Focus, Production, Horizontality. 3 rules for a new kind of collaborative eve...julien dorra
From my Lift12 talk http://liftconference.com/lift12/program/talk/julien-dorra-we-come-internet-lets-build-realspace-events
Cyberspace is now the main space where we exchange ideas, work and organize. We live in it every day, every hours of our lives. It is real. It is effective.
But what about realspace, physical places?
Realspace work and collaboration feel *outdated*.
In the office, we don’t know what is going on in the next cubicle. Professional realspace events like conferences are racing to renew their purpose and relevance, competing with incredibly good web talks for attention.
And in the middle of this gap, a new kind of event is emerging. Collaborative events where people meet, team up and actually build something new together. Started in the open source community, these creative events are now infecting companies, universities, even museums! They come from the internet.
This is the story of how of those events are pushing realspace creativity to a new level.
Influence of ICT on Japanese handwriting skillsMLTA of NSW
The Influence of ICT on secondary school students' development in Japanese handwriting skills, Presentation by Shizuka Kandori at AFMLTA conference Sydney 2009
Learning in virtual worlds: why Rosa keeps dancingMark Childs
A summary of the work of my PhD, explaining the role of presence, embodiment and identity in learning in virtual worlds. This was presented as a keynote at the SOLSTICE conference in Ormskirk in June 2011.
The Struggle for Existence | Hannah Tempest (Interact London 2018) Nomensa
How might an idea’s lifecycle survive its environment where ideas compete “red in tooth and claw” for survival.
We will look at how nature and the adaptation of organisms can show us how digital landscapes are shaped by their technological environment.
Are there universal truths in biological systems that can help us in creating digital products that evolve with the ever changing digital economy.
We will explore where UX, design and technology can come together to create safe environments to allow fragile products to evolve and thrive in the wild.
Collaborate Bristol 2018: Design Thinking for Good - Angela Pesta, Director o...Nomensa
The craze of design thinking is turning the designer's profession into a commodity—but that's okay.
Let this be the impetus that motivates us to evolve our profession.
In this talk we'll be investigating what it means to 'design for good' and how this can be addressed with the practices of 'design thinking' and more.
We'll investigate questions such as: What do we need to do to stay ahead of and evolve the function of design? Do we have a moral responsibility as designers to do good? Finally, as creative problem solvers, how can we increase our scale as change agents for the world's biggest problems?
Collaborate Bristol 2018: Innovate UK's GDS Journey to Digital Transformation...Nomensa
GDS guidelines and the associated GOV.UK platform are both well respected across digital communities today.
Until just over 12 months ago Innovate UK ran its grant funding using paper based manual processes and disparate systems.
Sarah led a project to develop a GDS compliant digital service which sits on GOV.UK to deliver grant funding opportunities to its customers.
This has not only delivered process improvement, efficiencies and cost savings, but an understanding of how digital services should be designed around the needs of its end users.
Innovate UK, part of UK Research and Innovation works with people, companies and partner organisations to find and drive the science and technology innovations that will grow the UK economy. They drive growth by working with companies to de-risk, enable and support innovation.
Digital Impact Framework - Measuring the value of DigitalNomensa
In this presentation (originally delivered at User Research London 2018), Dr Tim Dixon looks at the importance and value of adopting a Digital Impact Framework to measure your business’s holistic ROI beyond purely economic factors.
For more from Tim on this subject, register now for his webinar on 25th July:
https://attendee.gotowebinar.com/register/7402891234731986946
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Focus, Production, Horizontality. 3 rules for a new kind of collaborative eve...julien dorra
From my Lift12 talk http://liftconference.com/lift12/program/talk/julien-dorra-we-come-internet-lets-build-realspace-events
Cyberspace is now the main space where we exchange ideas, work and organize. We live in it every day, every hours of our lives. It is real. It is effective.
But what about realspace, physical places?
Realspace work and collaboration feel *outdated*.
In the office, we don’t know what is going on in the next cubicle. Professional realspace events like conferences are racing to renew their purpose and relevance, competing with incredibly good web talks for attention.
And in the middle of this gap, a new kind of event is emerging. Collaborative events where people meet, team up and actually build something new together. Started in the open source community, these creative events are now infecting companies, universities, even museums! They come from the internet.
This is the story of how of those events are pushing realspace creativity to a new level.
Influence of ICT on Japanese handwriting skillsMLTA of NSW
The Influence of ICT on secondary school students' development in Japanese handwriting skills, Presentation by Shizuka Kandori at AFMLTA conference Sydney 2009
Learning in virtual worlds: why Rosa keeps dancingMark Childs
A summary of the work of my PhD, explaining the role of presence, embodiment and identity in learning in virtual worlds. This was presented as a keynote at the SOLSTICE conference in Ormskirk in June 2011.
Similar to Neuroaesthetics: How beauty drives engagement (18)
The Struggle for Existence | Hannah Tempest (Interact London 2018) Nomensa
How might an idea’s lifecycle survive its environment where ideas compete “red in tooth and claw” for survival.
We will look at how nature and the adaptation of organisms can show us how digital landscapes are shaped by their technological environment.
Are there universal truths in biological systems that can help us in creating digital products that evolve with the ever changing digital economy.
We will explore where UX, design and technology can come together to create safe environments to allow fragile products to evolve and thrive in the wild.
Collaborate Bristol 2018: Design Thinking for Good - Angela Pesta, Director o...Nomensa
The craze of design thinking is turning the designer's profession into a commodity—but that's okay.
Let this be the impetus that motivates us to evolve our profession.
In this talk we'll be investigating what it means to 'design for good' and how this can be addressed with the practices of 'design thinking' and more.
We'll investigate questions such as: What do we need to do to stay ahead of and evolve the function of design? Do we have a moral responsibility as designers to do good? Finally, as creative problem solvers, how can we increase our scale as change agents for the world's biggest problems?
Collaborate Bristol 2018: Innovate UK's GDS Journey to Digital Transformation...Nomensa
GDS guidelines and the associated GOV.UK platform are both well respected across digital communities today.
Until just over 12 months ago Innovate UK ran its grant funding using paper based manual processes and disparate systems.
Sarah led a project to develop a GDS compliant digital service which sits on GOV.UK to deliver grant funding opportunities to its customers.
