The Future is a Direction, Not a Place Dick Rijken Netherlands Design Institute, Sandberg Institute, the Netherlands
(article from the July 1994 issue of ACM's SIGCHI bulletin, when author was head of the Interaction Design dept. at the Utrecht School of the Arts)
Abstract Complexity, Change and Us
Consumer electronics, telecommunications, the computing industry, the entertainment industry and the media industry are all entering the digital arena. All information will be digital; all information will be inside computers and computers will be everywhere. While technological innovation contributes to human progress, some people experience the world as a technopolis that causes feelings of alienation and aversion with regard to technological products.
People are still people and many of them are having a hard time trying to make sense of all the information around them. They are feeling bad about it. Yet, our ability to function and survive in the future depends on our ability to relate to information. Can we interact with this cybersoup in a meaningful way? Is there an alternative for the technocratic approach?
We aim at meaningful applications of information technology, but we are convinced that new paradigms for thought and practice in information technology are necessary to achieve this on a scale that matters. In order to deal with complexity and change in a positive way, these paradigms will need to emphasise inner values and quality over external values and quantity. Inner values and a sensibility for quality shift with the speed of generations, whereas external values and quantity shift with the speed of fashion.
Interaction Design as a discipline will succeed if it can drag interactivity away from technological fascination and wizardry into the realm of human experience and action. What is being designed is no longer a medium or a tool in the traditional sense, but something far more intangible, embedded in a continuously changing environment where everything is connected to everything else. Designers of interactive systems need a deep insight into the possibilities of interaction between real people and various kinds of systems.
Traditional Perspectives: Tools and Media The TOOL Perspective
This perspective is very common in the computing industry. There is much experience with logical and formal organisation of information with a strong technological and utilitarian flavour. This utilitarian nature of many computer systems fits the tool perspective well: people (are required to) use them for performing tasks.
Using tools involved processes of creation, choice and action. The user is an active agent. Interactivity is not a new phenomenon, but until this day it has proven hard to make it work. Technological considerations have traditionally had a strong influence on user interfaces, something ACM's SIGCHI community has always opposed. Fields like cognitive ergonomics emphasise the importance of taking human capabilities and limitations into account. But still, the efforts are very much embedded in the Western scientific tradition and rarely take cultural or emotional issues into account.
Users are no longer working with one tool on one computer. Many applications can be active simultaneously on different computers; computer-supported collaborative work is supported at the system software level. Increasingly, we are using computer-based tools for communication with other people; interactive systems are becoming gateways to communities and endless information spaces. Users are no longer the only initiators when working in collaborative workspaces or when their software agents prompt them for help.
The MEDIA Perspective
Traditionally, media have featured linear data structures (despite the existence of indexes and the like). The pages in a book are numbered and a movie consists of one fixed sequence of images. Interactivity allows information to be organised and accessed in a non-linear fashion. Also, the media industry is rooted in the idea of discrete products -- each issue of a magazine is a separate entity, distinct from others. Existing tools, techniques and production processes are not equipped for a future that involves networked multimedia databases that evolve more or less gradually.
Linearity involves processes of submission, acceptance and adaptation on the side of consumers. The user is relatively passive, with action restricted to appreciation and judgement of someone else's selection. Non-linear information structures result in complex multidimensional representations, where individual users determine their own `paths' through the information. This requires a new attitude that involves active selection and construction, but it also generates problems of meaning. If some unit of information can be reached via multiple paths, its interpretation may vary according to the path followed. Navigation in these semantically ambiguous spaces and the required shift in user mentality pose exciting challenges for design.
Infinite Information Spaces and Rich Experiences
Firstly, hybrids are starting to emerge. The medium television is becoming a shopping tool and multimedia is entering the workplace. Media users become active navigators, while tool users lose control when interacting or communicating with people or with software agents.
Secondly, the complexity of systems is increasing rapidly. Powerful systems allow us to create artefacts of amazing complexity. In those cases, tool users also need to inspect the artefact being manipulated (thus calling for the media perspective) and users of interactive media need powerful tools for navigation through content when that content is multidimensional and spread out over world-wide networks (thus calling for the tool perspective).
