Chapter 1 : My Vision Isn’t My Vision: Making a Career Out of Getting Back to Where I Started
The author recounts his experiences with an early music creating computing device, explaining the system’s focus on HCI. The system, a SEL 840A, was equipped with multiple unique input/output devices used by musicians to compose pieces. The system did not require extensive training, and provided an enjoyable experience to it’s users.
It is interesting to hear the perceptions the author had prior to his experience with the machine. It shows that getting a user to a machine can be quite a bit of work. In short, a system can be wonderful to interact with, but not attractive enough to ever pull a user.
Chapter 4: Drawing on SketchPad: Reflections on Computer Science and HCI
The author argues that Sutherland’s SketchPad illustrates the need for HCI to be part of the field of Computer Science. Through examples, such as the need for improved graphics, operating systems, algorithms and data structures, the author shows that HCI pushes each of these subfield farther than most other problems. The need to recognize and understand the user drives us to conquer more and more of the computer science landscape.
The author’s arguments remind me of the reasons I was first interested in Computer Science. I didn’t know what an algorithm was, didn’t have a map of the subfields, or a knowledge of how they fit together-- I simply knew user experience. I wanted to be someone who created that experience. The author uses Sutherland’s SketchPad to show how HCI is fundamental in furthering the many subfields within Computer Science.
Chapter 5: The Mouse, the Demo, and the Big Idea
The author remembers her first exposure to Engelbart’s demonstration video of the first computer mouse. She then uses this as inspiration to claim support for demo-centric research labs. She explains the dangers of the demo, but justifies it by claiming research should make ordinary people think.
Working in a robotics lab the concept of demos is not unfamiliar. I like the justification of getting people thinking that the author puts forward. However, I do find that as the author says, a successful demo produces converts-- which isn’t bad, but if left to grow can overshadow research goals.
Chapter 18: Observing Collaboration: Group-Centered Design
The author discusses the foundations of group-centered design research and the ways it has shaped the communities research directions. John Tang is cited as being highly influential and critical to the success of collaborative surface systems. He originally identified the human factors associated with people working in a shared space. Defining these factors is key to the further development of collaborative group work.
I had no idea that collaborative systems like these existed so long ago. The study of a piece of paper on a table versus pinned to a white board is genius-- and the results very helpful for HCI.
Chapter 20: Taking Articulation Work Seriously
The author recalls the importance of a paper by Schmidt and Bannon that argues cooperative work involves mutual dependence. This dependence adds a layer of articulation work into the ongoing activities. The author highlights that all work is socially situated.
This piece, while not particularly interesting, highlights an interesting fact: most work is socially situated. This makes me think of the Media Equation, and reminds me of the never-ending social aspect of computers.
Chapter 23: Video, Toys, and Beyond Being There
The author recounts Hollan’s Beyond Being There paper while citing practical examples from her own life. She carefully points out the distinction between a crutch (video chat) and a shoe (Lily toy). The author acknowledges the emotional element of technology design and sees a future dependent upon it.
This article provides practical examples of the differing roles technologies can play in our lives (either as crutches or shoes). Being in a research group focused around HRI in a rescue situation we often realize we will be the crutch rather than the shoes. This article makes me realize there is still a need for an emotionally responsive crutch.
Chapter 24: A Simulated Listening Typewriter: John Gould Plays Wizard of Oz
The author recalls the early days of speech recognition development. She pays tribute to John Gould for his innovative Wizard of Oz approach. Additionally, the paper stresses the importance of investigating the uses of a technology ahead of its creation.
I didn’t know who was responsible for the Wizard of Oz approach, I have always taken it for granted. This chapter resonates well with me, as I work in a lab which runs these types of experiments to evaluate future technology as we build it. It’s exciting to share that sentiment with others.
Chapter 25: Seeing the Hole in Space
The author explains how artists helped him to understand a portion of his own research work in a new way. Steve Harrison, working on The Media Space, had created multiple workspaces which were connected by video.The artists had created the same thing, only in public, and gauged social response to it.
I am again surprised about the early origins of this concept! I remember a few years ago seeing a similar concept between London and New York and really being excited about it. I had no idea this was something which had already been done so many years ago.
Chapter 26: Edward Tufte’s 1+1=3
The author uses Edward Tufte’s 1+1=3 argument, applying it to actual interaction design. The author uses the example of simplifying elevator buttons to show the value of the argument in interaction design.
There are times when you want to close an elevator door. Like when you are in a scary parking garage elevator and someone creepy is approaching you. I hope this author is ready to accept the potential consequences of removing the close door button in the name of some design principle.
Chapter 27: Typographic Space: A Fusion of Design and Technology
The author recalls her own studies and experiences with typography and applying effects to achieve psychological effects. A quick review of the various attributes of typography that can be manipulated over time is given.
This seems like such a natural idea that animation of text can convey meaning. I have a hard time believing it took research labs and so much deliberation to discover. Maybe I am too young, but text has always danced around on television to convey meaning.
Chapter 28: Making Sense of Sense Making
The author revisits Kidd’s paper concerning knowledge and the organization of it on digital mediums. Kidd claims that computers are used only as memory prostheses and lack support for sense making. The author dissents, with the rise of the internet proving storing memories of some importance.
I hope one day my machine can make sense of the information I give it. I believe AI will achieve something close to this. Despite Kidd’s assertions, digital memories are important, if for nothing else, the sentimental connection to a previous generation.
Chapter 34: Revisiting an Ethnocritical Approach to HCI: Verbal Privilege and Translation
The author compares the role of an HCI worker to that of ethnohistorians working with the Native Americans in early America. The author illustrates that users are often in a place of limited power compared to designers. Finally, tips are shared for being more successful in HCI work.
I think this is a brave comparison to make. I don’t see this role of the frightened user that much in our culture. As a freelancer I’ve only had direct experiences with clients, which is very open and fostering of enjoyable design.
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