, movies and videogames have developed to convey the ideas of space, place and embodiment can provide us with clues as to how to successfully enact place-making on the Web CONCLUSIONS    
  • 88. the map is the territory and it's quickly extending to your fridge, connecting it with your doctor and with the supermarket care to design that before it designs us? CONCLUSIONS    
  • 89. Andrea Resmini & Luca Rosati Pervasive IA Blogs Twitter @resmini @lucarosati THAT'S IT FOLKS