This has not only delivered process improvement, efficiencies and cost savings, but an understanding of how digital services should be designed around the needs of its end users.
Innovate UK, part of UK Research and Innovation works with people, companies and partner organisations to find and drive the science and technology innovations that will grow the UK economy. They drive growth by working with companies to de-risk, enable and support innovation.
Digital Impact Framework - Measuring the value of DigitalNomensa
In this presentation (originally delivered at User Research London 2018), Dr Tim Dixon looks at the importance and value of adopting a Digital Impact Framework to measure your business’s holistic ROI beyond purely economic factors.
For more from Tim on this subject, register now for his webinar on 25th July:
https://attendee.gotowebinar.com/register/7402891234731986946
Collaborate Bristol 2018: The art of collaboration - Simon Norris, Nomensa CE...Nomensa
How can we create a collaborative culture? And, what does that look like in practice?
Collaboration is about meeting people where they are: it’s about understanding and empathising with the person in front of you, their ideas and their experiences.
Often, companies will spend thousands recruiting talented individuals, only to rarely give them the space to use those talents. Leaders should endeavour to create an inclusive culture with a shared vision and direction, while still valuing the individuals that make it up.
We are what we practice, so if we want to encourage collaboration, we need to work collaboratively ourselves. We can’t be prescriptive – it’s through repeated, proven and intentional actions that we create a collaborative culture. We can do this through Design Management.
Held in conjunction with World IA Day 2018, this practical session was an introduction to the core skills and methods of thinking that you can use as part of your day to day work in IA.
Topics covered included the foundations of IA, the importance of a ‘content first’ approach, thinking like a user and how to present your work to clients.
The session was led by Jon Fisher, Head of UX at Nomensa, an award-winning UX design agency based in London, Bristol and Amsterdam.
This is a free event recommended for those new to IA or looking for a refresher on fundamentals.
Following the event, Nomensa will be providing pizza and beers for delegates to enjoy and continue networking.
If you register, but are unable to attend, please give us 48 hours notice so we can reallocate your place.
Designing for Good - Ruby Steel | Interact London 2017Nomensa
As designers we have the opportunity to make experiences better for people and personally I find there is no greater reward than using these skills to make better experiences for those who’s circumstance denies them things most take for granted.
I would like to tell you the story of the Mycarematters Design Collective and what can be achieved when passionate, like-minded designers come together. Mycarematters, founded by Zoe Harris, is a free online service where you can upload info healthcare professionals need to provide person-centred care.
The Design Collective was founded earlier this year, we are a group of designers that work along side this wonderful enterprise to support with design experience.
_
As Senior Design Strategist at Smart Design, Ruby is committed to making people’s lives better through the power of design. She works across a variety of industries, with an emphasis on healthcare.
At 17 Ruby met someone living with HIV and was deeply affected by the lack of empathy they received from others. That day Ruby decided she would help people isolated by circumstance. Ruby later graduated from Kingston University and then went on to gain a Master’s degree in Innovation Design Engineering at the Royal College of Art and Imperial College of London. Today, with more than eight years experience of designing products, services and experiences, she has remained true to her 17-year-old self.
Ruby has been awarded two Helen Hamlyn Design Awards for Creativity and Inclusive Design, and received honourable mentions from Core77 and the RSA for design solutions combating issues such as social isolation in older people.
Building a New Kind of Bank - Vuokko Aro | Interact London 2017Nomensa
Vuokko will share the exciting story of designing and building a new kind of bank. She’ll talk about the importance of listening to users and solving problems rather than selling financial products, discussing Monzo’s collaborative approach to product design.
What are the design principles and design process like at Monzo? How does the team prioritise which problems to solve? How does design work with other teams and at Monzo’s fast pace of growth and change? Finally, what is it like to work together with a passionate and active community of users? Vuokko will share how Monzo has grown its unique community and built both internal and external trust by being as open as possible.
_
Vuokko is a Product Designer at Monzo, where she works with all teams across the company and with Monzo’s active community of users to build the bank of the future together. Working with design principles that align with the product strategy across the company, this includes everything from ideation and concepts to the final pixels and small details that ultimately define the user’s interactions and experience.
With a solid background in interaction design, Vuokko has helped startups across the US and UK (FanDuel, Citymapper, etc.) design mobile products with world class user experiences.
Finding your Compass in a Hyper-Connected World - Sam Munton | Interact Londo...Nomensa
2017 has seen change at a rate that’s both exciting and terrifying in equal measures. So how do we embrace uncertainty, and how do we design for a future where disruption and a hyper-digitised world collide?
Join Sam to ponder what the near and far future might look like as a result of hyper-digitisation, including a whistle-stop ‘tour’ of connected cities, smart fabrics & furniture and smart health.
Be prepared to leave with a few pertinent questions in your head that may well inspire future conversations (and debates!).
-
Sam is inspired by solving real life problems with elegant digital designs. In a modern digital design context, she believes it is imperative that we step away from building websites and transition to building digital services as experiences that are delivered across multiple channels.
With over 17 years’ experience in creating engaging design solutions, both client and agency side, Sam provides creative and strategic direction to clients and teams to humanise technology.
Can Design Save the World? - Ann Longley | Interact London 2017Nomensa
As a planet and a species we are facing many imminent threats:
climate change induced disasters are increasing
65+ million people are displaced due to man-made conflicts
preventable diseases continue to plague us
almost half of the world live in poverty
Rapidly evolving technology can help us overcome many of these problems, but it is also a catalyst for further societal disruption. We are as yet unclear how robots and automation will play out in the workforce. Our institutions are not prepared for the massive societal changes these technologies will bring.
What is the role of design in the problem solving equation? Design has created some game-changing solutions to very specific problems, in particular, those in less developed countries. From poverty reducing water pumps to gravity powered lights, design can incrementally improve lives and undoubtedly transform our future. But what are the barriers which prevent it from reaching its full potential and how we might overcome them? How does design unlock its inherent ability and scale up to solve the world’s most pressing and complex problems?
-
Ann Longley is a digital transformation expert whose career in digital spans 20 years.
She has worked across sectors and continents modernising businesses, enriching public services, and helping save lives through the strategic and creative application of digital technology.
