Web 2.0, Democracia 3.0 y otros cuentos de fantasiaggranieri
My presentation @ <a href="http://www.ecuaderno.com/2006/11/05/semana-digital-en-vic-e-week-2006/" target="_blank">e-Week</a>. I designed it in spanish to support my talk in italain (but, btw, finally i talked in spanish)
Esta es una actividad realizada en el curso de computación básica modalidad virtual, la cual consistía en hacer una revista acerca de una TIC de interés, en este caso es la realidad virtual o VR por sus siglas en inglés
Digital Wellbeing Technology through a Social Semiotic Multimodal Lens: A Cas...Omar Sosa-Tzec
Presentation at the SSA 2022: The 46th Annual Conference of the Semiotic Society of America.
Abstract:
The detrimental effects caused by uncontrolled technology usage and screen time have motivated designers in academia and industry to explore solutions that promote digital well-being. This paper draws on the social semiotic approach to multimodality to examine the semiotic resources applied in designing and presenting one case study concerning such solutions—Little Signals, six artifacts commissioned by Google. An analysis was performed on the project’s website’s content, paying careful attention to an introductory video and artifact gallery. Proximity, distance, focus, and analogy appear as distinctive video storytelling choices. These convey unobtrusiveness, invisibility, ephemerality, intimacy, control, and familiarity. The resources of size, shape, material, color, and motion applied to define the artifacts’ appearance, behavior, and data presentation also help reinforce it. Besides examining the relationship between these meaning potentials, resources, and digital well-being artifacts, this paper also discusses the apparent attempt to give smart-home devices a benign character.
Delight in the User Experience: Form and PlaceOmar Sosa-Tzec
This paper elaborates on delight in UX by drawing on existing knowledge and theory on emotion and experience. The multiple formulations and discussions of delight in UX demonstrate its significance for the UX design community. However, it appears unclear what delight specifically is and how it particularly differs from pleasure, which designers use interchangeably with delight. This paper argues that pleasure and delight are distinct, and posits delight as the combination of joy with surprise or captivation, which leads the user to experience a wow! or yay! moment, respectively. The paper also posits that a designer’s intended delight—how she envisions the product causing delight—may differ from the user’s experienced delight—the wow! and yay! moments—during the UX as such delight is assimilated by the user and affects her expectations concerning the delightfulness of using interactive products. Nevertheless, this same assimilated delight encourages continuous use of such products.
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Web 2.0, Democracia 3.0 y otros cuentos de fantasiaggranieri
My presentation @ <a href="http://www.ecuaderno.com/2006/11/05/semana-digital-en-vic-e-week-2006/" target="_blank">e-Week</a>. I designed it in spanish to support my talk in italain (but, btw, finally i talked in spanish)
Esta es una actividad realizada en el curso de computación básica modalidad virtual, la cual consistía en hacer una revista acerca de una TIC de interés, en este caso es la realidad virtual o VR por sus siglas en inglés
Digital Wellbeing Technology through a Social Semiotic Multimodal Lens: A Cas...Omar Sosa-Tzec
Presentation at the SSA 2022: The 46th Annual Conference of the Semiotic Society of America.
Abstract:
The detrimental effects caused by uncontrolled technology usage and screen time have motivated designers in academia and industry to explore solutions that promote digital well-being. This paper draws on the social semiotic approach to multimodality to examine the semiotic resources applied in designing and presenting one case study concerning such solutions—Little Signals, six artifacts commissioned by Google. An analysis was performed on the project’s website’s content, paying careful attention to an introductory video and artifact gallery. Proximity, distance, focus, and analogy appear as distinctive video storytelling choices. These convey unobtrusiveness, invisibility, ephemerality, intimacy, control, and familiarity. The resources of size, shape, material, color, and motion applied to define the artifacts’ appearance, behavior, and data presentation also help reinforce it. Besides examining the relationship between these meaning potentials, resources, and digital well-being artifacts, this paper also discusses the apparent attempt to give smart-home devices a benign character.
Delight in the User Experience: Form and PlaceOmar Sosa-Tzec
This paper elaborates on delight in UX by drawing on existing knowledge and theory on emotion and experience. The multiple formulations and discussions of delight in UX demonstrate its significance for the UX design community. However, it appears unclear what delight specifically is and how it particularly differs from pleasure, which designers use interchangeably with delight. This paper argues that pleasure and delight are distinct, and posits delight as the combination of joy with surprise or captivation, which leads the user to experience a wow! or yay! moment, respectively. The paper also posits that a designer’s intended delight—how she envisions the product causing delight—may differ from the user’s experienced delight—the wow! and yay! moments—during the UX as such delight is assimilated by the user and affects her expectations concerning the delightfulness of using interactive products. Nevertheless, this same assimilated delight encourages continuous use of such products.
