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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.
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.
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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.