She has worked with the DEC and its member agencies including Oxfam, Save the Children, and the British Red Cross planning, incubating and co-creating pioneering approaches to delivering aid to disaster affected communities.
She is a visiting lecturer at Greenwich University, and the founder of Something New Together, a consultancy designed to futureproof organizations by co-designing new products and services.
Putting the Human Back into the Design Equation - Kate Nightingale | Interact...Nomensa
All design is by human and for human yet rarely designed with human in mind.
In this talk consumer psychologist Kate Nightingale will look into fundamentals of what makes us human and how to apply them into every design process to truly create designs which can be used by and useful for humans.
-
Kate Nightingale is a consumer and fashion psychologist and the founder of Style Psychology Ltd.
Style Psychology Ltd is a strategy and customer experience consultancy with a twist. It is a new view on consumer business stemming from an old view on the human. Our unique formula mixes decades of scientific wisdom on human behaviour, with our team’s unrivalled experience in consumer business and creative thinking unlike any other.
Kate and her associates worked on varied projects with brands like Harvey Nichols, House of Fraser, Next and intu Trafford Centre and had recently collaborated with architectural firm on a leisure centre concept design currently being built in China, UK and Germany.
Kate is also a lecturer in consumer behaviour at London College of Fashion. She is often approached by press and has appeared on Sky News, BBC News and Chanel 4 News amongst others.
During a recent webinar Simon Norris and Peter Kay discussed how insights from the social web support the UX design from end to end. In the webinar they presented some of the key models and approaches that we use to make sense of the maelstrom of social media activity we all take part in every day, as we live, work and play.
The video of this webinar can be viewed here > https://www.youtube.com/watch?v=SEIMaYYfngQ
Other places you can find out about Nomensa:
Web: http://nomensa.com
Work: http://nomensa.com/ux-services
Blog: http://nomensa.com/blog
Careers: http://nomensa.com/ux-careers
Twitter: http://twitter.com/we_are_nomensa
LinkedIn: http://linkedin.com/company/nomensa
Facebook: http://facebook.com/Nomensa
This is the deck that our CEO Simon Norris presented at the 2017 IA Summit in Vancouver.
The deck covers:
1. What is information architecture?
2. The importance of abstraction, conceptualisation and mental representation skills.
3. IA and the digitisation of our cities.
If you would like to learn more about Nomensa and our services, visit www.nomensa.com
Talking to machines, listening to people - Gordon Plant Nomensa
World IA Day Bristol 2017
Linguistic User Interfaces like Alexa and Google Assistant look set to become widespread in homes and perhaps other environments too. What does this mean for Information Architects and User Experience professionals used to working with Graphic User Interfaces? What new skills will we need to develop to make conversational interactions both usable and pleasurable?
The Rhythms of Life: unearthing the gems of social media data - Peter KayNomensa
World IA Day Bristol 2017
In health care, the need for accurate real time information is not just a nice-to-have, it is a matter of life and death. The diagnostic tools and techniques employed by the medical profession enable them to observe and understand the condition of their patients. As our heart beats, our bodies create rhythms that reveal a great deal to a trained medical professional. The simple act of taking our pulse supports the understanding of the complex interrelated biological systems, understanding that guide decision making - decision making with far reaching implications.
But what has any of this got to do with World IA Day, and why is a Social Media Strategist interested in taking pulses?
During this talk, I will explain by sharing with you my observations of the world around us and reveal to you all the information I see and the rhythms it creates as we all go about our lives. Information that reveals our relationship with the complex digital systems we all rely on...
The invisible second nature: navigating in a world of data and information - ...Nomensa
World IA Day Bristol 2017
We are surrounded by a multitude of cues that help us navigate daily life, guiding, promoting and steering us as if by an almost invisible second nature.
In this talk, I’ll explore some of these cues and their impact on us, from navigation techniques using the stars and the ocean, through to the design of sign systems and also, the ability to command guidance from the palm of your hand. The parallels around findability, structure and scale will give you a perspective on how you might think and design like an information architect.
The Century of the City and the Digitisation of Everything - Paul WilsonNomensa
World IA Day Bristol 2017
We live in the decade of the platform economy. The 200 biggest platform companies have a combined market capitalisation of $4Trillion+ and it is changing the competitive landscape of every industry. Amazon, Facebook, AirBnB and Über are leading the charge. And this digital transformation is only just beginning.
Cities are humanity’s greatest platform. They power the greatest marketplaces on earth by providing the fabric which businesses need to thrive, by concentrating people and physical infrastructure. But cities don’t yet play an instrumental role in the digital economy.
That is changing. Leading cities are now coming to terms with how to create, curate and use data to the advantage of their citizens and businesses. Developments in digital technology and society mean the data will soon become another utility in the city. We are moving into the century of the City. Cities that understand this are adapting and applying the principles of the platform economy, and are emerging as regional or global knowledge hubs and innovation centres, attracting talent, jobs and unleashing innovation.
UX and Social Media - The Crossover Between the TwoNomensa
During Social Media week in Bristol our Social Media Strategist held a workshop that explored how social and UX research used together provides powerful insight.
Cultivating Digital Mindfulness | Simon NorrisNomensa
Simon Norris' recent presentation at AmsterdamUX.
User Experience (UX) is now established as a core discipline with the digital design process. Businesses get the value of UX... or so they say. Yet, UX still remains confusing, complex and is misunderstood. How can we determine where UX fits within the product design process? How can we cultivate product mindfulness?
In this talk Simon described how thinking more broadly and deeply about experience helps to cultivate product mindfulness.
Experience is Everything; Everything is Experience | Simon NorrisNomensa
Simon was the keynote speaker at Linkdex's SEONow CX event on 18 March.
He gave an overview of the state of customer experience in 2016, as well as introducing the channels and touchpoints which play a part in modern customer experiences.
This presentation covered how cross-channel initiatives feed into customer experiences, from physical interactions, to digital and back, and how tracking behaviour can enhance experiences.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
Dive into the innovative world of smart garages with our insightful presentation, "Exploring the Future of Smart Garages." This comprehensive guide covers the latest advancements in garage technology, including automated systems, smart security features, energy efficiency solutions, and seamless integration with smart home ecosystems. Learn how these technologies are transforming traditional garages into high-tech, efficient spaces that enhance convenience, safety, and sustainability.
