Keynote for World IA Day, answering the question "When, Where and How does Understanding occur?" Specifically, this talk discussed (1) interactions (and embodiement) (2) how new technology is changing the "information environments" we design for, and (3) a bit about perceptions and cognition.
How are stories constructed? // The things we buy, the decisions we make, how we spend our time— stories govern all these actions. But how are these stories constructed? Specifically, what have we learned about how our brains make sense of and integrate new information?
Euro IA Closing Plenary - What I'm Curious About…Stephen Anderson
What are you curious about? What do you want to know more about by this time next year?
Here's my answer to that question (c. 2012) and why I believe Curiosity is core to everything we do as a profession.
What Board Games can Teach Us about Designing ExperiencesStephen Anderson
There’s a reason so many board gamers show up UX events. The same skills that make us great information wranglers are the same things that make board games like Catan, Pandemic and yes, even Exploding Kittens so appealing! It should come as no surprise that we’ve seen prominent UX leaders cross over into board game design (Matt Leacock, Dirk Knemeyer).
If we scratch beneath the surface, there’s a set of shared skills (and struggles) common to these different professions. Specifically: the spatial arrangement of information, visual encoding of information, creating designed spaces, a systems view, playtesting / user testing, competing tensions, triggering emotional responses, and many more.
Okay, so what? Sure, it’s kind of neat that we have so much in common. But how might this change what I do at $largecompany? Here’s the honest truth: The game design profession is just a little bit farther down the road than us, and we have a lot to learn from this group if we can look past the superficial differences. We talk about designing for emotions, but let’s face it, game designers are actually winning at this. Processes? We talk about lean and agile, but game designers have mastered playtesting (and the design to playtest ratio should make us embarrassed at how little we actually iterate with users). And there’s plenty more. I’m confident that if we can look our our own profession through the lens of game design, we’ll see plenty of glaring opportunities for improvement, and a few tricks we might pick up, as well.
As interaction designers we do well at facilitating the complex dialogue between people and the interactive products they use. But we often neglect to consider the story that evolves through the interactions people have with the things we make. Designing with a narrative in mind can make a difference between a product that merely functions well and a product that engages the minds, emotions and imaginations of users.
Drawing on personal experience, narrative theory and examples ranging from interactive products to film, this presentation is a call to action for designers to equip themselves with a deeper understanding of narrative techniques. We’ll focus on core aspects such as theme, scene-making, and sequencing to illustrate how thinking like a storyteller can make you a better designer. You’ll also learn how this approach can be a powerful basis for holistic design.
Link to video: http://www.ixda.org/resources/cindy-chastain-thinking-storyteller
How are stories constructed? // The things we buy, the decisions we make, how we spend our time— stories govern all these actions. But how are these stories constructed? Specifically, what have we learned about how our brains make sense of and integrate new information?
Euro IA Closing Plenary - What I'm Curious About…Stephen Anderson
What are you curious about? What do you want to know more about by this time next year?
Here's my answer to that question (c. 2012) and why I believe Curiosity is core to everything we do as a profession.
What Board Games can Teach Us about Designing ExperiencesStephen Anderson
There’s a reason so many board gamers show up UX events. The same skills that make us great information wranglers are the same things that make board games like Catan, Pandemic and yes, even Exploding Kittens so appealing! It should come as no surprise that we’ve seen prominent UX leaders cross over into board game design (Matt Leacock, Dirk Knemeyer).
If we scratch beneath the surface, there’s a set of shared skills (and struggles) common to these different professions. Specifically: the spatial arrangement of information, visual encoding of information, creating designed spaces, a systems view, playtesting / user testing, competing tensions, triggering emotional responses, and many more.
Okay, so what? Sure, it’s kind of neat that we have so much in common. But how might this change what I do at $largecompany? Here’s the honest truth: The game design profession is just a little bit farther down the road than us, and we have a lot to learn from this group if we can look past the superficial differences. We talk about designing for emotions, but let’s face it, game designers are actually winning at this. Processes? We talk about lean and agile, but game designers have mastered playtesting (and the design to playtest ratio should make us embarrassed at how little we actually iterate with users). And there’s plenty more. I’m confident that if we can look our our own profession through the lens of game design, we’ll see plenty of glaring opportunities for improvement, and a few tricks we might pick up, as well.
As interaction designers we do well at facilitating the complex dialogue between people and the interactive products they use. But we often neglect to consider the story that evolves through the interactions people have with the things we make. Designing with a narrative in mind can make a difference between a product that merely functions well and a product that engages the minds, emotions and imaginations of users.
