Ben Shneiderman argues for a new paradigm of computing focused on better serving human needs and creativity. He envisions software that encourages collaboration, inspiration, problem-solving and free association. Creativity involves refining existing ideas in new ways through activities like searching information, meeting with others, exploring scenarios and disseminating ideas. Shneiderman stresses relationships and human activities over technological advances alone. He provides case studies of applying these ideas to make e-learning, commerce, healthcare and government more engaging.

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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.]
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Ben Shneiderman sees Leonardo da Vinci's ubiquitous notebooks, filled with sketches, hypotheses,
and inventions, as models for a new, more humane form of computing--one that is moresociable and
creative, and universally usable. Imagining how Leonardo might build a hudl accessories computer,
Shneiderman pleads for any renaissance in terms of how we build and document technology. He
paints a practical utopia.
Building on more than a quarter century ofteaching and research, and consulting on human-
computer interaction, this book rises above the details of usability research, interface guidelines,
and debates about statistical significance. Getting the long view, Shneiderman argues that the old,
bad computing paradigm tended to emphasize technological progress, even though lots of confused
and frustrated users disliked the merchandise. Too often, he says, these 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 change people with automation
or robots, Shneiderman says. So, speak up if you locate an interface confusing! He urges people to
loudly upbraid the perpetrators ofugly and unfriendly, and unusable products. But when you have a
hand in making a high-tech product, he urges you to get creative.
He sees creativity at the heart of the design process--and at the peak of your pyramid of human
needs. In fact, he envisions software that can "enable more and more people to be creative more of
the time" (p. 208). But just how? He sees three paths.
* 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.

2. If scenarios insimulations and spreadsheets, and modeling software, * Another way to become
creative involves problem-solving; Shneiderman argues that software supports that process with
what-.
* Another approach views human context as the main 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 whole new twist over a glossary
definition, say), Shneiderman hopes to see software which brings together all three approaches for
which he calls evolutionary creativity--refining and applying existing paradigms or methods in new
ways.
To encourage evolutionary creativity, then, Shneiderman argues our computers should help us move
easily backwards and forwards through every one of the following activities:
* Searching for information
* Visualizing to understand and discover relationships
* Meeting with 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 leads to win recognition and to expand the resources accessible to other people in
the field
Within this book, Shneiderman gives us interesting ideas on methods computing can enable all of
these activities. He expands our sense of everything we could be doing, with a breadth of vision that
can only come from experience, and a fondness for creative thinking like Leonardo's, though he will

3. not provide specific guidelines.
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 get in touch with others.
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To attain designs that help people expand relationships, Shneiderman suggests that we envision how
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
from the degree of interdependence, shared knowledge, and trust. As writers, of course, we wrestle
with the variety of audiences we face, and we struggle to define our
https://www.tescopricepromise.com/ relationship using them. On the other hand, from the old
computing world, designers found relationships disturbing, and uncomfortable:
Working on relationships is really a new direction for many people from the
computing field. After all, the accessories for hudl standard notion of the individual
computer was tied to the high degree of introversion among
information-processing professionals. (p. 83)
Having postulated four circles of relationship, Shneiderman summarizes the activities that users
wish to participate in:
* Collecting information (reading documents, listening to stories, exploring libraries)
* Relating (asking questions of others, engaging in meetings, joining dialogs, developing trust)
* Creating (visualizing, brainstorming and planning exploring alternatives, simulating outcomes,
creating a design)

4. * Donating (disseminating what you have come up with, through reports, meetings, training and
events mentoring)
Based on this analysis, Shneiderman suggests a grid for fostering creativity through technology. The
four stages of human activity form the columns, and the four circles of relationship form the rows.
We could uncover human needs we may not otherwise have thought of, expanding our original
concept of our work and breaking out of preconceptions, by filling in the matrix for a particular
project.
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 immediately
applicable on the job. Leonardo's laptop, then, ends up being an inspiring metaphor for your new
computing--an image of the we should be developing as participants in user-centered design, and a
reminder of what we ought to demand whenever we ourselves use technology.
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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. He has coauthored Hot text: Web
writing that actually works, The best of shopping online, Fun with digital imaging, and How to
communicate technical information.