Ideal for homeowners, tech enthusiasts, and industry professionals, this presentation provides valuable insights into the trends, benefits, and future developments in smart garage technology. Stay ahead of the curve with our expert analysis and practical tips on implementing smart garage solutions.
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
You could be a professional graphic designer and still make mistakes. There is always the possibility of human error. On the other hand if you’re not a designer, the chances of making some common graphic design mistakes are even higher. Because you don’t know what you don’t know. That’s where this blog comes in. To make your job easier and help you create better designs, we have put together a list of common graphic design mistakes that you need to avoid.
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
Hello everyone! I am thrilled to present my latest portfolio on LinkedIn, marking the culmination of my architectural journey thus far. Over the span of five years, I've been fortunate to acquire a wealth of knowledge under the guidance of esteemed professors and industry mentors. From rigorous academic pursuits to practical engagements, each experience has contributed to my growth and refinement as an architecture student. This portfolio not only showcases my projects but also underscores my attention to detail and to innovative architecture as a profession.
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eflected e of
t Fuji r
of Moun
exampl
e image a great natural
Th
ped
now cap
naka is
Yama
g the s
y showin ve the town.
r
symmet ising abo
nr
mountai
y m any
unded b e. Is it
e surro
eings ar try within natur
b
Human
me
enc e
g prefer
s of sym
example we have a stron
er
no wond trical objects?
e
for symm
14. t he
als within
y anim
like man re considered
Tigers,
gdom, a
imal kin
an
l.
beautifu
taring
e tiger s
eye
wing th
age sho als its amazing
im
This
ve
s. It’s
t at us re ttern of its stripe
straigh
d t he pa
olour an
c
ge.
atic ima
an enigm
ts :)
likes ca
ne who
r everyo
Fo
15. here
osmos t
to the c
ok out in ts of beauty.
e lo
When w
ny objec
reat ma
are a g
scary
ok a little
, m ay l o
t he S un
,
Our star is still beautiful.
it
here but
16. age
ing an im
th show
ice a
ther Ear
wn Mo
rvable tw
Our o
ly obse
lanet on uinox.
of our p g an Eq
rin
year, du
17. y W ay
the Milk ion’s belt
galaxy
Or
our own
To
bula and
rion Ne
owing O
sh
iful.
is beaut
m os
The cos
18. can be
e make
ings w
en the th
Ev
l.
beautifu
h t hei r
ators wit etic
refriger
sth
tro-style
have ae
s re
design
Smeg’
d simple
n
curves a
appeal.
19. ed with
t design
produc
tiful
smaller
its beau
uch
n fact,
To a m
j or
ppeal. I
of its ma
tic a
aesthe
red one
Apple’s
conside
tapulted
esign is
d
ca
rofit
and has o one t he t op p
features rsion 5) t
orld.
in the w
one (ve
iPh
panies
ting com
genera
duct!
ak a pro
or bre
an make
ics c
Aesthet
20. idered
be cons
es c an
ite is
n websit
et webs
Eve
Nomin
red as
conside
tic. The
uld be
tic
aesthe
e and co site with aesthe ch
nsiv
respo
roa
web
sign app
ple of a
e
an exam e responsive d aesthetic
Th
red an
appeal.
conside ds, we are
o be
could als . In other wor
s that
e
website
c
es for
preferen
referenc more
i ng p
develop sive and the
well
y are, as
pon
ing the
are res
lly pleas etter the user
a
aesthetic sive, the b
on
as, resp .
ce
experien
cially
commer
can be
sthetics
So, ae
l.
beneficia
21. e want
erns. W
act patt
ke abstr
li
We also nse of them.
se
to make
both
our lives
ings in
esthetic
many th
t have a
are
ed tha
There
d design
n
natural a
appeal.
22. Why are some things beautiful?
thetics?
ives aes
W hat dr
23. in the
eye but
t in the
uty is no s onto another
a
So, if be t brings u
ha
brain. T
i on.
nt quest
importa
ain?
of the br
unction
t i s t he f
W ha
24. “the acquisition of knowledge...”
Zeki
many
e can be and what
hat ther
e brain
reciate t
I app
ns for th
ion by
definitio
e definit
I find th
different
at said,
Th
ignant.
it does.
larity po
particu
ki to be
Ze
25. llege
ssor of
is Profe e University Co
ki
Simir Ze
s at t h
ut e of
aesthetic unded the Instit y,
Neuro
and fo
Berkele
f London tics in 2001 at
o
sthe
Neuroae
ia.
Californ
r t he
things fo he
other
n among isual areas of t
now
ny v
Zeki is k
ation
f the ma
ry o
specialis
discove heir functional
uch as
i n and t
ributes s
bra
sual att
ferent vi
rm.
for dif
n and f o
otio
colour, m
s in a
neurone
vering
that
le disco
l system
am p
For ex
y visua
lar
e monke when a particu
f th
part o
nd only
rticular
ld respo
wou
han a pa eceptive fields.
ather t
colour, r
in their r t a redth, was
g
ha
wavelen le, he showed t
p
tinue to
or exam uron would con
F
en it
even wh
e ne
mulus,
sensitiv
ht.
a red sti
green lig e
d to
respon
ainly by
th
inated m ecause it was
lum
was il
ortant b r perception to
was imp
This
g colou
dy relatin gy in the brain.
first stu
physiolo
gle cell
v en
sin
maybe e
g and
interestin ause it
eally
This is r roversial bec
t hat
ox view
tle cont
a lit
ar e
orthod
ual brain fact,
ges the
the vis
challen
g sites in ptual sites but in
in
process om perce
fr
s o be
s can al
eparate
s
sing site dea Zeki calls
t proces
tha
s. An i
tual site ess!
percep
sciousn
icro-con
M
26. ner.
RI scan
An M
(MRI),
Imaging ging
nance
tic Reso resonance ima
Magne
gnetic
nance
clear ma
nu
etic reso ical imaging
or m agn i s a m ed
NMRI),
(
alise
RT)
y to visu il.
aphy (M
radiolog
tomogr
deta
us ed i n
body in
que
techni
uclear
s of the
tructure
erty of n
s
e prop
internal
use of th MR) to image
kes
MRI ma esonance (N
RI can
body. M
tic r
ide the
m agne
toms ins images of the
fa
nuclei o e detailed
with Xe m or
ossible
creat
ar e p
ody than
hum an b
rays.