Delight by Motion: Investigating the Role of Animation in MicrointeractionsOmar Sosa-Tzec
This paper focuses on the role of animation in making microinteractions delightful. We first draw on customer experience literature to propose that a microinteraction is delightful when it surprises, captivates, and communicates need fulfillment. Following this notion and drawing on social semiotics, we analyze a collection of examples of microinteractions posted on dribbble.com. Observations derived from this analysis show that animation contributes to a microinteraction’s delightfulness by contextualizing, clarifying, metaphorizing, and creating a micro-narrative around its purpose, development, or outcome. A microinteraction’s animation has the power to produce “aha! moments,” in which the user notices something meaningful concerning her goals, actions, and expectations, and about the context of use. As microinteractions seriously influence the user experience, it becomes imperative to promote motion design literacy, including identifying strategies and tropes for user interface animation, among UI/UX designers.
Paper presented in MoDE 21 Motion Design Education Summit (online conference) on June 11, 2021
Critical Design Research and Constructive Research Outcomes as ArgumentsOmar Sosa-Tzec
Presentation for the workshop "Let’s Get Divorced: Constructing Knowledge Outcomes for Critical Design and Constructive Design Research” at DIS 2018, the ACM Conference on Designing Interactive Systems. Hong Kong. June 9, 2018
Creative Data and Information Visualization: Reflections on Two Pedagogical A...Omar Sosa-Tzec
Presentation of case study on teaching creative representations of data and information at the SIGDOC 2019 The ACM conference on Communication Design. October 5, 2019. Portland, OR.
Student work by BA/BFA in Art and Design, and MDes in Integrative Design at the University of Michigan, Ann Arbor.
Teaching Design, Information, and Interaction: Reflections, Foundations, and ...Omar Sosa-Tzec
Presentation as a discussant in the panel "Teaching Design in an Age of Interaction" organized by Brandon Waybright. CAA 2020 Annual Conference. February 14, 2020. Chicago, IL.
Visualizing Data Trails: Metaphors and a Symbolic Language for InterfacesOmar Sosa-Tzec
Position paper for the CHI 2020 Workshop "Speculative Designs for Emergent Personal Data Trails: Signs, Signals and Signifiers."
This paper starts by presenting four mobile interface design concepts to make personal data trails visible. Frosted screen, rainbow heatmap, hungry zombie, and data current are the labels given to these concepts. After reflecting on these concepts, the paper focuses on some elements of personal data trails, and explores a visual system of icons to indicate the user the possible use and abuse of the data they produce during the UX. The elements proposed by this paper are surveillance, commodification, data aggregation, data input, affect and arousal, preferences, and community.
Communicating design-related intellectual influence: towards visual referencesOmar Sosa-Tzec
Prototype-driven design research often involves collecting and analyzing designed artifacts in annotated portfolios and design workbooks. These collections constitute important sources of intellectual influence for researchers, yet communicating this influence presents unique challenges, such as the difficulty of translating the aesthetic, material, or interactive qualities of a designed artifact into written text. Building on discourses of visual thinking and visual imagery in science communication and HCI research, this paper introduces, and elaborates, a novel research communication design concept called "visual references," which combine bibliographic information with photographic images, textual annotations, and diagrammatic annotations in order to communicate design-related intellectual influence.
Design tensions: Interaction Criticism on Instagram’s Mobile InterfaceOmar Sosa-Tzec
User interfaces are continually evolving. Contemporary interfaces, particularly mobile interfaces, have developed their own design language as they have discarded skeuomorphs and metaphorical representations to support their design and introduced features not available before in desktop interfaces. Despite the pervasiveness of mobile interfaces, researchers have neglected the development of theory that accounts for how they still connect with or deviate from early interface design constructs. This paper adapts the notion of metaphorical tension to formulate and explore a new construct, design tension, which scopes an exercise of interaction criticism on Instagram's interface. As a result, this paper argues that design tension is useful to account for how interface components introduce features that are discordant to interface standards and best practices, things from the real world, and the user's belief system. It also suggests that both the method and construct can be applied to other communication design artifacts distinct from interfaces to produce intermediate-level knowledge.
Interacciones Encantadoras: Interfaces de Usuario desde una Perspectiva Semió...Omar Sosa-Tzec
Presentación de la charla para Contraste Colectivo (Congreso de Diseño Gráfico de la FADU AUT en México) acerca de mi investigación en interfaces encantadoras (delightful interfaces) desde una perspectiva teórica basada en semiótica y retórica.
