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Leonardo's Accessories for Hudl: Human Needs as well as the New Computing Technologies 
Ben Shneiderman, 2002. Cambridge, MA: MIT Press, [ISBN -262-19476-7, 269 pages, including 
index, $24.95 USD.] 
Ben Shneiderman sees Leonardo da Vinci's ubiquitous notebooks, filled with sketches, hypotheses, 
and inventions, as models for a new, more humane form of computing--one that is far moresociable 
and creative, and universally usable. Imagining how Leonardo might build a hudl accessories 
computer, Shneiderman pleads for the renaissance in the manner we build and document 
technology. He paints a practical utopia. 
Building on more than a quarter century ofteaching and research, and consulting on human-computer 
interaction, this book rises above the information of usability research, interface 
guidelines, and debates about statistical significance. Taking the long view, Shneiderman argues 
that the old, bad computing paradigm tended to emphasize technological progress, even though a lot 
of confused and frustrated users disliked the items. Too often, he says, the products had 
"incomprehensible terminology, poor online assistance, and nasty failures" (p. 12). 
The goal of new computing is to serve human needs, rather than to exchange people with 
automation or robots, Shneiderman says. So if you obtain an interface confusing, speak up! He urges 
consumers to loudly upbraid the perpetrators ofunfriendly and ugly, and unusable products. But if 
you have a hand in developing a high-tech product, he urges you to get creative. 
He sees creativity at the heart of the design process--and at the peak from the pyramid of human 
needs. In fact, he envisions software that can "enable more people to be creative more of the time" 
(p. 208). But just how? He sees three paths. 
* One path emphasizes inspiration, as soon as of "Aha! " that comes after long preparation; so 
Shneiderman yearns for playful software that encourages brain-storming, free association, and 
alternative perspectives.
If scenarios insimulations and spreadsheets, and modeling software, * Another way to become 
creative involves problem-solving; Shneiderman argues that software supports that process with 
what-. 
* One third approach views human context as the main aspect of the creative process, so 
Shneiderman likes software enabling collaboration with peers, advice from mentors, and emotional 
support from friends and family. Dismissing everyday creativity (a new twist over a glossary 
definition, say), Shneiderman hopes to find out software that can bring together these three 
approaches for the purpose he calls evolutionary creativity--refining and applying existing paradigms 
or methods in new ways. 
To encourage evolutionary creativity, then, Shneiderman argues our computers should help us move 
easily to and fro check out here through every one of the following activities: 
* In search of information 
* Visualizing to understand and learn relationships 
* Talking to mentors and peers, getting ideas and support 
* Thinking up new combinations of ideas through free association 
If and simulation tool, * Exploring possible scenarios through what-s 
* Composing artifacts or performances 
* Replaying and reviewing sessions to reflect 
* Disseminating leads to win recognition and to expand the resources offered to other people within 
the field 
With this book, Shneiderman gives us interesting ideas on ways in which computing can enable 
many of these activities. He does not provide specific guidelines, but he expands our sense of what 
we could be doing, with a breadth of vision that can only come from experience, and a fondness for 
creative thinking like Leonardo's. 
He stresses human needs, not technological advances. So, and then human activities--prior to 
instructions per second, relationships come first. True creativity gives people more control, more 
options, more ways to get in touch with others.
[ 
To accomplish designs that will help people expand relationships, Shneiderman suggests that we 
envision the way that our audiences move through their circles of relationship, from the interior 
world of the self, outward to friends and family, then colleagues and neighbors, and finally the 
bigger world of fellow citizens and consumers in a global market-place. The relationships expand in 
size while shrinking within the degree of interdependence, shared knowledge, and trust. Of course, 
we wrestle with the variety of audiences we face, and we find it difficult to define our relationship 
along with them as writers. On the other hand, inside the old computing world, designers found 
relationships disturbing, and uncomfortable: 
Focusing on relationships can be a new direction for many people in the 
computing field. After all, the standard notion of the individual 
computer was tied to our prime degree of introversion among 
information-processing professionals. (p. 83) 
Having postulated four circles of relationship, Shneiderman summarizes the activities that users 
would like to participate in: 
* Collecting information (reading documents, listening to stories, exploring libraries) 
* Relating (asking questions of others, engaged in meetings, joining dialogs, developing trust) 
* Creating (planning, visualizing and brainstorming exploring alternatives, simulating outcomes, 
coming up with a design) 
* Donating (disseminating what you have come up with, through reports, meetings, events and 
training mentoring) 
Based on this analysis, Shneiderman suggests a grid for fostering creativity through technology. The 
four stages of human activity constitute the columns, as well as the four circles of relationship form 
the rows. We could uncover human needs we might not otherwise have considered, expanding our 
original concept of our work and breaking out of preconceptions, by filling in the matrix for a 
particular project. 
To show how such a method might take us beyond mere usability, Shneiderman provides case 
studies, describing how he, his students, and like-minded designers have applied some form of this 
matrix to projects, making e-learning, e-commerce, e-healthcare, and e-government more 
educational, responsive and interesting and democratic.
Grounded in actual design, his ideas are less visionary than those of Leonardo but more immediately 
applicable on-the-job. Leonardo's hudl accessories, then, ends up being an inspiring metaphor to the 
new computing--an image of the things we should be developing as participants in user-centered 
design, and a reminder of what we must demand whenever we ourselves use technology. 
