Pervasive Information ArchitectureSPACE, PLACE, AND PLACE­MAKING

MALMÖ HÖGSKOLAN ­ MAR 25 2010

ANDREA RESMINI & LUCA ROSATI

   LET'S PLAYGame of the goose boardgame, 19th century

   

think of experience as play

   1ST SCENARIO

1999

   

(Mh. Copenhagen. That seems a fun place to be)

http://www.flickr.com/photos/ihateyou/2905684780/

Meet James. He wants to travel

JAMES WANTS TO TRAVEL

   http://www.flickr.com/photos/yourdon/3254328961/

(Let's hope the travel agency is open. Have to remember the hotel)

He's going for it

HE WALKS

   

http://www.flickr.com/photos/dan4th/144369022/

“Well, yes, you could buy a direct flight, but then ...”

He's going for it

HE TALKS

   

http://www.flickr.com/photos/dan4th/144369022/

“Of course we cannot provide you with a bus card now, but ...”

He's going for it

… AND TALKS

   http://www.flickr.com/photos/nagillum/3906910129/

Psst, he's here!

“Excuse me? I'm looking for the Lille Havfrue Hotel? Excuse me?”

He gets to København

HE TRAVELS

   

http://www.flickr.com/photos/sillygwailo/3320816159/

(Now, where did I put that map? Mh. And the pictures of the ...)

Then he has maps and memories

HE GETS BACK

   

touch points or obstacles?

process

whew!

...

@#%!

???A totally scientific model, 1999

user experience

THIS WAS JAMES' UX

   2ND SCENARIO

2009

   

http://todaysseniorsnetwork.com/

(Mh. Malmö. And good prices. Going there)

Meet Mario. He wants to travel

MARIO WANTS TO TRAVEL

   

(Oh come on! Damn site wouldn't let me buy a bus card?)

He's going for it

HE BROWSES

   

http://www.flickr.com/photos/nagillum/3906910129/

Psst, he's here!

“Pass me the map, will you? No, not Google, the ... Aww ...”

He gets to Malmö

HE TRAVELS

   

Image: Media Heaven Ltd

Then he has maps and memories

(Now, where did I put that map? And the pictures of ...)

HE GETS BACK

   

touch points or obstacles?

process

user experience whew!

@#%!

A totally scientific model, 2009

THIS WAS MARIO'S UX

   WASN'T THIS IT?Game of the goose boardgame again, 19th century

   … A GAME OF THE GOOSE?

choose

walk

talk

search

*click*

savebrowse

switch*click*

*click*

jacques de vaucanson, 1737

check-in

*click*

   EXPERIENCE IS NOT A GAME

a game is by definition a suboptimal but engaging way to achieve a goal: question is, do we have to play a rather tiresome game anytime we engage in complex experiences that bridge media and contexts?

   IS THIS HOW IT HAS TO BE?

   NTH SCENARIO

2019?

   

Meet Pranav. He wants to travel

Pranav Mistry, Sixth Sense demo

PRANAV WANTS TO TRAVEL

(Hey, seems like an interesting place. And it got four stars!)

   

He's going for it

Pranav Mistry, Sixth Sense demo

HE TALKS

(Let's ring the agency. And it got four stars!)

   

Bruce Branit, World Builder

HE BROWSES

He's going for it

(Now, get to check that web site and see who's around)

   

Being delayed

Pranav Mistry, Sixth Sense demo

HE TRAVELS

(Mh. Flight is delayed. Can take it easy. Buy some souvenirs)

   

Then he has maps and memories

Pranav Mistry, Sixth Sense demo

HE GETS BACK

(This one is ok. This one is not. Where are the ones at the museum?)

   THIS IS LIKE … WOW!

awesome, hu?

   A ROLE FOR IA?

but the question is:

who designs this? And how?

   THIS IS A LOT OF IA

   AND THIS IS A LOT OF IA

   AND THERE IS IA HERE TOO

   AND WHAT ABOUT HERE

   … AND HERE ...

   … AND HERE ...