Drawing on personal experience, narrative theory and examples ranging from interactive products to film, this presentation is a call to action for designers to equip themselves with a deeper understanding of narrative techniques. We’ll focus on core aspects such as theme, scene-making, and sequencing to illustrate how thinking like a storyteller can make you a better designer. You’ll also learn how this approach can be a powerful basis for holistic design.
Link to video: http://www.ixda.org/resources/cindy-chastain-thinking-storyteller
Predictable Irrationality If You Build What They Ask For, They Will Not ComeJoyce Hostyn
Traditional approaches to defining and deploying enterprise software fail to account for that fact that people are influenced by their environment, emotions, shortsightedness, and other forms of irrationality. How do we get past the predictable irrationality of people to redefine the problem and create experiences that people will embrace?
This talk is about how language plays a pivotal role in creating meaningful experiences beyond interaction design. It was delivered by David Sherwin at Emily Carr University of Art and Design on March 30, 2011.
Keynote for the Third International Conference on ICT in Education - ticEDUCA2014, at the Institute of Education of the University of Lisbon, on 15 November 2014.
What's your story? Designing a holistic customer experienceJoyce Hostyn
An experience always exists and always generates an impression, but seldom by design. Silo'd approaches result in fragmented experiences and dissatisfied customers. No wonder only 8% of customers report their experience with a given company was superior.
How can we craft a cross-silo content strategy designed to deliver a superior, holistic, customer experience across all customer touchpoints and all stages of the customer lifecycle?
Conversion Hotel 2014: Stephen Anderson (US) keynoteWebanalisten .nl
Stephen Anderson, author of seductive interactions and well know persuasive design expert. Slides from his sunday keynote at Conversion Hotel 2014 #CH2014 #enjoy
Can we design organizations for beauty?Joyce Hostyn
The future is ours to imagine, design and create. And if we’re dreaming the future into being, why not dream of a future where business is beautiful. Where business delivers the promise of happiness. Where business is an incredible force for positive change in the world.
Just add points? What UX can (and cannot) learn from gamesSebastian Deterding
Can game mechanics help us to make applications and websites more fun and engaging? My presentation at the UX Camp Europe 2010 on May 29 and 30 in Berlin attempted a sobering look at what user experience designers can and cannot learn from games.
Keynote on the cognitive demand of the multimodal media object of videogames. Presented at "DigiLitEY Training School 2016", in the Institute of Education, University of Minho. 7 june 2016.
Judy Perry- MIT Scheller Teacher, Education Program LabSeriousGamesAssoc
“Informal Learning Using Augmented Reality Games”
How can augmented reality (AR) games played on smart phones extend informal educational opportunities? What challenges arise when you put digital learning experiences in typically low-tech environments? See what happened during recent pilot projects at zoos, nature centers and living history museums who used MIT STEP lab’s TaleBlazer AR platform.
Designing Structure Part II: Information ArchtectureChristina Wodtke
Part two on Designing Structure for my General Assembly class on User Experience is about Information Architecture. We cover why classification is important, types of classification and trends in IA.
Our culture has created more game players than game designers (or designers of play). Why does this distinction matter? This keynote introduces the four pillars of future play, including: open architecture, flexible tools, rule making and the 21st Century Super Powers of Play.
We all enjoy well-designed, well-crafted experiences, but all too often our development processes (Agile, Lean) and organizational cultures seem to pit deadlines and quick iterations against a thoughtful attention to details. Sacrificing quality on the altar of quick is a dangerous mistake, especially as the bar for “good enough” continues to rise in 2015.
We see an ever increasing attention to detail, specifically when it comes the careful use of animation, typography, communications with customers, and creating all-around frictionless experiences. This attention to detail isn’t limited to Apple anymore. Instead, we’re seeing this across industries—companies like Uber, Square, Virgin, and Nest are sweating the details to dominate their competition through design.
So, what does it take for a company to consistently deliver great customer experiences? And what exactly does it mean to be a “design-driven” company?
Speaker Stephen P. Anderson will share his experiences, both as a consultant and now as part of an executive team, trying to balance the needs of the business with needs of the customer. He’ll share the tools and processes he uses to reconcile “getting it done” with “getting it done right,” showing how you can create a culture that values both shipping and quality experiences. He’ll explore what craftsmanship looks like for (mostly) digital experiences, with numerous examples of companies and products that are raising the bar for UX professionals.
For all the attention given to design and UX in recent years, here’s the truth: Most companies are not set up to truly deliver an experience. Consider the rich, nuanced experiences we’ve come to expect from more mature mediums like film or game design. These experiences makes us feel, in deep and profound ways. But pulling this off requires a constant orchestration of things at the systems-level and a laser focus on incredibly fine emotional details. And speaking frankly, things like “feelings” “experiences” and “emotions” — these are intangible things. Businesses are trained to prioritize, quantify, and measure tangible things, that promise a clear payoff. We pit belief–about what will create a great customer experience— against data. Is there a reconciliation between these two mindsets?
