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When second wave HCI meets third wave challenges
Abstract
This paper surveys the current status of second generation HCI theory, faced with the challenges brought to HCI by the so-called third wave. In the third wave, the use context and application types are broadened, and intermixed, relative to the focus of the second wave on work. Technology spreads from the workplace to our homes and everyday lives and culture. Using these challenges the paper specifically addresses the topics of multiplicity, context, boundaries, experience and participation in order to discuss where second wave theory and conceptions can still be positioned to make a contribution as part of the maturing of our handling of the challenges brought on by the third wave.
A major obstacle in the realm of digital business is striking a balance between automation and human interaction. CRM systems, business intelligence, and machine learning (ML) are some digital tools that can help scale marketing operations. However, they can also result in bad service and impersonal, misdirected communications. It's not at all an abstract issue. Companies that over-automate procedures and depend too much on technology run the danger of failing. Customers' most valuable experience—feeling valued and respected—virtually vanishes. It should come as no surprise that the accumulation of negative experiences—from pointless emails to being unable to get in touch with someone when needed—erodes consumer loyalty, drives away clients, and destroys revenue. How might an automated system help an organization keep its human touch? In what ways may technology be utilized to make a positive impact on customers? Even though it would be easy to see these two ideas as antagonistic, they work well together.
In highly developed countries where smartphones are both accessible and expected, why are some individuals still choosing to use dumbphones? Dumbphones, as an anachronistic (or, outdated) technology are an unusual choice when many government systems, business services, and interpersonal relationships make use of the diverse communication methods presented by smartphones. However, dumbphones are increasingly (re)adopted by individuals seeking, among other motivations, a low-distraction digital handset. We investigate the phenomenon of designer dumbphones, or newly developed dumbphones redesigned to meet the needs of dumbphone users, despite dumbphone-unfriendly current technical infrastructural. We report on the results of interviews with eight traditional dumbphone users, five designer dumbphone users, and two designer dumbphone developers. Our findings highlight both the impact of the digital disconnection movement and dumbphones as tools for mental and physical health, practicing religious devotion, and enacting political disaffiliation. Our analysis takes into account experiences of isolation during the COVID-19 pandemic, and the kinds of privilege needed to choose digital disconnection, along with the interpersonal complications that result from doing so. This work contributes to conversations around volitional technical (non)use and disputes the notion that increased communication leads to richer interpersonal interaction. As dumbphone (re)adoption begins to trend in popular media, our goal is to uncover potential sites of digital disconnection and understand how different groups of individuals might experience those sites.
In Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency, Jay David Bolter and Diane Gromala argue that, contrary to Donald Norman's famous dictum, we do not always want our computers to be invisible "information appliances." They say that a computer does not feel like a toaster or a vacuum cleaner; it feels like a medium that is now taking its place beside other media like printing, film, radio, and television. The computer as medium creates new forms and genres for artists and designers; Bolter and Gromala want to show what digital art has to offer to Web designers, education technologists, graphic artists, interface designers, HCI experts, and, for that matter, anyone interested in the cultural implications of the digital revolution.
Clerical workers in an office scheduled for the installation of an office information system were interviewed regarding the social and technical organization of their work. The interviews were designed to disclose some of the actual practices involved in accomplishing procedural tasks. An analysis of the interview responses focusses on three requirements of procedural work: (1) the application of general guidelines to the problems of particular cases, (2) the co-ordination of actions and revisions with other participants in a transaction, both within the office and outside, and (3) accomodation to the practical exigencies of handling paper documents. The conclusion suggests some broad implications of these issues of procedural work in a traditional office environment for the design of office information systems.
p>This dissertation discusses human-computer interaction, and the role of user interfaces in use and design from the point-of-view of human activity theory. Human-computer interaction conducted in purposeful human work is in focus. The main idea is that a computer application, from the user's perspective, is not something that the user operates on but something that the user operates through on other objects or subjects.