   BUT WHAT'S THE POINT?

the point is

   

1“cyberspace is not a place you go to but rather a layer tightly integrated into the world around us”

CYBERSPACE IS HEREInstitute for the Future

   CYBERSPACE IS INFORMATION

and this layer or layers

is mostly information

   

2UBIQUITOUS ECOLOGIES

products are becoming services, parts of ubiquitous ecologies

   ARTIFACT TO PROCESS

we have to move

from the design of artifacts

to the design of processes

   PRODUCT TO EXPERIENCE

we have to move

from the design of products

to the design of experiences

   EXPERIENCE IS CROSS-MEDIA

we do not design interfaces

we do not design single interactions

we design cross-media experiences

   A METHODOLOGY

we design with heuristics

   HEURISTICS

place-making

consistency

resilience

reduction

correlation

   GROUNDING

place-making

consistency

resilience

reduction

correlation

   REFINING

place-making

consistency

resilience

reduction

correlation

   PLACE-MAKING

the capability to help users reduce disorientation and increase legibility and way­finding in digital, physical, and hybrid environments

   CONSISTENCY

the capability to provide and sustain internal and external, in-context, on-task coherence

   RESILIENCE

the capability of a human­information interaction model to shape and adapt itself to specific users, needs, targets, and seeking strategies

   REDUCTION

the capability to reduce the stress and frustration associated with choosing from an ever growing set of information sources, services, and goods

   CORRELATION

the capability to suggest relevant connections between pieces of information, services, users, and goods to help users achieve explicit goals or stimulate latent needs

   SPACE AND PLACE

   RHYTHM, TIME, SPACE

rhythm is the connection

between time and space

   LOST IN SPACELittle Thumb and his brothers

   LOST IN TIMECinderella

   EVERYTHING IS SPATIAL

space is the grounding concept for time

space is the grounding concept for place

   SPACE IS NOT PLACE

space and place are different

   SPACE IS NOT PLACE

space is the base experience of our embodiment

it is objective, impersonal, undifferentiated

   PLACE IS NOT SPACE

place includes, besides physical space, memories, experiences, and behavioral patterns associated with the locale

it is personal, subjective, and communitarian

   THIS IS A PLACE

   THIS IS A PLACE

   THIS IS A PLACE

   THIS IS NOT

   THE WEB IS A PLACE

social media and ubiquitous computing have escalated this sense of place and belonging on the Web

   THIS IS A PLACE

   BUT THIS IS NOT

   BEING ELSEWHERE

spatial metaphors have always been applied to the Web: navigate, up, down, to be on, to be out, go to

   MOVIES, GAMES, FINE ARTS

but the Web is not the first medium to have a necessity to develop a language for the representation of presence and embodiment

   SIMULTANEITYMasaccio, Payment of the Tribute

   SEQUENCEDuchamp, Nude descending the stairs

   SIMULTANEITY + SEQUENCEMiller, The Dark Knight

   SPACE AS A STAGELucasArts, Maniac Mansion: Day of the Tentacle

   MAPS AS THEATERLucasArts, Maniac Mansion: Day of the Tentacle

   SPACE AS CHALLENGENintendo, SuperMario

   MAPS AS CHALLENGESNintendo, SuperMario

   SPACE AS CORRELATIONSnow, map of the area surrounding the Broad Street Pump

   SPACE AS DISCOVERYUbisoft, Prince of Persia Sands of Time

   SPACE AS IMMERSIONIrrational Games, Bioshock

   IMMERSION CAN BE TRICKYUbisoft, Myst

   MOVIES

movies are intriguing: how come we do not (usually) get lost in movies?

after all, we move around a lot

   FILMING ON STAGELaurel & Hardy

   DEVELOPING A LANGUAGE ...If this is a movie, this guy is ...

   … OF MEANING… exchanging glances with John Mellencamp

   LANGUAGE CAN TRICK USDemme, Silence of the Lambs

   SPACE TIME PLACE TRICK USTarantino, Pulp Fiction

   SPACE + PLACE ARE TRICKY

@resmini d resmini

Public space and private place on Twitter

   CONCLUSIONS

the languages the fine arts, movies and videogames have developed to convey the ideas of space, place and embodiment can provide us with clues as to how to successfully enact place-making on the Web

   CONCLUSIONS

the map is the territory and it's quickly extending to your fridge, connecting it with your doctor and with the supermarket

care to design that before it designs us?

   THAT'S IT FOLKS

Andrea Resmini & Luca Rosati

Pervasive IA

http://pervasiveia.com/

Blogs

http://andrearesmini.com/ http://lucarosati.it/

Twitter

@resmini @lucarosati