27. y of the
pograph ing
t he t o
rround
e shows
he imag al cortex and su
T
visu
primary
areas.
utput of
ypical o
is a t
nd B )
of image gittal view (A a ,
e
This typ hown in sa
s (V1
ual area
in s
the vis
the bra
e- up on
os
).
with a cl , V3A and V4V
VP
V2, V3,
e is no
hat ther
note t
isual
ortant to all specialised v
ingle
It is imp
a where d therefore no s
re
single a nnects an
k el y
o
s more li
c
and it i
circuitry
e exists
ent r
ork.
neural c
ral netw
eu
to be a n
28. ain and
ut the br
g abo
interestin ex is its 6 layer
W hat i s
cort
ally the
specific
n.
formatio
have
ture can y
al struc
ver
natomic
ea
ns. It is
The sam different functio lysis the
ly
a na
profound by anatomical
touch,
reas for ther
o tell
hard t
en the a this to o
e betwe
differenc aring. Compare
enc es
r he
he differ d
here t
s m el l o
e body w by the untraine
th
areas of ious even
mical
n be obv ing at the anato chlea.
ca
e co
look
bserver f the retina or th
o
so
structure
o cell
ed of tw
compos
ers are
y
The 6 la
types.
29. rtex is
rebral co mely
f t he c e
ecture o ellular types, na
it
The arch of a few c
d
(a) and
ompose r pyramid cells
c
al o
Pyramid star cells (b).
or
Stellate
of
iled view
a deta
a) and
e shows
he imag
id cells (
T
pyram
midal or cells (b).
Pyra
or star
has
Stellate
l Cortex
e Visua
V1 in th
ngly
Interesti
ells!
no star c
29
31. ...there are two kinds [brain concepts], inherited
and acquired. The two kinds are intimately linked
and one could not exist without the other.”
Zeki
32. inherited or acquired
The inh
erited c
onc
signals
that com epts organisin
g the
e into th
instill m
eaning
e brain
into the
so as to
sense o
m and t
f them.
hus m a
ke
The acq
ui
through red concepts a
ou
re
significa t life by the bra generated
in, and
nt
make it
change ly independen
t of the
in the in
c on
fo
they ma
ke it ea rmation reachin tinual
sier
g
recognis
e and th for us to perc the brain;
eive an
u
things a
d
nd situa s obtain knowl
edge of
tions.
A good
ex
concep ample of an in
t is
her
A perso the perception ited brain
n
or seein
or ignor with a normal
g of colo
brain ca
e the co
nnot co ur.
lour the
ntrol
y se e .
We hav
e cells i
no
that are
orientat ur Primary Vis
u
ion-sele
only res
ctive e. al Cortex
pond to
g. cells
straight
that
lines.
So hori
zon
not resp tal orientation
-selecti
ond t o a
ve
vertical
stimulu cells will
s.
Zeki’s c
onsider
this bra
fire for s
in a
pecific s
timuli to bility of cells to
building
re
blocks o
f form p present the ne
ural
erceptio
n.
Zeki als
o consi
ders it a
conscio
fo
usness
that ope rm of microcognitiv
rates be
e opera
low nor
tion.
m al
33. constancy
Zeki o
utl
the bra ines other im
in
p
and ab , namely, pe ortant functio
rceptu
stracti
on.
al cons ns of
tancy
Percep
tu
mainta al constanc
ya
in
such a visual stimu llows us to
s
li
illumin distance, vie when variab
le
at
wing a
ngle a s
brain m ion change.
nd
In othe
aintain
r word
s an o
e.g. a
s th
b je
ba
regard nana or a fa ct’s ‘constan e
les
ce
cy’
The br s of light, an will remain
in
a in is a
g
cting w le or distanc tact
reduci
ng the
e.
it
amoun h efficiency
needs
a
t of inf
to
ormati nd
recogn be rememb
on th
er
is
conditi e a face or a ed or recalle at
ons.
d
banan
a in ch to
anging
It has
be
consta en argued th
nc
at art e
x
the es y because i
sence
t allow poses this
s us to
of an o
bject.
captur
e
Consta
ncy re
pr
functio
n of th esents a prim
e visua
l brain ordial
.
34. abstraction
cy and
constan
rent to
tion.
n is diffe neural coordina
tio
n be
Abstrac erarchical
i
tation ca
h
n
requires general represe So in the
r e,
lars.
Therefo
y particu the functions of
to man
applied
nalises
r, the
t it exter
f ar
Howeve
case o
brain.
n in the
io
d with
abstract
s involve known to
rocesse rently un
actual p
ar e c ur
traction
logy.
abs
neurobio
e
cognitiv
35. “the particular is subordinated to the general, so
what is represented is applicable to many
particulars.”
s the
indicate
d how
by Zeki
ories an brain to
e quote
Th
our mem llow the
tions of
to a
limita
perates
ed for
action o ly within the ne
abstr
ient
ail.
ave effic alling every det
beh
r ec
ring and
sto
r all.
cted afte
constru
ory is re
Mem
Zeki
36. ambiguity
cy,
constan
ion and
abstract e considered a can
Like
an b
that
biguity c rain behaviour
am
ntal b
fundame different levels.
at
operate
ity.
r ambigu
ition fo
t a defin
ka
Let’s loo
37. ... a neurobiologically based definition of ambiguity is
the opposite of the dictionary definition; it is not
uncertainty, but certainty - the certainty of many,
equally plausible interpretations, each one of which is
sovereign when it occupies the conscious stage.”
Zeki
ood at
is very g
ions.
rain
erpretat
ly, the b
l
rent int
Essentia
any diffe
gm
producin
38. A classic
cube.
ecker
is the N
object
biguous
am
32 by
ed in 18 cker
iscover
. A. Ne
lusion d
visual il
rapher L ced
A
stallog
noti
wiss cry
he S
ystal he
t
cr
ls, yet,
e crysta
bserving
h of th
whilst o
the dept hanging.
in
changes
not c
ls were
ta
the crys
le of a
t examp and how
an grea
timulus
resents
It p
arying s
ly unv
ible
physical produce 3 poss
valid.
equally
s
e
our brain ns which all ar
atio
interpret
39. Lisa
he Mona
T
c.1517
by
Da V
onar do
Le
inci
ean?
r smile m
es he
What do
gs and
any thin
great m
mean a d as enigmatic.
