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Back to the Future: what old screens are telling us about how we create interfaces Design and Usability Awareness Campaign – SAP – July 2011/ Gustavo Fischer  UNISINOS
Topics: ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
With a [huge] help from my friends
 
Weaving timelines:  media and software history.
 
Software history
[object Object],Marshall McLuhan, 1960.  A media approach
New media calls for a new stage in media theory whose  beginnings can be traced back to the revolutionary works of Robert Innis and Marshall McLuhan of the 1950s.  To understand the logic of new media we need to turn to computer science .  (Lev Manovich, 2008) Connecting with a software perspective
 
[object Object],[object Object],A brief genealogy of the screen
[object Object]
Classical Screen Visual culture of the modern period, from painting to cinema, is characterized by an intriguing phenomenon: the existence of another virtual space, another three-dimensional world enclosed by a frame and situated inside our normal space. The frame separates two absolutely different spaces that somehow coexist. This phenomenon is what defines the screen in the most general sense, or, as I will call it, the "classical screen."
[object Object]
[object Object]
[object Object],[object Object]
[object Object],[object Object],Dynamic screen
The screen is agressive. It filters and screens out.
[object Object]
[object Object],[object Object]
Real time screen What is new about such a screen is that its image can change in real time, reflecting changes in the referent, be it the position of an object in space (radar), any alteration in visible reality (live video) or changing data in the computer's memory (computer screen). The image can be continually updated in real time. This is the third, after classic and dynamic, type of a screen — the screen of real time.
[object Object]
Interactive screen ,[object Object]
[object Object]
[object Object],Dynamic Real time Interactive
Remidiation and Interfaces
Definition ,[object Object]
Premise ,[object Object],[object Object]
Which means that... ,[object Object]
Immediacy:
Immediacy: ,[object Object],[object Object],[object Object]
 
Hipermediacy: ,[object Object]
[object Object]
Hypermediation: ,[object Object]
Hipermediation ,[object Object]
Immediacy/Hipermediacy ,[object Object]
Acts of remidiation ,[object Object],[object Object],[object Object]
 
 
 
 
 
The archeological approach: flashbacks at screens to rebuild the flow of transformations. ,[object Object],[object Object],[object Object]
 
 
 
 
 
 
 
 
 
 
 
What could we learn regarding design and usability?
If media and software timelines are weaving more and more, why can´t professionals of these  fields do the same?
Should we obey all UX rules or  media/advertising/branding guidelines?
Interfaces not only reveal ancient aesthetic languages ​​and trends, but are the result of design processes  driven by certain mental models .
Examples that may challenge  our traditional media-centered or  software-centered approaches
The Big App Show
The Big App Show
GIF is back> a vintage trend?
Media + service + design + software
References: ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Q+A & Thank you. ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

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Presentation @SAP: sofware and media, weaving timelines

  • 1. Back to the Future: what old screens are telling us about how we create interfaces Design and Usability Awareness Campaign – SAP – July 2011/ Gustavo Fischer UNISINOS
  • 2.
  • 3. With a [huge] help from my friends
  • 4.  
  • 5. Weaving timelines: media and software history.
  • 6.  
  • 8.
  • 9. New media calls for a new stage in media theory whose beginnings can be traced back to the revolutionary works of Robert Innis and Marshall McLuhan of the 1950s. To understand the logic of new media we need to turn to computer science . (Lev Manovich, 2008) Connecting with a software perspective
  • 10.  
  • 11.
  • 12.
  • 13. Classical Screen Visual culture of the modern period, from painting to cinema, is characterized by an intriguing phenomenon: the existence of another virtual space, another three-dimensional world enclosed by a frame and situated inside our normal space. The frame separates two absolutely different spaces that somehow coexist. This phenomenon is what defines the screen in the most general sense, or, as I will call it, the "classical screen."
  • 14.
  • 15.
  • 16.
  • 17.
  • 18. The screen is agressive. It filters and screens out.
  • 19.
  • 20.
  • 21. Real time screen What is new about such a screen is that its image can change in real time, reflecting changes in the referent, be it the position of an object in space (radar), any alteration in visible reality (live video) or changing data in the computer's memory (computer screen). The image can be continually updated in real time. This is the third, after classic and dynamic, type of a screen — the screen of real time.
  • 22.
  • 23.
  • 24.
  • 25.
  • 27.
  • 28.
  • 29.
  • 31.
  • 32.  
  • 33.
  • 34.
  • 35.
  • 36.
  • 37.
  • 38.
  • 39.  
  • 40.  
  • 41.  
  • 42.  
  • 43.  
  • 44.
  • 45.  
  • 46.  
  • 47.  
  • 48.  
  • 49.  
  • 50.  
  • 51.  
  • 52.  
  • 53.  
  • 54.  
  • 55.  
  • 56. What could we learn regarding design and usability?
  • 57. If media and software timelines are weaving more and more, why can´t professionals of these fields do the same?
  • 58. Should we obey all UX rules or media/advertising/branding guidelines?
  • 59. Interfaces not only reveal ancient aesthetic languages ​​and trends, but are the result of design processes  driven by certain mental models .
  • 60. Examples that may challenge our traditional media-centered or software-centered approaches
  • 61. The Big App Show
  • 62. The Big App Show
  • 63. GIF is back> a vintage trend?
  • 64. Media + service + design + software
  • 65.
  • 66.