On the eve of Google’s IPO in 2004, Larry Page and Sergey Brin vowed not to be evil. Today, a growing number of technologists would go further, trying to ensure that their work actively improves people’s lives. Technology, so pervasive and ubiquitous, has the capacity to increase stress and suffering; but it also has the less-heralded potential to improve the well-being of individuals, society, and the planet.
All design is situated—carried out from an embedded position. Design involves many participants and encompasses a range of interactions and interdependencies among designers, designs, design methods, and users. Design is also multidisciplinary, extending beyond the traditional design professions into such domains as health, culture, education, and transportation. This book presents eighteen situated design methods, offering cases and analyses of projects that range from designing interactive installations, urban spaces, and environmental systems to understanding customer experiences.
Computers were first conceived as “thinking machines,” but in the twenty-first century they have become social machines, online places where people meet friends, play games, and collaborate on projects. In this book, Judith Donath argues persuasively that for social media to become truly sociable media, we must design interfaces that reflect how we understand and respond to the social world.
Our contemporary concerns about food range from food security to agricultural sustainability to getting dinner on the table for family and friends. This book investigates food issues as they intersect with participatory Internet culture—blogs, wikis, online photo- and video-sharing platforms, and social networks—in efforts to bring about a healthy, socially inclusive, and sustainable food future.
Today designers often focus on making technology easy to use, sexy, and consumable. In Speculative Everything, Anthony Dunne and Fiona Raby propose a kind of design that is used as a tool to create not only things but ideas. For them, design is a means of speculating about how things could be—to imagine possible futures. This is not the usual sort of predicting or forecasting, spotting trends and extrapolating; these kinds of predictions have been proven wrong, again and again.
The world is filling with ever more kinds of media, in ever more contexts and formats. Glowing rectangles have become part of the scene; screens, large and small, appear everywhere. Physical locations are increasingly tagged and digitally augmented. Sensors, processors, and memory are not found only in chic smart phones but also built into everyday objects. Amid this flood, your attention practices matter more than ever. You might not be able to tune this world out.
Sound is an integral part of every user experience but a neglected medium in design disciplines. Design of an artifact’s sonic qualities is often limited to the shaping of functional, representational, and signaling roles of sound. The interdisciplinary field of sonic interaction design (SID) challenges these prevalent approaches by considering sound as an active medium that can enable novel sensory and social experiences through interactive technologies.
Interactive visualization is emerging as a vibrant new form of communication, providing compelling presentations that allow viewers to interact directly with information in order to construct their own understandings of it. Building on a long tradition of print-based information visualization, interactive visualization utilizes the technological capabilities of computers, the Internet, and computer graphics to marshal multifaceted information in the service of making a point visually.
Ubiquitous computing and our cultural life promise to become completely interwoven: technical currents feed into our screen culture of digital television, video, home computers, movies, and high-resolution advertising displays. Technology has become at once larger and smaller, mobile and ambient. In Throughout, leading writers on new media--including Jay David Bolter, Mark Hansen, N. Katherine Hayles, and Lev Manovich--take on the crucial challenges that ubiquitous and pervasive computing pose for cultural theory and criticism.
The mobile device is changing the ways we interact with each other and with the world. The mobile experience is distinct from the desktop or laptop experience; mobile apps require a significantly different design philosophy as well as design methods that reflect the unique experience of computing in the world. This book presents an approach to designing mobile media that takes advantage of the Internet-connected, context-aware, and media-sharing capabilities of mobile devices.