Leonardo's Hudl Accessories: Human Needs and the New Computing Technologies Ben Shneiderman, 2002. C...

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Leonardo's Hudl Accessories: Human Needs and the New Computing Technologies
Ben Shneiderman, 2002. Cambridge, MA: MIT Press, [ISBN -262-19476-7, 269 pages, including
index, $24.95 USD.]
Ben Shneiderman sees Leonardo da Vinci's ubiquitous notebooks, packed with sketches, hypotheses,
and inventions, as models for a new, more humane form of computing--one that is far morecreative
and sociable, and universally usable. Imagining how Leonardo might build a accessories for hudl
computer, Shneiderman pleads for the renaissance in 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 information on 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 a
great deal of confused and frustrated users disliked these products. Too often, he says, these items
had "incomprehensible terminology, poor online assistance, and nasty failures" (p. 12).
The purpose of new computing is to serve human needs, rather than to exchange people with
automation or robots, Shneiderman says. So, speak up if you locate an interface confusing! He urges
customers to loudly upbraid the perpetrators ofugly and unfriendly, and unusable products. But if
you have a hand in creating a high-tech product, he urges you to get creative.
He sees creativity at the heart in the design process--and at the peak in the pyramid of human needs.
In fact, he envisions software that can "enable more people to be creative more of the time" (p. 208).
But how? He sees three paths.
* One path emphasizes inspiration, the moment of "Aha! " that comes after long preparation; so
Shneiderman check my site yearns for playful software that http://www.tescobroadband.com/
encourages brain-storming, free association, and alternative perspectives.

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If scenarios inspreadsheets and simulations, and modeling software, * Another way to become
creative involves problem-solving; Shneiderman argues that software can support that process with
what-.
* Still another approach views human context as the most crucial aspect of the creative process, so
Shneiderman likes software enabling collaboration with peers, advice from mentors, and emotional
support from family and friends. Dismissing everyday creativity (a brand new twist on the glossary
definition, say), Shneiderman hopes to see software that brings together the 3 approaches for which
he calls evolutionary creativity--refining and applying existing paradigms or methods in new ways.
To encourage evolutionary creativity, then, Shneiderman argues which our computers should help
us move easily backwards and forwards through all the following activities:
* Looking for information
* Visualizing to understand and see relationships
* Talking to 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

3. * Disseminating leads to win recognition and to expand the resources offered to other people inside
the field
With this book, Shneiderman gives us interesting ideas on ways in which computing can enable most
of these activities. He does not provide specific guidelines, but 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.
He stresses human needs, not technological advances. So relationships come first, and then human
activities--a long time before instructions per second. True creativity gives people more control,
more options, more ways to get in touch with others.
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To accomplish designs which 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 family and friends, then colleagues and neighbors, and finally the greater world of
fellow citizens and consumers in a global market-place. The relationships expand in size while
shrinking in the degree of interdependence, shared knowledge, and trust. As writers, of course, we
wrestle with the variety of audiences we face, and we battle to define our relationship using them.
On the other hand, in the old computing world, designers found relationships disturbing, and
uncomfortable:
Working on relationships is a new direction for many people within the
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computing field. After all, the fundamental notion of the personal
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
desire to participate in:
* Collecting information (reading documents, listening to stories, exploring libraries)

4. * Relating (asking questions of others, engaged in meetings, joining dialogs, developing trust)
* Creating (visualizing, brainstorming and planning exploring alternatives, simulating outcomes,
discovering a design)
* Donating (disseminating what you have come up with, through reports, training, meetings and
events mentoring)
Based on this analysis, Shneiderman suggests a grid for fostering creativity through technology. The
four stages of human activity constitute the columns, and also 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, educational and interesting and democratic.
Grounded in actual design, his ideas are less visionary than those of Leonardo but more immediately
applicable at work. Leonardo's laptop, then, turns out to be an inspiring metaphor for your new
computing--an image of what we should be developing as participants in user-centered design, and a
reminder of what we ought to demand if we ourselves use technology.
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 internet shopping, Fun with digital imaging, and How to
communicate technical information.