We are active with our mobile devices; we play games, watch films, listen to music, check social media, and tap screens and keyboards while we are on the move. In Mood and Mobility, Richard Coyne argues that not only do we communicate, process information, and entertain ourselves through devices and social media; we also receive, modify, intensify, and transmit moods. Designers, practitioners, educators, researchers, and users should pay more attention to the moods created around our smartphones, tablets, and laptops.
Intelligence does not arise only in individual brains; it also arises in groups of individuals. This is collective intelligence: groups of individuals acting collectively in ways that seem intelligent. In recent years, a new kind of collective intelligence has emerged: interconnected groups of people and computers, collectively doing intelligent things. Today these groups are engaged in tasks that range from writing software to predicting the results of presidential elections.
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. Amid this flood, your attention practices matter more than ever. You might not be able to tune this world out. So it is worth remembering that underneath all these augmentations and data flows, fixed forms persist, and that to notice them can improve other sensibilities.
In Adversarial Design, Carl DiSalvo examines the ways that technology design can provoke and engage the political. He describes a practice, which he terms “adversarial design,” that uses the means and forms of design to challenge beliefs, values, and what is taken to be fact. It is not simply applying design to politics—attempting to improve governance for example, by redesigning ballots and polling places; it is implicitly contestational and strives to question conventional approaches to political issues.
The dominant feature of modern technology is not how productive it makes us, or how it has revolutionized the workplace, but how enjoyable it is. We take pleasure in our devices, from smartphones to personal computers to televisions. Whole classes of leisure activities rely on technology. How has technology become such an integral part of enjoyment?
We turn on the lights in our house from a desk in an office miles away. Our refrigerator alerts us to buy milk on the way home. A package of cookies on the supermarket shelf suggests that we buy it, based on past purchases. The cookies themselves are on the shelf because of a “smart” supply chain. When we get home, the thermostat has already adjusted the temperature so that it’s toasty or bracing, whichever we prefer. This is the Internet of Things—a networked world of connected devices, objects, and people.
In Taking [A]part, John McCarthy and Peter Wright consider a series of boundary-pushing research projects in human-computer interaction (HCI) in which the design of digital technology is used to inquire into participative experience. McCarthy and Wright view all of these projects—which range from the public and performative to the private and interpersonal—through the critical lens of participation.
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.
Geologists in the field climb hills and hang onto craggy outcrops; they put their fingers in sand and scratch, smell, and even taste rocks. Beginning in 2004, however, a team of geologists and other planetary scientists did field science in a dark room in Pasadena, exploring Mars from NASA’s Jet Propulsion Laboratory (JPL) by means of the remotely operated Mars Exploration Rovers (MER).
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.