It could
scribe
been de
has
an one
more th
ll have
tainly wi
I t c er
ation.
interpret
39
40. How can we use insights from neuroaesthetics in
design?
se fro
an we u
ights c
what ins s?
So,
sthetic
neuroae
xplore:
eas to e
r
Three a
sure;
and plea
s
- Pattern odels;
M
- Mental
- Cards.
m
41. n 3 film
Iron Ma
brain
om
image fr llian showing his
A great
Ki
g Aldrich
showin
P ot s .
Pepper
to
42. pleasure and patterns
We hav
e long k
no
system
in the p wn about the r
erceptio
ole of th
n of ple
e limbic
asure.
We cou
ld
process consider aesth
ing of th
e
e visua tic perception
V1 in th
l centre
as the
e visua
s in the
l cortex
brain su
c h as
We also
k
continu now that the b
r
al ques
t for kno ain processes
patterns
wledge
.
in its
We also
know th
a
accurat
ely we c t the more qui
ckly and
an
enjoyab
m
le it is, e represent a p
attern th ore
.g. we r
mother,
e more
ec
father o
r child m ognise the fac
e of a
ore quic
kly.
Pattern
s that a
re a
number
of interp mbiguous will
in
retation
interpre
s we ge crease the
tations
n
the mor
process
e inform erate. The mo
as well
ation w
re
as the p
e need
otential
to
uncerta
Pattern
inty we
s includ
feel.
e:
- visual
lay
pages o outs, such as
pa
ve
- eleme rall symmetry; ges, and there
nts with
fore a
in visua
e.g. a s
l l ay
pe
carouse cific feature or outs (recogniti
on of de
function
l);
tail
such as
- the flo
w or int
t he
eraction
betwee
n pages
All thes
.
e eleme
nts hav
be cons
e an ae
idered w
sthe
hen des
is not ju
igning t tic that needs
s t t he c
hem. T
t
olo
more th
he aest o
an the t ur or arrangem
het i c
otal com
ent, and
have a
bi ned e
Gestalt
lements it is also
-like eff
ect.
. A e st h
etics
43. mental models
ing
the build
pts are
in conce els?
ra
Maybe b ental mod
fm
blocks o
uired
both acq tal
sising
m en
e synthe
ld b
pts into
We cou ed brain conce
could
the link
herit
and i n
jects
anding
t em s , ob e
Underst
tter sys
models.
sur
esign be
e c an as
to d
cause w
help us
ence be he design
er i
and exp
ent of t
m ent al
r alignm
just our
greate
ct not
d by
s to refle y are constructe
propertie how the
but
models
.
the brain
44. design patterns: cards
Anothe
rd
in the d esign pattern
tha
i gi
present tal world is the t is emerging
and con
u
trol the se of cards to
informa
flow of
tion.
All the
ma
cards a jor digital play
nd I be
lieve on ers are adopti
using c
ng
e
ards is
that the of the benefits
friendly
y em
of
th
models inking. We ha brace futurev e m en
fo
tal
cards c r using cards.
an natu
This me
ra
ans
design
and the lly support res
ponsive
fashion
aesthet
able fla
i c.
t design
Cards a
re not n
ew and
present
ha
informa
tion ove ve used to
time e.g
r
. Top T
rumps. along period o
f
Let’s lo
ok at tw
o twitte
cards.
r examp
les of
45. itter
ion of tw
ad vers
e and iP y option.
on
The iPh e discover
th
showing
ion is
nformat
w the i
ry well
n see ho d and works ve n
You ca
ens t ha
entalise
mpartm ith smaller scre
co
es w
rs.
on devic laptop compute
or
desktop
46. tics
roaesthe
ing Neu
gning us nding requires a t
esi
I think d d understa
ach. I
tic appro king
ts an
insigh
re holis
ader mo hous design thin or
o
much br polymorp
right
a
ctive is
requires o single perspe
-n
attitude
wrong.
47. livion
cent Ob
n the re
terface i ds!
r in
The use
s of car
have lot
movie
rface
user inte hey are the
movie
t
ollywood viously believe
H
age is
b
igners o er, whilst the im ysical
des
ph
wev
ea of big
ure. Ho
fut
k the id
iful I thin
ent the
beaut
t repres
ed on.
m ay no
re head
y we a
ny
screens
trajector s not utilise ma
ogy
oe
t
technol
terface d rtainly does no
er in
The us
use
d it ce
nses an
t how we
of our se hem to augmen
dt
combine .
ion
informat
48. micro-macro perspective
acro
micro-m
adopt a
need to
We
tive.
perspec
s that
aching u cros is te
aesthetic ortant and a mi
Neuro
tomic
g is imp
oth the a
everythin tice considers b an be
r ac
at c
macro p f the design th
r om an
nts o
design f
eleme
s , t he
as well a erspective.
,
reduced ological) p
ec
holistic (
erefore
rs and th ered.
m at t e
erything ould be consid
Ev
g sh
verythin
e
49. beauty/style/aesthetic
atever
ics - wh
esthet
ll very
, style, a
beauty
ey ar e a
So
know th
all it we
we c
t.
importan
than
ch more
ty in all
mu
eauty is e aspire to beau , to
Yet b
W
ture
architec
arance.
appe
we
s from
rounds u .well everything 't just
sur
that
cts..
W e don
n, produ
hio
eaning.
fas
ty is m
n. Beau eel it.
desig
we f
beauty,
see
the likely
thing is
l some
beautifu
re
The mo
re it!
e to sha
we ar
50. Everything has beauty, but not everyone
sees it.
thing
in every
eauty
ius.
ee the b
eed to s
f Confuc
We n
dom o
d the wis
and hee
Confucius
Hi! I’m Simon from Nomensa.
This is my presentation Neuroaesthetics: how beauty drives engagement from Linkdex Think Tank ‘The psychology of sharing’ November 2013.
I’ve added my notes to each of the slides. Any questions, please contact me @simon_norris.
Why do we share? What makes one thing engaging and another disengaging? Why do we prefer some things over others? How do our preferences work? To understand the processes that underlie preferences we need to dive into the psychology and neurobiology of beauty.
