Leonardo's Hudl Accessories: Human Needs and the New Computing Technologies Ben Shneiderman, 2002. ...

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Leonardo's Hudl Accessories: Human Needs and 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, packed with sketches, hypotheses,
and inventions, as models for a new, more humane form of computing--one that is moresociable and
creative, and universally usable. Imagining how Leonardo might build a laptop computer,
Shneiderman pleads for any 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 specifics of usability research, interface guidelines,
and debates about statistical significance. Getting the long view, Shneiderman argues that the old,
bad computing paradigm tended to emphasize technological progress, even though lots of confused
and frustrated users disliked the items. Too often, he says, these kinds of products had
"incomprehensible terminology, poor online assistance, and nasty failures" (p. 12).
The objective 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
when you have a hand in developing a high-tech product, he urges you to get creative.
He sees creativity at the heart from the design process--and at the peak from the pyramid of human
needs. In fact, he envisions software that can "enable a lot more people to be creative more of the
time" (p. 208). But exactly how? He sees three paths.
* One path emphasizes inspiration, the second of "Aha! " that http://www.tescoplc.com/ comes after
long preparation; so Shneiderman yearns for playful software that encourages brain-storming, free
association, and alternative perspectives.

2. * An alternate way to become creative involves problem-solving; Shneiderman argues that software
can support that process in what-if scenarios insimulations and spreadsheets, and modeling
software.
* A third approach views human context as the most significant 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 brand new twist on a glossary
definition, say), Shneiderman hopes to find out software that literally brings together all 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 which our computers should help
us move easily back and forth through all of the following activities:
* Searching for information
* Visualizing to understand and learn relationships
* Consulting with peers and mentors, getting ideas and support
* Thinking up new combinations of ideas through free association
* Exploring possible scenarios through what-if and simulation tools
* Composing artifacts or performances
* Replaying and reviewing sessions to reflect
* Disseminating results to win recognition and to expand the resources offered to other people in the

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In this particular book, Shneiderman gives us interesting ideas on techniques that computing can
enable all of these activities. He expands our sense of what we should could be doing, with a find
breadth of vision that can only come from experience, and a fondness for creative thinking like
Leonardo's, though he fails to provide specific guidelines.
He stresses human needs, not technological advances. So, and then human activities--long before
instructions per second, relationships come first. True creativity gives people more control, more
options, more ways to reach out to others.
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To accomplish designs which 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 relations, then colleagues and neighbors, and finally the
greater 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. As writers,
of course, we wrestle with the variety of audiences we face, and we find it hard to define our
relationship along with them. On the other hand, from the old computing world, designers found
relationships disturbing, and uncomfortable:
Working on relationships is a new direction for many people inside the
computing field. After all, the standard notion of the individual
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computer was tied to the top degree of introversion among

4. information-processing professionals. (p. 83)
Having postulated four circles of relationship, Shneiderman summarizes the activities that users
desire to participate in:
* Collecting information (reading documents, listening to stories, exploring libraries)
* Relating (asking questions of others, engaging in meetings, joining dialogs, developing trust)
* Creating (planning, brainstorming and visualizing exploring alternatives, simulating outcomes,
coming up with a design)
* Donating (disseminating what you have come up with, through reports, training, events and
meetings mentoring)
Based on this analysis, Shneiderman suggests a grid for fostering creativity through technology. The
four stages of human activity constitute the columns, along with the four circles of relationship form
the rows. We can easily uncover human needs we might not otherwise have looked at, expanding our
original definition 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, interesting and responsive and democratic.
Grounded in actual design, his ideas are less visionary than those of Leonardo but more immediately
applicable on the job. Leonardo's accessories for hudl, then, turns out to be an inspiring metaphor
for the new computing--an image of the items we should be developing as participants in user-
centered design, and a reminder of what we ought to demand when 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 well, The best of shopping online, Fun with digital imaging, and How to
communicate technical information.