In this session on design leadership, speaker Stephen P. Anderson will share his experiences, both as a consultant and as part of an executive team, trying to balance the needs of the business with needs of the customer. He’ll share a model — adapted from game design — that offers to balance theses kinds of “art and science” issues, promising to bring together cross-functional teams and reconcile competing interests. Taking cues from game design, this new model will give you a constructive way to think about everything from designing for emotional needs to tracking key metrics to discerning between “little e” experiences and the “Big E” experience. Walk away with a framework you can use to balance what’s right for the business with what’s right for the customer.
Predictable Irrationality If You Build What They Ask For, They Will Not ComeJoyce Hostyn
Traditional approaches to defining and deploying enterprise software fail to account for that fact that people are influenced by their environment, emotions, shortsightedness, and other forms of irrationality. How do we get past the predictable irrationality of people to redefine the problem and create experiences that people will embrace?
This talk is about how language plays a pivotal role in creating meaningful experiences beyond interaction design. It was delivered by David Sherwin at Emily Carr University of Art and Design on March 30, 2011.
Keynote for the Third International Conference on ICT in Education - ticEDUCA2014, at the Institute of Education of the University of Lisbon, on 15 November 2014.
What's your story? Designing a holistic customer experienceJoyce Hostyn
An experience always exists and always generates an impression, but seldom by design. Silo'd approaches result in fragmented experiences and dissatisfied customers. No wonder only 8% of customers report their experience with a given company was superior.
How can we craft a cross-silo content strategy designed to deliver a superior, holistic, customer experience across all customer touchpoints and all stages of the customer lifecycle?
Conversion Hotel 2014: Stephen Anderson (US) keynoteWebanalisten .nl
Stephen Anderson, author of seductive interactions and well know persuasive design expert. Slides from his sunday keynote at Conversion Hotel 2014 #CH2014 #enjoy
Can we design organizations for beauty?Joyce Hostyn
The future is ours to imagine, design and create. And if we’re dreaming the future into being, why not dream of a future where business is beautiful. Where business delivers the promise of happiness. Where business is an incredible force for positive change in the world.
Just add points? What UX can (and cannot) learn from gamesSebastian Deterding
Can game mechanics help us to make applications and websites more fun and engaging? My presentation at the UX Camp Europe 2010 on May 29 and 30 in Berlin attempted a sobering look at what user experience designers can and cannot learn from games.
Keynote on the cognitive demand of the multimodal media object of videogames. Presented at "DigiLitEY Training School 2016", in the Institute of Education, University of Minho. 7 june 2016.
Judy Perry- MIT Scheller Teacher, Education Program LabSeriousGamesAssoc
“Informal Learning Using Augmented Reality Games”
How can augmented reality (AR) games played on smart phones extend informal educational opportunities? What challenges arise when you put digital learning experiences in typically low-tech environments? See what happened during recent pilot projects at zoos, nature centers and living history museums who used MIT STEP lab’s TaleBlazer AR platform.
Designing Structure Part II: Information ArchtectureChristina Wodtke
Part two on Designing Structure for my General Assembly class on User Experience is about Information Architecture. We cover why classification is important, types of classification and trends in IA.
Our culture has created more game players than game designers (or designers of play). Why does this distinction matter? This keynote introduces the four pillars of future play, including: open architecture, flexible tools, rule making and the 21st Century Super Powers of Play.
We all enjoy well-designed, well-crafted experiences, but all too often our development processes (Agile, Lean) and organizational cultures seem to pit deadlines and quick iterations against a thoughtful attention to details. Sacrificing quality on the altar of quick is a dangerous mistake, especially as the bar for “good enough” continues to rise in 2015.
We see an ever increasing attention to detail, specifically when it comes the careful use of animation, typography, communications with customers, and creating all-around frictionless experiences. This attention to detail isn’t limited to Apple anymore. Instead, we’re seeing this across industries—companies like Uber, Square, Virgin, and Nest are sweating the details to dominate their competition through design.
So, what does it take for a company to consistently deliver great customer experiences? And what exactly does it mean to be a “design-driven” company?
Speaker Stephen P. Anderson will share his experiences, both as a consultant and now as part of an executive team, trying to balance the needs of the business with needs of the customer. He’ll share the tools and processes he uses to reconcile “getting it done” with “getting it done right,” showing how you can create a culture that values both shipping and quality experiences. He’ll explore what craftsmanship looks like for (mostly) digital experiences, with numerous examples of companies and products that are raising the bar for UX professionals.