The contents of the report is the following: Danish Summary; Introduction; Human Activity and Human-Computer Interaction; User Interface Design -- the Empirical Cases; User Interfaces; Methods for User Interface Design; User Interface Design -- Advice to the Designer.</p
In Aesthetic Computing, key scholars and practitioners from art, design, computer science, and mathematics lay the foundations for a discipline that applies the theory and practice of art to computing. Aesthetic computing explores the way art and aesthetics can play a role in different areas of computer science. One of its goals is to modify computer science by the application of the wide range of definitions and categories normally associated with making art. For example, structures in computing might be represented using the style of Gaudi or the Bauhaus school. This goes beyond the usual definition of aesthetics in computing, which most often refers to the formal, abstract qualities of such structures—a beautiful proof, or an elegant diagram. The contributors to this book discuss the broader spectrum of aesthetics—from abstract qualities of symmetry and form to ideas of creative expression and pleasure—in the context of computer science. The assumption behind aesthetic computing is that the field of computing will be enriched if it embraces all of aesthetics. Human-computer interaction will benefit—"usability," for example, could refer to improving a user's emotional state—and new models of learning will emerge.
Aesthetic Computing approaches its subject from a variety of perspectives. After defining the field and placing it in its historical context, the book looks at art and design, mathematics and computing, and interface and interaction. Contributions range from essays on the art of visualization and "the poesy of programming" to discussions of the aesthetics of mathematics throughout history and transparency and reflectivity in interface design.
ContributorsJames Alty, Olav W. Bertelsen, Jay David Bolter, Donna Cox, Stephan Diehl, Mark d'Inverno, Michele Emmer, Paul Fishwick, Monica Fleischmann, Ben Fry, Carsten Görg, Susanne Grabowski, Diane Gromala, Kenneth A. Huff, John Lee, Frederic Fol Leymarie, Michael Leyton, Jonas Löwgren, Roger F. Malina, Laurent Mignonneau, Frieder Nake, Ray Paton, Jane Prophet, Aaron Quigley, Casey Reas, Christa Sommerer, Wolfgang Strauss, Noam Tractinksy, Paul Vickers, Dror Zmiri
The first book to be published on the work of their partnership (in 2001), Design Noir is the essential primary source for understanding the theoretical and conceptual underpinnings for Dunne & Raby's work.
Consisting of three elements - a 'manifesto' on the possibilities of designing with and for the 'secret life' of electronic objects; notes for an embryonic network of critical designers and, most famously, the presentation of the Placebo Project – a prototype for a critical design poetics enacted around electronic furniture-objects – Design Noir offers an in-depth exploration of one of the most seminal design projects of the last two decades, one that arguably initiated speculating through design in its contemporary forms.
By detailing the logic and character of the objects that were constructed; the involvement of users with these objects over-time, and in the creation of a new kinds of spatially and temporally distributed moments of critique and engagement with things, Design Noir presents the case-study of the Placebo projectas a far more complex and subtler project than is often thought.
As a bold and in many ways unprecedented experiment in design writing and book designing, Design Noir is itself an instance of the speculative propositional design it expounds.
This chapter examines the role of psychology and human–computer interaction (HIC) studies in system design. Human factors (HF), or ergonomics considerations, are often incorporated into the design process simply as a set of specifications to which the delivered system must adhere. The actual work of the human factors personnel is seen as operator task analyses to be fed into these specifications, and perhaps some interface retouching near the end of the development cycle, when the system design has already been fixed. In general, the role of these people has been seen as ancillary to the main task of building the system. The role of HF or HCI in system design today should be more fluid and pragmatic. Input is vital in discussing the initial capabilities of the system and its required functionality, persisting in the development and evaluation of prototypes, and in final screen layout considerations. This chapter presents an approach which, although acknowledging the contribution that different disciplines can make to the design process, ultimately depends upon the users themselves to articulate their requirements, along with the system design team composed of a variety of specialists acting in the capacity of consultants to the project.
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