1. Abstract of Lecture
How do designers of information technology understand the interaction between the users and devices? How do they design user interfaces? This question is important if we want to talk about integration of architecture and information technology. I my talk I will analyze the recent shift in information technology design. Contrary to ten years ago, today the designers no longer try to make the interfaces invisible. Instead, the interaction is treated as an event – as opposed to “non-event”, as in the previous “invisible interface” paradigm. Put differently, using personal information devices is now conceived as a carefully orchestrated experience, rather than only a means to an end. I will discuss different aspects of this new interface paradigm using the examples of OSX, LG Chocolate, and iPhone.
2. Links
Manovich home:
http://www.manovich.net/
Tallinn University lecture
http://www.tlu.ee/imke/manovich/
Original “Interaction as an Aesthetic Event” lecture:
http://www.manovich.net/DOCS/TATE_lecture.doc
(full text/work in progress; will be part of his future “Info aesthetics” book)
3. Aesthetization
In Singapore, talking to a staff member of Nokia design center Beijing, Manovich commented that interaction design no longer serves (solely) usability – it has an aesthetic value. The Nokia employee rejected this idea.
In 2000, Manovich claimed that in 2005 fashion designers would be designing user interfaces. With the Prada mobile phone, that is already happening.
What is the shift? It’s part of a larger trend – aesthetization of information tools, and even of work places.
4. Senses and Piaget
Where does the trend start? With the iMac in 1998. Involvement of different senses. Textures (touch); association with taste (candy look, “Yum!” adverts).
This follows Alan Kay’s (Xerox PARC, GUI pioneer) adoption of Jean Piaget’s theories and stages of child development – kinaesthetic (touch/taste), visual, symbolic. And Brunner’s theories that these stages coexist in the adult age. Alan Kay wanted to incoporate this into the GUI experience – with the cursor you can “touch things”. Apple tooc it further, with the OS and software / hardware integration.
LG also used this with the LG Chocolate device, and the “I chocolate you” adds (in Asia).
5. End of work / non-work distinction
The computer simulates other devices. The same machine is used for work and non-work. Now, we use the same machines and operating system.
6. The myth of invisibility
Manovich challenges the myth that “the best interface is invisible”. This myth might be relevant until mid/late 90′s. Now, the designers no longer try to hide the interface. The interaction with the interface is an important event. It involves the user in a kind of game. (examples from iPhone and Samsung mobile phone).
7. Theatralization and experience
The emergence of the iMac in 1998 and Mac OS X in 2001 were important historical moments. Before, computers were business-like and masculine. With Mac OS X, icons become photo realistic, larger and cartoony. The dock is disneyfied and teatralized. The desktop images are colorful and attractive.
Operating systems use metaphors from the business world, due to the fact that computers were originally meant for business.
Brenda Laurel published in the 1991 the book “Computers as Theatre” – a visionary account of how computer interaction could become a pleasurable enjoyment. Manovich borrows the term “theatralization” from there.
Before, things opening and closing would be as quick as possible. Now, it takes time and resources.
Example: LG Chocolate. When it’s off, it’s a monochrome “monolith”. When it’s turned on, the keys and screen light up with an animation. The phone becomes a “gesamtkunstwerk” (paraphrasing Wagner), a multimedia theatrical production.
Manovich quotes Pine and Gilmore’s “The Experience Economy: Work is Theater and Every Business a Stage” – in his opinion, the best book about consumer culture. The focus has shifted from products and services to experiences. Any interaction (in the broad sense) becomes an experience, theatrical. Something to remember, involving time, narrative, different senses – something unique and memorable.
Three stages in the development of user interfaces of computers – command-line interfaces, classical GUI of 1970s-1990s, and the new sensual and entertaining “experience” interfaces of post OS X era
Gugenheim Bilbao as exemple of experience design.
8. Modernism and Super-modernism
Manovich warned that these “slogans” are very gross generalizations and should be used with caution, but he states that the modernist “form follows function” motto could be replaced by a contemporary “form follows emotion”.
There is apparently a paradox in the current “super modernist” trend. On one hand, there is theatralization; on the other hand, in Jonathan Ive’s minimalism it seems that technology wants to disappear. But there is no paradox: technological objects disappear as such. (the struggle for “invisibility” shifts from the interface to the object) Technology as a fetich dissolves into everyday life.
Manovich quoted Hans Ibelings’s book “Supermodernism” (1998) and presented examples of “super modern aesthetics” from architecture: Jean Nouvel’s project for an art museum in Dubai; Herzog and de Meuron’s train station in Basel.
Some key concepts for super modernism:
• empty medium
• neutrality
• refusal to communicate
• create unique sensorial experiences
• simple shapes
• not simply minimalism – use of new materials and light
• translucency/transparency
• lack (or dissolution) of predifined boundaries and limits
This correlates with “experience design” – both strive for unique spatial experiences
Example in industrial design: mac mini – simple shape; absence of screws; materials; logo.
9. Management as art-studio
With the iPod, Apple presented a carefully constructed statement. Sony, Nokia, etc, bring out products that are compromises – results of negotiations and power struggles between different departments (marketing, engineering, etc). This leads to schizophrenic products.
In Apple, one person makes the design decisions, and the different players contribute to materialize that vision – like an art studio.
10. New media art and ICT companies
ICT companies are bringing and will bring new media art and experimental interface design to consumer products. Just like music videos brought the arsenal of 20th century experimental cinema and video to a mass audience. Manovich also mentions the absence of books about this area (and quotes Gene Youngblood’s “Expanded Cinema” from 1970).
11. Discussion
Following the lecture, there was an interesting discussion. Me and other students and staff from Media Lab Helsinki and Tallinn University had dinner with Manovich. I met Manovich by chance in Tallinn the following day, and had a follow-up conversation with him. Some of the ideas discussed were incorporated in the report.
Coden
Media+Code
Video Jack