For all the attention given to design and UX in recent years, here’s the truth: Most companies are not set up to truly deliver an experience. Consider the rich, nuanced experiences we’ve come to expect from more mature mediums like film or game design. These experiences makes us feel, in deep and profound ways. But pulling this off requires a constant orchestration of things at the systems-level and a laser focus on incredibly fine emotional details. And speaking frankly, things like “feelings” “experiences” and “emotions” — these are intangible things. Businesses are trained to prioritize, quantify, and measure tangible things, that promise a clear payoff. We pit belief–about what will create a great customer experience— against data. Is there a reconciliation between these two mindsets?
In this session on design leadership, speaker Stephen P. Anderson will share his experiences, both as a consultant and as part of an executive team, trying to balance the needs of the business with needs of the customer. He’ll share a model — adapted from game design — that offers to balance theses kinds of “art and science” issues, promising to bring together cross-functional teams and reconcile competing interests. Taking cues from game design, this new model will give you a constructive way to think about everything from designing for emotional needs to tracking key metrics to discerning between “little e” experiences and the “Big E” experience. Walk away with a framework you can use to balance what’s right for the business with what’s right for the customer.
Place in Space (AKA "How to Design A Concept Model")Stephen Anderson
“How do you create a concept model?”
It's a simple question without a simple answer. As wranglers of information, we routinely create visual artifacts to make sense of difficult subjects. Think service blueprints. Site maps. Clusters of sticky notes on walls. Venn diagrams. These are all external representations created to organize our understanding—concept models. And in team settings, these models allow us to communicate and collaborate; master these visual thinking skills and you can effectively frame the conversation. For as long as we’ve organized things into stacks (“my pile, your pile”) or into some continuum (letterforms carved into a clay tablet, sorting kids by height), we’ve used the *spatial* arrangement of things to assign meaning. Consciously or not, we're tapping into a powerful visual language to help us and others understand difficult concepts. But, what is this language we're using? And can it be taught?
In this session, speaker and author Stephen P. Anderson will share the fundamental elements behind every visual representation. Much like there’s a grammar behind the written word, there’s a grammar behind the visual display of information; once understood, you can easily create clear and concise visual representations of thought.
Best of all, this same approach extends into other kinds of external representations, such as custom data visualizations or novel interfaces. And, as we move into a connected world, where information is distributed into the physical environments around us, we can prepare now by having a fundamental vocabulary to describe this arrangement of information.
Whether on the page or screen, or in the physical space around us, understanding how to derive (and convey) meaning through the arrangement of information is and will become an essential skill for anyone designing information.
For all of the hype around “user experience” it often feels like we struggle with what it means to actually craft an experience. We build and ship products that are perfectly fine. We make things that are usable, attractive, responsive, reliable and whatever else has come to be expected. And yet, there’s something missing. Something intangible. It’s not obvious what’s missing, until we contrast our own work against other mediums more established than our own: Film. Game design. Storytelling. Advertising… These mediums know how to make us feel, in deep and profound ways. So how do we do the same? Are there processes we can change, or things we can do to create memorable and meaningful experiences? And who has reached this level of emotional engagement? In this session, Stephen P. Anderson will explore the subtle, but critical ways we can level up our work, bringing a depth and richness to the experiences we shape.
Presence, identity, and attention in social web architectureChristian Crumlish
Slides from a panel of the same name at the IA Summit 2008 in Miami Florida. Other panelists were Gene Smith, Christina Wodtke, Andrew Hinton, and Andrew Crow
It’s easy to solve the wrong problems. Good design relentlessly questions assumptions and reframes the problem to be solved. We know this, and yet, HOW to actually reframe a problem is missing from our conversations.
In this session, Stephen P. Anderson will share tips that have helped him cut through the noise of requests and requirements, to focus on the real problem(s) to be solved. Specifically, you’ll pick up ways to see a problem from different perspectives, ways to ask why, how to draw upon seemingly unrelated experiences, how to separate real from perceived constraints, and most importantly, ways to keep yourself in check, so as not to solve the wrong problem (or if you do, you do so intentionally, for a strategic purpose!).
Whether you’re designing strategies or screens, you’re sure to pick up a few new mental hacks that you’ll no doubt use on a daily basis.
The Force Behind Star Wars: Turning Design Ideas into RealityStephen Anderson
You’ve got an idea. Maybe it’s a new idea for a web application. Maybe it’s a new product idea you need to push through your organization. The question is: How do you turn an idea into reality?