My fascination with the visual: meaning, persuasion, and delightOmar Sosa-Tzec
Presentation for a "Wonderful Wednesday" at Stamps School of Art and Design, University of Michigan. It includes some of my visual work and and overview of my research on the application of rhetoric to human-computer interaction.
Visual Design for Interface and Experience DesignOmar Sosa-Tzec
Three key concepts that apply to UI/UX design: contrast, visual hierarchy, and connotation and denotation. Presentation slides of a talk as guest lecturer for the Fall 2015 course INFO-I 300 Human-Computer Interaction/Interaction Design at Indiana University Bloomington, School of Informatics and Computing. Instructor of record: Gopinaath Kannabiran.
Affordances, Constraints, and Feedback in User Experience DesignOmar Sosa-Tzec
Lecture slides on the connection between affordances, constraints, and feedback (audible, tactile, and visual) for the design of interfaces and interactions. Fall 2016 course INFO-I 300: Human-Computer Interaction/Interaction Design. Instructor of record: Omar Sosa-Tzec, PhD Candidate in Informatics (HCI Design). Indiana University Bloomington, School of Informatics and Computing.
User Experience Design, Navigation, and Interaction FlowsOmar Sosa-Tzec
Relation between interaction flows and the three basic questions of information architecture -- Where am I? What can I do here? Where can I go from here? Lecture slides for Fall 2016 course INFO-I 300: Human-Computer Interaction/Interaction Design at Indiana University Bloomington, School of Informatics and Computing. Instructor of record: Omar Sosa-Tzec, PhD Candidate in Informatics (HCI Design).
Introduction to Human-Computer Interaction and Interaction DesignOmar Sosa-Tzec
Introductory lecture slides for the course INFO-I 300 Human-Computer Interaction/Interaction Design at Indiana University School of Informatics and Computing. Instructor of record: Omar Sosa-Tzec, PhD Candidate in Informatics (HCI Design).
Takeaways from the course Visual Design for User ExperienceOmar Sosa-Tzec
Closing lecture slides of the summer 2016 course INFO-I 400: Special Topics in Informatics (Visual Design for UX) at Indiana University School of Informatics and Computing. Instructor of record and course developer: Omar Sosa-Tzec, PhD Candidate in Informatics (HCI Design) at Indiana University.
Introduction to Visual Design for User ExperienceOmar Sosa-Tzec
Lecture slides (teaser) for the summer 2016 class INFO-I 400: Special Topics in Informatics (Visual Design for UX) at Indiana University Bloomington, School of Informatics and Computing.
Presentation for the Indiana University's Graphic Design Club 2016 Speakers Series. A quick review of my journey to become a designer, work experiences, graphic passions, and current research at IU Bloomington (Human-Computer Interaction).
Indiana University Bloomington. April 23, 2016.
Principios de Diseño Visual para Interacción Humano-ComputadoraOmar Sosa-Tzec
Borrador del capítulo para el libro “La Interacción Humano-Computadora en México”
Referencia en formato APA:
Sosa-Tzec, O., & Siegel, M.A. (2014). Principios de Diseño Visual para IHC. Muñoz Arteaga, J., González Calleros, J.M., & Sánchez Huitrón, A. (Eds.) La Interacción Humano-Computadora en México. México: Pearson.
Advances of research on Interaction Design Rhetoric - HCI Rhetoric - UX Rhetoric.
INFO I609: Advanced Seminar I in Informatics. Indiana University Bloomington. School of Informatics and Computing. Fall 2015.
Arquitectura Ecléctica e Historicista en Latinoaméricaimariagsg
La arquitectura ecléctica e historicista en Latinoamérica tuvo un impacto significativo y dejó un legado duradero en la región. Surgida entre finales del siglo XIX y principios del XX, esta corriente arquitectónica se caracteriza por la combinación de diversos estilos históricos europeos, adaptados a los contextos locales.
Porfolio livings creados por Carlotta Designpaulacoux1
La sección de porfolio de livings de Carlotta Design es una muestra de la excelencia y la creatividad en el diseño de interiores. Cada proyecto en el porfolio refleja la visión única y el estilo distintivo de Carlotta Design, mostrando la habilidad del equipo para transformar espacios en ambientes acogedores, elegantes y funcionales. Desde salas de estar modernas y contemporáneas hasta espacios más tradicionales y clásicos, la variedad de estilos y diseños en el porfolio demuestra la versatilidad y la capacidad del equipo para adaptarse a las necesidades y gustos de cada cliente.