So, what is beauty? And, why is beauty so important? How does it work? What can we learn from understanding beauty?
More importantly by understanding it we can design better experiences that feel more engaging. Experiences that feel more meaningful. Experiences we want to share.
Jan Vermeer painting A girl with pearl earring c.1665
What does her look mean? It can mean many things, yet it is intriguing and therefore engaging. Obviously, great content can be highly engaging. But, how do you know you've got great content? And, great content is only half of the equation because you need to distribute it and get other people to do the same. However, great content helps a lot!
Aphrodite of Milos or the Venus de Milo, is one of the most famous works of ancient Greek sculpture and is currently on permanent display at the Louvre Museum in Paris.
We have been creating works of art for thousands of years.
David is a masterpiece of Renaissance sculpture created between 1501 and 1504, by the Italian artist Michelangelo.
Claude Monet’s Impression Sunrise c. 1872
The name of the picture contains the name of the art movement ‘impressionist’ in the title even though it was heavily criticised at the time.
Impression Sunrise in black and white.
Whilst the sun was the brightest object in the sky in the previous slide it is hardly distinguishable when the colour is removed. The sun should always be brighter than the sky if painting in a representational style. Obviously, Monet knew how to paint the sun so it would shimmer in the picture and therefore by breaking the purely representational style creates something totally new and different: the impressionist art movement.
So, Neuroaesthetics: how beauty drives engagement.
Aesthetics is a branch of philosophy concerned with art, beauty and taste and has been discussed for thousands of years since the time of Plato. It is obviously pretty important!
David Hume a British empiricist in the 18th century argued that beauty does not exist in things but the minds that contemplate them. Does the property for aesthetic preference exist in all human brains?
This presentation will provide a quick tour of the domain of Neuroaesthetics and therefore start by looking at the brain, its function and how insights from this domain can be applied to design.
But firstly, a definition...
Neuroaesthetics definition by Skov & Vartanian which focuses on art perception and experience.
It raises an interesting question…..
Does neuroaesthetics play a role in non-art objects?
We don’t just respond to art but we also respond to non-art. Let’s look at a range of non-art objects that have aesthetic appeal.
Guggenheim Museum in Bilbao designed by architect Frank Gehry and opened in 1997.
The curves and unusual geometry make this building interesting and aesthetically appealing.
Zaha Hadid designed the Innovation Tower for the Hong Kong Polytechnic University which was completed in 2013.
Like the Guggenheim it is unusual and aesthetically interesting.
From exteriors to the interiors of buildings.
The Amagerbro Metro Station in Copenhagen is a beautiful image showing the fabulous lighting and geometry of the space.
From the things we build to things built by nature.
The image of Mount Fuji reflected in Lake Yamanaka is a great natural example of symmetry showing the snow capped mountain rising above the town.
Human beings are surrounded by many examples of symmetry within nature. Is it no wonder we have a strong preference for symmetrical objects?
Tigers like many animals within the animal kingdom are considered beautiful.
This image showing the tiger staring straight at us reveals its amazing eye colour and the pattern of its stripes. It’s an enigmatic image.
For everyone who likes cats :)
When we look out into the cosmos there are a great many objects of beauty.
Our star the Sun may look a little scary here but it is still beautiful.
Our own Mother Earth showing an image of our planet only observable twice a year, during an Equinox.
To our own galaxy the Milky Way showing Orion Nebula and Orion’s belt
The cosmos is beautiful.
Even the things we make can be beautiful.
Smeg’s retro-style refrigerators with their curves and simple design have aesthetic appeal.
To a much smaller product designed with aesthetic appeal. In fact, its beautiful design is considered one of its major features and has catapulted Apple’s iPhone (version 5) to one the top profit generating company’s in the world.
Aesthetics can make or break a product!
Even websites can be considered aesthetic. The Nominet website is responsive and could be considered as an example of a website with aesthetic appeal. The responsive design approach could also be considered an aesthetic preference. In other words, we are developing preferences for websites that are responsive and the more aesthetically pleasing they are, as well as, responsive, the better the user experience.
So, aesthetics can be commercially beneficial.
We also like abstract patterns. We want to make sense of them.
There are many things in our lives both natural and designed that have aesthetic appeal.
What drives aesthetics?
So, if beauty is not in the eye but in the brain. That brings us onto another important question.
What is the function of the brain?
I appreciate that there can be many different definitions for the brain and what it does. That said, I find the definition by Zeki to be particularity poignant.
Simir Zeki is Professor of Neuroaesthetics at the University College of London and founded the Institute of Neuroaesthetics in 2001 at Berkeley, California.
Zeki is known among other things for the discovery of the many visual areas of the brain and their functional specialisation for different visual attributes such as colour, motion and form.
For example discovering neurones in a part of the monkey visual system that would respond only when a particular colour, rather than a particular wavelength, was in their receptive fields. For example, he showed that a red-sensitive neuron would continue to respond to a red stimulus, even when it was illuminated mainly by green light. This was important because it was the first study relating colour perception to single cell physiology in the brain.
This is really interesting and maybe even a little controversial because it challenges the orthodox view that processing sites in the visual brain are separate from perceptual sites but in fact, that processing sites can also be perceptual sites. An idea Zeki calls Micro-consciousness!
An MRI scanner.
Magnetic Resonance Imaging (MRI), nuclear magnetic resonance imaging (NMRI), or magnetic resonance tomography (MRT) is a medical imaging technique used in radiology to visualise internal structures of the body in detail. MRI makes use of the property of nuclear magnetic resonance (NMR) to image nuclei of atoms inside the body. MRI can create more detailed images of the human body than are possible with X-rays.
The image shows the topography of the primary visual cortex and surrounding areas.
This type of image is a typical output of the brain shown in sagittal view (A and B) with a close-up on the visual areas (V1, V2, V3, VP, V3A and V4V) .
It is important to note that there is no single area where all specialised visual circuitry connects and therefore no single neural centre exists and it is more likely to be a neural network.
What is interesting about the brain and specifically the cortex is its 6 layer formation.
The same anatomical structure can have profoundly different functions. It is very hard to tell by anatomical analysis the difference between the areas for touch, smell or hearing. Compare this to other areas of the body where the differences can be obvious even by the untrained observer looking at the anatomical structures of the retina or the cochlea.