To answer this question, we’ll look at the making of Star Wars. We’ll look behind the scenes at what it took to get George Lucas’s space fantasy from script to screen. From assembling the right team to navigating the Hollywood corporate studio environment to tapping into powerful universal patterns—this presentation suggests more than a dozen lessons UX designers (and developers!) can all learn from this adventure.
The Understanding Group's cofounders spoke on the following at IA Summit 2013
Are you struggling to carve out a place for information architecture in the world of acronym soup? In this talk, longtime IA Dan Klyn and his business partner Bob Royce explore the pros and cons of bucking the trend of “all encompassing UX” to focus our practice on IA.
Through stories and case studies we’ll explore:
-How the lens of IA helps us solve problems beyond UX and collaborate readily with other non-UX disciplines.
-Our experience delivering services both directly to clients and through agencies.
-How we explain IA to people outside our industry and work to justify a larger investment in IA.
-How we go beyond information retrieval and navigation to include the concepts of meaning and place-making in our work.
Since all of the above was accomplished through much trial and error, there will also be plenty of discussion about the failures we’ve encountered along the way.
I gave this talk at IA Summit in Baltimore in April 2013.
At the start of a project, not only do we not know the answers yet, we don’t even truly know which questions to ask. And yet straight away we’re asked to provide project plans and timelines, to list and describe our deliverables, and to outline the exact steps we intend to take.
So, to avoid the discomfort of not having immediate answers, we map out a methodology for ourselves and apply it to every subsequent project.
But this approach doesn’t serve our clients well. We make decisions too early, and end up solving the wrong problems. We keep going through the motions even when we realise we’re heading down the wrong path, because we don’t want to be seen as inconsistent.
This presentation shares the journey I’ve been on, from trying to shape and influence a user’s path, to creating sandbox environments in which people can play and amaze us!
______
Designers are trained to guide users toward predetermined outcomes, but is there a better use of this persuasive psychology? What happens if we focus less on influencing desired behaviors and focus more on designing ‘sandboxes’: open-ended, generative systems? And how might we go about designing these spaces? It’s still “psychology applied to design”, but in a much more challenging and rewarding way!
In this talk, I’ll share the journey I’ve been on, from trying to shape and influence a user’s path, to creating these sandbox environments. You’ll learn why systems such as Twitter, Pinterest, and Minecraft are so maddeningly addictive, and what principles we can use to create similar experiences. We’ll look at education and the work of Maria Montessori, who wrote extensively about how to create learning environments that encourage exploration and discovery. And we’ll look at game design, considering all the varieties of games, especially those carefully designed to encourage play — a marked contrast with progression games designed to move you through a series of ever-increasing challenges, each converging upon the same solution. Finally, we’ll look at web applications, and I’ll share how this thinking might influence your work, from how you respond to new feature requests to how you design for behavior change in a more mature way.
What we mean by meaning: new structural properties of information architectur...Marsha Haverty
Conference session: What we mean by meaning: new structural properties of information architecture. Presented at The Information Architecture Summit 2015, Minneapolis, Minnesota, 24 April 2015 and 25 April 2015 by Marsha Haverty
Netention is a system for interactively describing a community's present situation & exploring potential futures. People create networks of things, ideas, sentiments, intentions, assets, interests, tasks, locations, messages, parts… that compose semantic stories or processes waiting to become reality: a team, a product, a symphony, a diagnose, a learning journey... and Netention helps them discover opportunities that are mutually satisfying.
More info on http://www.automenta.com/.
This is a presentation that I gave that 2011 RISE University day at the University of Texas - a one day event held on the UT campus for undergraduate and graduate entrepreneurs and entrepreneurs-to-be.
How to Start a Compare and Contrast Essay?. A-Z Guide for Writing a Compare and Contrast Essay. 022 Compare And Contrast Essay Outline Template Printables Corners .... 014 Essay Example Compare Contrast Essays ~ Thatsnotus. compare and contrast essay | Nature | Free 30-day Trial | Scribd. Compare and contrast essay examples college vs high school - Compare .... Compare and Contrast Essay Template by Becca McCuistion | TpT. Strong Compare and Contrast Essay Examples.
The evolution and importance of visual communicationYiğit Keskin
What we see with our eyes has a profound effect on what we do, how we feel, and who we are. Through experience and experimentation, we continually increase our understanding of the visual world and the way we are influenced by it. Psychologist Albert Mehrabian states that 93% of communication is nonverbal.01 Studies show that the human brain deciphers image elements simultaneously, while language is decoded in a linear, sequential manner taking more time to process. Our minds react completely differently to visual stimuli. Visuals are processed 60,000 times faster than text...