Las fotografías de alta calidad en el porfolio capturan la atención al detalle, los materiales de alta calidad y la combinación de texturas y colores que hacen que cada sala de estar sea única y especial. Además, la sección de porfolio de livings de Carlotta Design destaca la integración de muebles y accesorios cuidadosamente seleccionados para crear ambientes armoniosos y sofisticados.
En resumen, la sección de porfolio de livings de Carlotta Design es una ventana a la excelencia en el diseño de interiores, mostrando el talento y la dedicación del equipo para crear espacios extraordinarios que reflejan la personalidad y el estilo de cada cliente.
DIA DE LA BANDERA PERUANA EL 7 DE JUNIO DE 182062946377
Diseño del dia de la bandera. El 7 de junio se celebra en todo el Perú el Día de la Bandera, una fecha que conmemora el aniversario de la Batalla de Arica de 1880, un enfrentamiento histórico en el que las tropas peruanas se enfrentaron valientemente a las fuerzas chilenas durante la Guerra del Pacífico.
3. Un esquema puede considerarse como una
representación gráfica o simbólica de las
cosas materiales o inmateriales.
www.rae.es, 2009.
4. En palabras de Costa, el verbo visualizar se
refiere al hecho de hacer visibles y
comprensibles al ser humano aspectos y
fenómenos de la realidad que no son accesibles
al ojo, y muchos de ellos ni siquiera de naturaleza
visual y está directamente relacionado con el
proceso de transformación de los fenómenos en
información y la información en conocimiento.
La Esquemática. Joan Costa, 1998.
19. La visualización de información involucra una
actividad cognitiva y conlleva a la construcción
de modelos internos en la mente…
Según Benjamin Fry, tiene su importancia en la
capacidad de ayudar a las personas a “ver” cosas
que no han sido previamente entendidas en
forma de datos abstractos.
benfry.com
47. La explicación visual de un fenómeno como
se puede ver en los ejemplos anteriores
tiene que ver con la narrativa.
¿Qué explicas? podría equivaler a:
¿Qué estás contando sobre el fenómeno?
48. * Dentro de la narración de lo que es el fenómeno,
al igual que un cuento, existen ciertas etapas.
* Cada etapa cuenta una parte de la historia.
* Para que la persona no pierda la continuidad en
la historia debes cuidar lo que dices: ¿de qué
hablas? ¿cómo explicas con claridad la historia
para esa etapa? ¿qué es importante mencionar en
el comienzo? ¿a qué idea se debe llegar al final?
49. * Del fenómeno, identifica cuáles son los sub-
fenómenos o procesos asociados.
* Para cada uno, determina qué elementos
(concretos y abstractos) lo constituyen.
* Identificados estos elementos, identifica cuáles
son las acciones que se llevan a cabo a través del
tiempo.
* Aún más, fíjate, qué se transforma ¿en qué? ¿en
cuántos pasos? ¿cómo se dio la acción en el
tiempo? ¿en forma lineal o no lineal? ¿recursiva o
iterativa?
50. * Así como enlazas a nivel micro las ideas
relacionadas a cada sub-proceso, piensa después
¿cómo se ligan todas?
* Y ve definiendo a nivel micro ¿cuáles son las
formas de representación que explican la
evolución de los sub-procesos o sub-fenómenos?
52. El tema será los videojuegos.
Por equipo seleccionarán un videojuego.
Primero se trabajará a nivel boceto con lápiz y papel
sobre los procesos y características de “jugar ese
videojuego” en particular.
53. Esta explicación visual será compuesta; es decir,
incluirá muchos “chunks” de información para explicar
el fenómeno.
54. * ¿Cuál es el objetivo del juego? ¿Cómo se gana?
* ¿Cuáles son los elementos de la interfaz de usuario?
* ¿Cómo se juega el video juego en relación con el
dispositivo de control? (La relación botones o teclas con
respecto a los movimientos)
* ¿Cómo se consiguen altos puntajes?
55. * Realiza una bitácora de sesiones en 1 semana que
extraiga datos como:
¿Cuántas veces se realizan movimientos desde el
control?
¿Cómo fue el desarrollo de los caracteres, poderes
especiales o algún dato que se requiera incrementar o
decrementar con el fin de ganar el juego?
¿Cómo va la relación de puntaje, avance o
decrecimiento entre los miembros del equipo?
56. Gracias.
* Manejo de ligas y/o imágenes para demostraciones educativas del tema.