The 6 layers are composed of two cell types.
The architecture of the cerebral cortex is composed of a few cellular types, namely Pyramidal or pyramid cells (a) and Stellate or star cells (b).
The image shows a detailed view of Pyramidal or pyramid cells (a) and Stellate or star cells (b).
Interestingly V1 in the Visual Cortex has no star cells!
I mentioned earlier the term ‘brain concept’ but what are a brain concepts?
Zeki describes “...two kinds [brain concepts], inherited and acquired. The two kinds are intimately linked and one could not exist without the other.”
The inherited concepts organising the signals that come into the brain so as to instill meaning into them and thus make sense of them.
The acquired concepts are generated throughout life by the brain, and make it significantly independent of the continual change in the information reaching the brain; they make it easier for us to perceive and recognise and thus obtain knowledge of things and situations.
A good example of an inherited brain concept is the perception or seeing of colour. A person with a normal brain cannot control or ignore the colour they see.
We have cells in our Primary Visual Cortex that are orientation-selective e.g. cells that only respond to straight lines.
So horizontal orientation-selective cells will not respond to a vertical stimulus.
Zeki’s consider this brain ability of cells to fire for specific stimuli to represent the neural building blocks of form perception.
Zeki also considers it a form of micro-consciousness that operates below normal cognitive operation.
Zeki outlines other important functions of the brain, namely, perceptual constancy and abstraction.
Perceptual constancy allows us to maintain visual stimuli when variables such as distance, viewing angle and illumination change. In other words the brain maintains an object’s ‘constancy’ e.g. a banana or a face will remain intact regardless of light, angle or distance. The brain is acting with efficiency and reducing the amount of information that needs to be remembered or recalled to recognise a face or a banana in changing conditions.
It has been argued that art exposes this constancy because it allows us to capture the essence of an object.
Constancy represents a primordial function of the visual brain.
Abstraction
Abstraction is different to constancy and requires hierarchical neural coordination. Therefore, general representation can be applied to many particulars. So in the case of art it externalises the functions of abstraction in the brain. However, the actual processes involved with abstraction are currently unknown to cognitive neurobiology.
The quote by Zeki indicates the limitations of memory and how abstraction operates to allow the brain to behave efficiently within the need for storing and recalling every detail.
Memory is reconstructed after all.
Like abstraction and constancy, ambiguity can be considered a fundamental brain behaviour that can operate at different levels.
Let’s look at a definition for ambiguity.
...a neurobiologically based definition of ambiguity is the opposite of the dictionary definition; it is not uncertainty, but certainty - the certainty of many, equally plausible interpretations, each one of which is sovereign when it occupies the conscious stage.”
Essentially, the brain is very good at producing many different interpretations.
A classic ambiguous object is the Necker cube.
A visual illusion discovered in 1832 by the Swiss crystallographer L. A. Necker whilst observing crystal he noticed changes in the depth of the crystals, yet, the crystals were not changing.
It presents an great example of a physically unvarying stimulus and how our brains produce 3 possible interpretations which all are equally valid.
The Mona Lisa by Leonardo Da Vinci c.1517
What does her smile mean?
It could mean a great many things and has been described as enigmatic.
It certainly will have more than one interpretation.
So, what insights can we use from neuroaesthetics?
Three areas to explore:
- Patterns and pleasure;
- Mental Models;
- Cards.
A great image from Iron Man 3 film showing Aldrich Killian showing his brain to Pepper Pots.
We have long known about the role of the limbic system in the perception of pleasure.
We could consider aesthetic perception as the processing of the visual centres in the brain such as V1 in the visual cortex
We also know that the brain processes patterns in its continual quest for knowledge.
We also know that the more quickly and more accurately we can represent a pattern the more enjoyable it is, e.g. we recognise the face of a mother, father or child more quickly.
Patterns that are ambiguous will increase the number of interpretations we generate. The more interpretations the more information we need to process as well as the potential uncertainty we feel.
Patterns include:
- visual layouts, such as pages, and therefore a pages overall symmetry;
- elements within visual layouts (recognition of detail e.g. a specific feature or function such as the carousel);
- the flow or interaction between pages.
All these elements have an aesthetic that needs to be considered when designing them. The aesthetic is not just the colour or arrangement, and it is also more than the total combined elements. Aesthetics have a Gestalt-like effect.
Maybe brain concepts are the building blocks of mental models?
We could be synthesising both acquired and inherited brain concepts into mental models. Understanding the link could help us to design better systems, objects and experience because we can assure greater alignment of the design properties to reflect not just our mental models but how they are constructed by the brain.
Another design pattern that is emerging in the digital world is the use of cards to present and control the flow of information.
All the major digital players are adopting cards and I believe one of the benefits of using cards is that they embrace future-friendly thinking. We have mental models for using cards. This means cards can naturally support responsive design and the fashionable flat design aesthetic.
Cards are not new and have used to present information over along period of time e.g. Top Trumps.
Let’s look at two twitter examples of cards.
The iPhone and iPad version of twitter showing the discovery option.
You can see how the information is compartmentalised and works very well on devices with smaller screens than desktop or laptop computers.
I think designing using Neuroaesthetics insights and understanding requires a much broader more holistic approach. It requires a polymorphous design thinking attitude - no single perspective is right or wrong.
The user interfaces in the recent Oblivion movie have lot’s of cards!
Hollywood movie user interface designers obviously believe they are the future. However, whilst the image is beautiful I think the idea of big physical screens may not represent the technology trajectory we are headed on. The user interface does not utilise many of our senses and it certainly does not combined them to augment how we use information.
We need to adopt a micro-macro perspective.
Neuroaesthetics is teaching us that everything is important and a micro-macro practice considers both the atomic elements of the design that can be reduced, as well as, the design from an holistic (ecological) perspective.
Everything matters and therefore everything should be considered.
So beauty, style, aesthetics - whatever we call it we know they are all very important.
Yet beauty is much more than appearance. We aspire to beauty in all that surrounds us from architecture, to fashion, products...well everything we design. Beauty is meaning. We don't just see beauty, we feel it.
The more beautiful something is the likely we are to share it!
We need to see the beauty in everything and heed the wisdom of Confucius.