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

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)
http://www.flickr.com/photos/ihateyou/2905684780/
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
http://www.flickr.com/photos/yourdon/3254328961/

7. He's going for it
“Well, yes, you could buy a direct flight, but then ...”
http://www.flickr.com/photos/dan4th/144369022/
HE TALKS

8. He's going for it
“Of course we cannot provide you with a bus card now, but ...”
http://www.flickr.com/photos/dan4th/144369022/
… 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
http://www.flickr.com/photos/nagillum/3906910129/

10. Then he has maps and memories
(Now, where did I put that map? Mh. And the pictures of the ...)
http://www.flickr.com/photos/sillygwailo/3320816159/
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)
http://todaysseniorsnetwork.com/
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 ...”
http://www.flickr.com/photos/nagillum/3906910129/
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

32. AND THERE IS IA HERE TOO

33. AND WHAT ABOUT HERE

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
http://pervasiveia.com/
Blogs
http://andrearesmini.com/ http://lucarosati.it/
Twitter
@resmini @lucarosati
THAT'S IT FOLKS