Similar to The Architecture of Understanding (World IA Day Chicago Keynote) (20)
For all our accumulated information there's a clear absence of understanding. Are sensemaking tools the next big thing?
(Keynote give at Big Design 12: http://bigdesignevents.com/sessions/to-boldly-go-from-information-to-understanding )
What's Your Perception Strategy? (Why It's NOT All About Content)Stephen Anderson
If we focus too much on content, we ignore what we know about how our associative brain comes to makes sense new information. Think about how many people respond before reading past the first sentence of an email, or how a magazine article doesn't get the same reaction when displayed in HTML. Or consider how knowing the author of a publication influences your judgement of that content.
Picking up from the session Stephen P. Anderson gave last year on "The Stories We Construct" (a biological look at the narratives that influence behavior), this session focuses on how we come to perceive—and respond to— information. From phantom limbs to magicians fooling our senses, Stephen proposes a model that makes sense of how we truly experience information. Practical? You'll leave with a deep understanding of everything UX is about and an awareness of common practices that don't account for this knowledge.
How do you extend a product vision statement such that it remains aspirational but is specific enough to clarify intention and make difficult decisions easy? Enter "Design Tenets"
To be good user experience folks, we need to crack open some psych 101 textbooks, learn what motivates people and then bake these ideas into our designs.
What do rock bands have to do with management? Groups and organizations, just like musicians, don’t all work and behave in the same way. In this presentation, I to the music industry to describe four organizational archetypes—each with a different set of values and way of working. By understanding each of these work cultures, the culture you work in, and the work style that best fits you personally, we can make sense of the conflicts we face at work and become more effective at our job, whether we’re employees, managers or—rock stars!
We all work with information. In our web sites. Our web apps. Print communications. Graphs, and charts. But how exactly do you present information in a way that simplifies the complex, communicates powerfully, and actually delights people?
In this presentation, Travis Isaacs and I share some of our information design secrets. From travel plans to search results to quarterly earnings statements—here's a handful of information design and data visualization case studies, identifying principles that apply to just about any project.
Learn how to identify and group related information, create a visual hierarchy, draw focus to the most important content, use images appropriately, see familiar data in a fresh new way, and much more!
Leading the Rebellion: Turning Visionary Ideas into RealityStephen Anderson
(My presentation from Adaptive Path MX)
You’ve got an idea. Maybe it’s a better process that’s a bit unorthodox. Or maybe it’s a new product idea you need to push through your organization. The question is: How does that idea become reality? Between procedure, politics, and other pushbacks, implementing visionary ideas — however promising — requires a lot more than a good prototype or story.
To understand how unorthodox ideas can make it through an organization, we’ll look outside the design industry to filmmaking. Specifically, we’ll look at what it took to make the one of the most influential — and disruptive — films of all time: the original Star Wars movie. If we look behind the scenes, what did it take to get George Lucas’s space fantasy from script to screen? From assembling the right team to navigating the Hollywood corporate studio environment to tapping into powerful universal patterns, speaker Stephen P. Anderson will share six lessons that we as UX Managers — and leaders — can all learn from Lucas’ adventure.
Inspiration from The Edge: New Patterns for Interface DesignStephen Anderson
(My presentation from the IA Summit 2008)
Want a fresh perspective on UI design? Look around. Not at other web sites or desktop applications but at other interactive media. Tivo, the iPhone, the Wii software interface, the ‘Sugar’ OS for the XO Laptop… there’s a world of new UI inspiration that is already being proven out in other devices.
Visual design is more than styling. It is function. And not only because it communicates, but also because it makes us feel. And between feeling and communication, people find things easier to use.
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.
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.
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
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.
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.
Top 5 Indian Style Modular Kitchen DesignsFinzo Kitchens
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6. What is the purpose of a map?
Navigation
Orientation
Discovery
Definition
How do I get to...?
Where am I? Where
can I go from here
What is nearby?
What can I do from
here?
Where are the edges?
What are the
boundaries?
-paths and core
-iPhone navigation example
8. …or this map?
By studying the similarities and differences between human genes and those of other
organisms, researchers can discover the functions of particular genes and identify
which genes are critical for life.
11. What is the purpose of a map?
Navigation
Orientation
Discovery
Definition
How do I get to...?
Where am I? Where
can I go from here
What is nearby?
What can I do from
here?
Where are the edges?
What are the
boundaries?
-paths and core
-iPhone navigation example
12. What is the purpose of a map?
Navigation
Orientation
Discovery
Definition
Understanding
How do I get to...?
Where am I? Where
can I go from here
What is nearby?
What can I do from
here?
Where are the edges?
What are the
boundaries?