JONATHAN PRICE runs The Communication Circle in Albuquerque, NM. An associate fellow of STC, 
he belongs to the American Society of Journalists and Authors. They have coauthored Hot text: Web 
writing that works, The best of shopping on the internet, Fun with digital imaging, and How to 
communicate technical information.

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buy tesco hudl

  • 1. buy tesco hudl Leonardo's Accessories for Hudl: Human Needs as well as the New Computing Technologies Ben Shneiderman, 2002. Cambridge, MA: MIT Press, [ISBN -262-19476-7, 269 pages, including index, $24.95 USD.] Ben Shneiderman sees Leonardo da Vinci's ubiquitous notebooks, filled with sketches, hypotheses, and inventions, as models for a new, more humane form of computing--one that is far moresociable and creative, and universally usable. Imagining how Leonardo might build a hudl accessories computer, Shneiderman pleads for the renaissance in the manner we build and document technology. He paints a practical utopia. Building on more than a quarter century ofteaching and research, and consulting on human-computer interaction, this book rises above the information of usability research, interface guidelines, and debates about statistical significance. Taking the long view, Shneiderman argues that the old, bad computing paradigm tended to emphasize technological progress, even though a lot of confused and frustrated users disliked the items. Too often, he says, the products had "incomprehensible terminology, poor online assistance, and nasty failures" (p. 12). The goal of new computing is to serve human needs, rather than to exchange people with automation or robots, Shneiderman says. So if you obtain an interface confusing, speak up! He urges consumers to loudly upbraid the perpetrators ofunfriendly and ugly, and unusable products. But if you have a hand in developing a high-tech product, he urges you to get creative. He sees creativity at the heart of the design process--and at the peak from the pyramid of human needs. In fact, he envisions software that can "enable more people to be creative more of the time" (p. 208). But just how? He sees three paths. * One path emphasizes inspiration, as soon as of "Aha! " that comes after long preparation; so Shneiderman yearns for playful software that encourages brain-storming, free association, and alternative perspectives.
  • 2. If scenarios insimulations and spreadsheets, and modeling software, * Another way to become creative involves problem-solving; Shneiderman argues that software supports that process with what-. * One third approach views human context as the main aspect of the creative process, so Shneiderman likes software enabling collaboration with peers, advice from mentors, and emotional support from friends and family. Dismissing everyday creativity (a new twist over a glossary definition, say), Shneiderman hopes to find out software that can bring together these three approaches for the purpose he calls evolutionary creativity--refining and applying existing paradigms or methods in new ways. To encourage evolutionary creativity, then, Shneiderman argues our computers should help us move easily to and fro check out here through every one of the following activities: * In search of information * Visualizing to understand and learn relationships * Talking to mentors and peers, getting ideas and support * Thinking up new combinations of ideas through free association If and simulation tool, * Exploring possible scenarios through what-s * Composing artifacts or performances * Replaying and reviewing sessions to reflect * Disseminating leads to win recognition and to expand the resources offered to other people within the field With this book, Shneiderman gives us interesting ideas on ways in which computing can enable many of these activities. He does not provide specific guidelines, but he expands our sense of what we could be doing, with a breadth of vision that can only come from experience, and a fondness for creative thinking like Leonardo's. He stresses human needs, not technological advances. So, and then human activities--prior to instructions per second, relationships come first. True creativity gives people more control, more options, more ways to get in touch with others.
  • 3. [ To accomplish designs that will help people expand relationships, Shneiderman suggests that we envision the way that our audiences move through their circles of relationship, from the interior world of the self, outward to friends and family, then colleagues and neighbors, and finally the bigger world of fellow citizens and consumers in a global market-place. The relationships expand in size while shrinking within the degree of interdependence, shared knowledge, and trust. Of course, we wrestle with the variety of audiences we face, and we find it difficult to define our relationship along with them as writers. On the other hand, inside the old computing world, designers found relationships disturbing, and uncomfortable: Focusing on relationships can be a new direction for many people in the computing field. After all, the standard notion of the individual computer was tied to our prime degree of introversion among information-processing professionals. (p. 83) Having postulated four circles of relationship, Shneiderman summarizes the activities that users would like to participate in: * Collecting information (reading documents, listening to stories, exploring libraries) * Relating (asking questions of others, engaged in meetings, joining dialogs, developing trust) * Creating (planning, visualizing and brainstorming exploring alternatives, simulating outcomes, coming up with a design) * Donating (disseminating what you have come up with, through reports, meetings, events and training mentoring) Based on this analysis, Shneiderman suggests a grid for fostering creativity through technology. The four stages of human activity constitute the columns, as well as the four circles of relationship form the rows. We could uncover human needs we might not otherwise have considered, expanding our original concept of our work and breaking out of preconceptions, by filling in the matrix for a particular project. To show how such a method might take us beyond mere usability, Shneiderman provides case studies, describing how he, his students, and like-minded designers have applied some form of this matrix to projects, making e-learning, e-commerce, e-healthcare, and e-government more educational, responsive and interesting and democratic.
  • 4. Grounded in actual design, his ideas are less visionary than those of Leonardo but more immediately applicable on-the-job. Leonardo's hudl accessories, then, ends up being an inspiring metaphor to the new computing--an image of the things we should be developing as participants in user-centered design, and a reminder of what we must demand whenever we ourselves use technology. JONATHAN PRICE runs The Communication Circle in Albuquerque, NM. An associate fellow of STC, he belongs to the American Society of Journalists and Authors. They have coauthored Hot text: Web writing that works, The best of shopping on the internet, Fun with digital imaging, and How to communicate technical information.