Here are a few college classes intended to help future tech designers keep the well-being of users in mind:
The class, which she taught at the Rhode Island School of Design and the MIT Media Lab, attempted to teach a sense of responsibility to technology inventors through science fiction, a genre in which writers have been thinking deeply about the impact of today’s technologies for decades. “It encourages people to have that long-term version that I think is missing in the world of innovation right now,” she says, “What happens when your idea scales to millions of people? What happens when people are using your product hundreds of times a day? I think the people who are developing new technologies need to be thinking about that.”
Students in Brueckner’s class built functional prototypes of technologies depicted by science fiction texts. One group created a “sensory fiction” book and wearable gadget that, in addition to adding lights and sounds to a story, constricts the body through air pressure bags, changing temperature and vibrating “to influence the heart” depending on how the narrative’s protagonist feels. Another group was inspired by a dating technology in Dave Eggers’s The Circle that uses information scraped from the Internet about a date to give suggestions about how to impress him or her. They created an interactive website about a friend using his public information to see how he would react to the idea. A third group imagined how a material that could transition from liquid to solid on command like the killing material “ice-nine” from Kurt Vonnegut’s Cat’s Cradle could be used as a prototyping tool…
Neema Moraveji, the founding director of Standford’s Calming Technology Lab and a cofounder of breath-tracking company Spire, has a different approach for teaching students to consider the human impact of what they are designing. His classes teach students to create technology that actively promotes a calm or focused state of mind, and he co-authored a paper that laid out several suggestions for technology designers, including:
- Letting users control or temporarily disable interruptions, the way that TweetDeck allows users to control from whom to receive notifications on Twitter.
- Avoiding overload through the number of features available and the way information is presented. For instance, a Twitter app that opens to the least-recent tweet, “gives users the sense that they must read through all the tweets before they are done.”
- Using a human tone or humor
- Providing positive feedback such as “Thanks for filling out the form” and “You successfully updated the application” in addition to error alerts
- Including easy ways to interact socially, such as Likes and Retweets, which allow people to interact without worrying about how they appear to others.
- Avoiding time pressure when not necessary.
- Incorporating natural elements like “soothing error tones, naturalistic animations, and desktop wallpapers taken from the natural world.”
These sound like interesting ideas that may just help designers think not just about the end goals of a product but also consider the user experience. Yet, I still wonder about the ability of tech designers to resist the pressure their employers might put on them. For example, putting these more humane options into practice could be easier when working for your own startup but would be more difficult if a big corporation is breathing down your neck to push the bottom line or end product. Think the Milgram experiment: can individual designers follow the ethical path? Perhaps some of this training also needs to happen at the executive and managerial levels so that the emphasis on protecting the user is pervasive throughout organizations.
I thoroughly enjoy maps and so was pleased to see this story about an ongoing “multidisciplinary physical and online art project” that includes a collection of maps:
Take “Places & Spaces: Mapping Science,” a multidisciplinary physical and online art project, running since 2005, that seeks to create a complete picture of “human activity and scientific progress on a global scale.” Curated by a group of librarians, information scientists, and geographers around the world, each exhibit features a handful of maps—an older word for infographic—along a theme. Previous years have exhibited maps designed to index information for policy makers, or for cartographers, or economic decision makers.
This year, the theme is the digital library.
One of the entries is a social network of the Bible. Another, “Seeing Standards,” is positively meta: It charts more than 100 widely used rule sets for collating data, and sorts them by strength, community, domain, function, and purpose…
One “Places & Spaces” map bucks the trend, imagining complexity in an entirely different way. The distinction? Ward Shelley’s “The History of Science Fiction” (full size version here) isn’t pulled from any server’s database. In fact, it’s charmingly analog.
Mr. Shelley is an artist and a teacher at Parsons the New School for Design. He has become known for what he calls “rhetorical drawings”—visual art pieces that draw on such traditionally linguistic markers as narrative and chronology to illustrate ideas.
This science fiction map is quite a work in itself in addition to the amount of information that it displays. I like how it all comes back in the tentacles on the upper left to “fear” and “wonder.” And the “Stars Wars Effect” section in the bottom right corner is fun as well.
I wonder if someone has ever done something like this for sociology. If done well, it could be great.
I recently saw Inception starring Leonardo DiCaprio and directed by Christopher Nolan. Some thoughts about this movie about dreams which has done well in theaters (according to Box Office Mojo, #6 this year in earnings):
1. I would call it a “science fiction thriller.” Compared to some science fiction films (like Minority Report), this has a much more innovative story line. Within a story line that involves different times happening at the same time, it has some typical thriller scenes including car chases and lots of shooting. It brings together some of the best of both types of movies.
2. Even though the story is confusing in the end, it was remarkably easy to keep track of the various time levels. More and more movies try to play around with the timeline and not all succeed at keeping the audience along for the ride – this one does.
3. The movie has a lot going on but doesn’t provide a lot of explanation or backstory. How did it start that people could get into other people’s dreams? How is being in someone’s mind linked to their memories? How exactly do all these levels of dreams work together? At the same time, the movie doesn’t wallow in explanations at any point – it is briskly paced and the action quickly engages you even if you have questions.
4. Two quick comments on film-making. First, everything seemed very vivid. Movies today really do draw viewers right into the action. Second, I was reminded in this movie that modern films include never-ending music. Every scene seemed to have some music in the background – this is too much.
Overall, an exciting and engaging film. I’m not sure what I’m supposed to think of the twist at the end but I can definitely say I enjoyed the experience.
(The film has been well-received by critics: it was 87% fresh, 220 fresh out of 254 reviews, at RottenTomatoes.com.)