What patterns do I
see? How do things
relate? What can I
infer from this?
-paths and core
-iPhone navigation example
13. DESIGN FOR
UNDERSTANDING
Navigation
Orientation
Discovery
Definition
Understanding
How do I get to...?
Where am I? Where
can I go from here
What is nearby?
What can I do from
here?
Where are the edges?
What are the
boundaries?
What patterns do I
see? How do things
relate? What can I
infer from this?
-paths and core
-iPhone navigation example
Learning through playful,
visual interactions.
22. “The approach to teaching without
words that I’m proposing makes heavy
use of interactivity and instant
informative feedback.”
STMath
http://www.creativitypost.com/education/teaching_without_words
25. from “Toward a Deeper Understanding of the Role of Interaction in Information Visualization”
26. Name
User Intent
Select
mark something as interesting
Explore
show me something else
Reconfigure
show me a different arrangement
Encode
show me a different
representation
Abstract/Elaborate
show me more or less detail
Filter
show me something
conditionally
Connect
show me related items
from “Toward a Deeper Understanding of the Role of Interaction in Information Visualization”
28. 3 Basic Interactions:
Conversing
conveying intended actions to a VR through language
(i.e., the mouth and talking).
Manipulating
touching, grasping, or handling visually perceptible
aspectsofaVR(i.e.,thehandsandhandling)
Navigating
moving from one location or piece of information in a
VR to another (i.e., the feet and walking).
from “Interaction and the epistemic potential of digital libraries”
29. 3 Basic Interactions:
Conversing
conveying intended actions to a VR through language
(i.e., the mouth and talking).
Manipulating
touching, grasping, or handling visually perceptible
13 Task-Based Interactions:
aspectsofaVR(i.e.,thehandsandhandling)
Navigating
Animating
Composing
moving from one initiatingor piece of information in a creating a new VR by putting
location and, optionally,
VR to another (i.e., the feet and walking).
controlling motion in a VR.
together independent visual
elements.
Annotating
placing informative marks, or
Cutting
meta-information, on or around a
removing extraneous elements
VR.
from a VR.
Chunking
grouping independent, but related,
visual elements into a unified
visual structure.
Cloning
creating an identical copy of a VR,
in whole or in part.
Filtering
exposing, concealing, or
transforming elements of a VR
that possess certain characteristics
or match certain criteria.
Fragmenting
dismantling aVR into its
component parts.
Collecting
gathering visual elements for
future use.
from “Interaction and the epistemic potential of digital libraries”
Probing
acquiring more detailed
information from a VR.
Rearranging
altering the spatial position and/or
the orientation of a VR, or the
components within it.
Repicturing
displaying a VR in a new or
different way
Searching
looking for, or ascertaining the
position of, specific features,
elements or structures in a VR.
30. When, Where and How does
Understanding occur?
through interactions
directly with information
that help reveal patterns
Interactions
31. When, Where and How does
Understanding occur?
through interactions
directly with information
that help reveal patterns
Embodied Interactions
41. PRAGMATIC
(Actions performed to bring one physically closer to a goal)
VS
EPISTEMIC ACTIONS
(Actions that use the world to improve cognition)
Thinking, then doing.
Thinking through doing.
from “Interaction and the epistemic potential of digital libraries”
42. When, Where and How does
Understanding occur?
through interactions
directly with information
that help reveal patterns
Embodied Interactions
43. When, Where and How does
Understanding occur?
through interactions
Embodied Interactions
directly with information
Information Environments
that help reveal patterns
57. “The “polar bear book” as it came to be known helped a
generation of information architects and user experience
designers make sense of the Web through structure,
organization, navigation, and search. Today, much of what
we wrote remains relevant, and yet new questions arise as
the world and the Web intertwingle…
How do we rise to the new challenges of creating paths and
places that bridge physical, digital, and cognitive spaces?”
TOOLS / OBJECTS
–P E T E R M O RV I L L E
!
OTHER
PEOPLE
PHYSICAL
ENVIRONMENTS
(from the foreward to Pervasive Information Architecture)
“the structural design of information environments”
60. Line between Digital and Physical is blurring
The world is becoming our information environment
61. Line between Digital and Physical is blurring
The world is becoming our information environment
Interactions will be much richer (and complex)
62. Line between Digital and Physical is blurring
The world is becoming our information environment
Interactions will be much richer (and complex)
#EXCITING!!