Thirdly, everything will be connected to everything else. We are moving from the simple one-user-one-device situation to computer-supported, collaborative work and the design of interfaces for entire organisations. When the environment of an interactive system includes global networking capabilities, it is no longer clear what or where the boundaries of the system are and who or what the user is interacting with. Content simply becomes infinite from a user's point of view.
Example: Levels of complexity
Computer games are sometimes seen as supreme examples of full-experience products. Appealing to physical as well as mental skills, they indeed provide interesting examples of a shift from information to experience. A player acts in some environment, engaged in immediate and intuitive loops of control and feedback. However, in many cases, what is left is entertainment in the form of intense experiences and self-centred dexterity.
Moreover, with computer games, MTV, advanced input devices, gesture-based input techniques, etc., the body has entered the arena. Experience in future information environments will be multisensory and multifaceted (physical, cognitive, emotional, motivational, spiritual). There is a danger that these experiences will become hollow -- that they will be roller coaster rides that don't go anywhere. Action and experience are two sides of the same coin and we need to understand them in a fundamental way. It is a challenge for interaction designers to create truly meaningful experiences that communicate as well as entertain.
From Users and Systems to Information Ecologies An Ecological Perspective: Ecology is the study of systems or organisms in relation to their environment. We propose an ecological perspective,, where the individual interacts with, or rather, acts inside an information ecology. Users, systems and hybrid forms are seen as active agents that define and influence each other reciprocally. They are significant components of each other's environments. They share information spaces where they communicate and co-operate.
This metaphor motivates us to focus on features like: local instead of global control, self-regulating behavioural patterns instead of rigid procedures, continuous change and evolutionary development, implicit instead of explicit order, etc.
The word "ecology" is taken from the Greek OIKOS, meaning house, the immediate human environment...
Self-regulating Behavioural Patterns Instead of Rigid Procedures Continuous Change and Evolutionary Development Implicit Instead of Explicit Order Complexity, Change and Us
The way we attempt to integrate the ecological perspective into interaction design practice is not to turn to formal cybernetic systems theory, since this tends to feel disembodied once the relationships are carefully modelled and represented in terms of control and feedback loops. This inevitably distorts the living reality. Users shape and are shaped by information ecologies. We focus on the individual experience of users, in relation to other agents (human as well as non-human), because this is where real meaning is born. Local action is local experience is local meaning.
The ecological perspective does not conflict with older ones, but broadens our view. Even if what we are designing is `just a tool', we can look at the way the tool will function in an evolving environment. If we design `just another CD ROM title', we can think about how our design concepts and interaction elements and styles may function when the information on the CD is replaced by a world-wide network. We must aim for designs that function well right now, but also carry in them an readiness for the future.
Information ecologies have qualities that cannot be understood or reduced to their individual components. Yet these qualities are real and we can recognise them if we if we use our intuitions and our personal histories. We complement the ecological perspective with a focus on the individual experience of a user. Aiming for rich user experiences in complex information ecologies, it is our goal to create a balance between knowledge and skill, between ratio and intuition in the design process of interactive systems. This is a balance between synthesis and analysis, where analysis always serves synthesis in the design process.
Human-centredness Human "The mind and the world, jointly make up the mind and the world." --Hillary Putnam
Individual experience and action are two sides of the same coin and they require examination in the richest sense possible: physically, psychologically and spiritually. Every system contains an implicit image of its intended users. The interaction designer must attempt to make this image as explicit as possible during the design process, however unknown and unfamiliar users may be in some cases.
Designers and Design Teachers
This attitude is supported by relevant knowledge and skills (from disciplines like the social sciences, art and design) that enable the designer to formulate and express views of users.
Complexity and Change: The Future is a Direction, not a Place Secondly, it stimulates us to investigate the parts only within the whole. We emphasise the use of intuition in addition to rational thought in order to understand the character of the whole in addition to the parts.
Finally, we acknowledge the impossibility of predicting what will happen and involve users in the design process as often as possible. We put extensive effort in the employment of prototypes and other user testing tools and techniques.
Complexity and change are internal, as more of our faculties get involved in complex action and experience. They are also external, as everything becomes connected to everything else, and systems connect us to people as well as to information. Sensitive, human-centred design is not an ideal. It is a necessary strategy for survival in an information society.
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url: DOORS OF PERCEPTION editor@doorsofperception.com |