Space, Place, and Place-making


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

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Space, Place, and Place-making

  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    
  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    
  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    
  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