66. 10 distinct sensory modalities:
1. Visual (seeing)
2. Auditory (hearing)
3. Olfactory (smelling)
4. Gustatory (tasting)
5. Vestibular (sense of balance and body movement)
Everything your brain knows, it knows
because of your body (your senses)
6. Tactile (touching)
7. Thermoreceptive (feeling temperature)
8. Proprioceptive (positioning and movement of the extremities)
9. Introceptive (body condition and organ activity)
10. Nocioceptive (feeling pain)
(from Michael Haverkamp)
76. Dan Rubin
@Dan_Rubin_NY
Enchanted objects are incredibly purpose built - and you won't
need nav or a ui #enchantobj #SXSW
“From Human-Computer Interaction
to Human-Information Interaction”
78. When, Where and How does
Understanding occur?
through interactions
Embodied Interactions
directly with information
Information Environments
that help reveal patterns
79. When, Where and How does
Understanding occur?
through interactions
Embodied Interactions
directly with information
Spatial-Visual
Information Environments
that help reveal patterns
81. When, Where and How does
Understanding occur?
through interactions
Embodied Interactions
directly with information
Spatial-Visual
Information Environments
that help reveal patterns
82. When, Where and How does
Understanding occur?
through interactions
Embodied Interactions
directly with information
Spatial-Visual
Information Environments
that help reveal patterns
Internal Representations
86. HEARING
TASTE
SMELL
TOUCH
VISION
(THE WORLD OUT THERE)
STIMULUS
(THE WORLD YOU PERCEIVE)
SENSORY ORGANS
PERCEPTUAL ORGAN
ICONIC
MEMORY
SHORT-TERM
MEMORY
BALANCE
Reality
PAIN
TIME
TEMPERATURE
AND
MORE!
Simulation
LONG-TERM
MEMORY
87. (THE WORLD YOU PERCEIVE)
(THE WORLD OUT THERE)
Reality
Simulation
101. Your brain constructs (an experience) of reality.
Perception is not a process of active
absorption but of active construction based
on prior experiences and memories.
102. Why do we know these are all the letter A?
A A A
A
A A A A
A AA A
111. “Message of Love from the Dolpins”
(Message d’Amour des Dauphins)
If you look at the vase you’ll probably agree
that it depicts a man holding and kissing a
woman from behind. What if I told you that
the image in fact depicts a number of
dolphins?
In fact it depicts both - it’s all a matter of how
your brain interprets it. Kids, who are
“inexperienced” tend to see the dolphins.
Grownups tend to see the loving couple, Some
grownups can’t even see the dolphins if they
try really hard.
It’s all about what the brain expects and
knows. If you know how to see a certain
pattern, you’re more likely to see that pattern.
112. “Message of Love from the Dolpins”
(Message d’Amour des Dauphins)
If you look at the vase you’ll probably agree
that it depicts a man holding and kissing a
woman from behind. What if I told you that
the image in fact depicts a number of
dolphins?
In fact it depicts both - it’s all a matter of how
your brain interprets it. Kids, who are
“inexperienced” tend to see the dolphins.
Grownups tend to see the loving couple, Some
grownups can’t even see the dolphins if they
try really hard.
It’s all about what the brain expects and
knows. If you know how to see a certain
pattern, you’re more likely to see that pattern.
113. Changing the label on wine
bottles changes the taste
http://www.psychologytoday.com/blog/brainstorm/200803/is-5000-prostitute-worth-the-price
114. brain scans confirmed that
people don't just think the
more expensive (but identical)
wine tasted better—it actually
really did taste better…
Changing the label on wine
bottles changes the taste
http://www.psychologytoday.com/blog/brainstorm/200803/is-5000-prostitute-worth-the-price
115.
116. “How fast was the car going when
it hit the other car?”
“How fast was the car going when
it smashed into the other car?”
117. “How fast was the car going when
it hit the other car?”
“How fast was the car going when
it smashed into the other car?”
118. When, Where and How does
Understanding occur?
through interactions
Embodied Interactions
directly with information
Spatial-Visual
Information Environments
that help reveal patterns
Internal Representations
122. MACHINES TALKING TO MACHINES
INFORMATION ENVIRONMENTS
…and that whole
“pervasive IA” thing
Wearables
Digital
Things
Digital
Environments
PEOPLE
TOOLS / OBJECTS
Connected Media /
Devices
The World “Outside”
INTERACTIONS
The World “Inside”
REPRESENTATIONS
Perception & Cognition
PHYSICAL
ENVIRONMENTS
124. We need new maps.
Maps that help us, as practictioners,
architect exciting new information systems.
125. We need new maps.
Maps that help us, as practictioners,
architect exciting new information systems.
Maps that celebrate and amplify
human ingenuity.
126. We need new maps.
Maps that help us, as practictioners,
architect exciting new information systems.
Maps that celebrate and amplify
human ingenuity.
Maps that help us to understand
what is unknown.