Primitive Interaction Design
Interaction design is acknowledged as an important area of study, and more especially of design practice. Hugely popular and profitable consumer devices, such as mobile phones and tablets, are seen as owing much of their success to the way they have been designed, not least their interface character...
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| Main Author | |
|---|---|
| Format | eBook Book |
| Language | English |
| Published |
Cham
Springer Nature
2020
Springer Springer International Publishing AG Springer International Publishing |
| Edition | 1 |
| Series | Human–Computer Interaction Series |
| Subjects | |
| Online Access | Get full text |
| ISBN | 9783030429546 3030429547 9783030429539 3030429539 |
| ISSN | 1571-5035 2524-4477 |
| DOI | 10.1007/978-3-030-42954-6 |
Cover
Table of Contents:
- 9.1 Where Have We Been? -- 9.2 Where Are We Going? -- 9.3 Concluding Comments -- Reference
- 5.1.1 Everything is Already There -- 5.1.2 Jungian Collective Unconsciousness -- 5.2 Concepts of the Conscious and the Unconscious -- 5.2.1 The Function of Consciousness -- 5.2.2 Existence of the Mind -- 5.3 Design and the Structure of Consciousness -- 5.4 The Ecological Approach to Design -- 5.4.1 The Position of Primitive Design -- 5.4.2 Natural Flow of Action -- 5.5 Conclusion: Consciousness as Where the Self and the World Blend -- References -- Part IIIDesign Untamed -- 6 The Designer as Savage -- 6.1 Introduction -- 6.2 Primitive Interaction Design as an Attitude -- 6.2.1 Designer as Handyman -- 6.2.2 The Trickster-Like Nature of Playing with Design -- 6.3 Designer Interaction (Effective Use of Emptiness) -- 6.4 Understanding the World and Designing Man-Made Objects -- 6.4.1 Tools that Embody Collective Unconsciousness -- 6.4.2 Structuring the Subjective World Through Design -- 6.5 Drawing the Strands Together -- References -- 7 Primitive Interaction Design: Methods -- 7.1 Introduction -- 7.2 Capturing Experiences by Applying Interpretive Phenomenological Analysis -- 7.3 Techniques for Maintaining Necessary Emptiness -- 7.4 Actively Promoting Doing as Being, Unconscious Design and Interaction Consequences -- 7.5 Approaching Design as Bricolage in Blended Reality Space -- References -- 8 Primitive Interaction Design Examples -- 8.1 Primitive Interaction Design in Practice -- 8.2 The Exploratorium: An Environment for Emotional Self-discovery -- 8.2.1 Designing a Mythological World -- 8.2.2 Unconscious Interaction -- 8.2.3 Designing for Emotion -- 8.2.4 Emptiness and Curiosity -- 8.3 Morphogenetic Prototyping in Blended Reality Space -- 8.3.1 Mapping Gestures for Blended Reality Space -- 8.3.2 System Configuration -- 8.3.3 Motion Tracking in Blended Reality Space -- 8.4 Discussion -- References -- 9 Towards a New Culture of Interaction Design
- Intro -- Preface -- Contents -- List of Figures -- Part IMotivations and Inspirations -- 1 Why Primitive Interaction Design? -- 1.1 Introduction -- 1.2 Interaction Design in Context -- 1.3 Subjective Versus Objective Views -- 1.4 Arts and Crafts -- 1.5 Industrialization and the Bauhaus -- 1.6 Design as Marketing Tool -- 1.7 Design as Integrated Knowledge and Skill -- 1.8 Interaction Design: Designing Computer-Based Artefacts -- 1.9 Primitive Interaction Design -- 1.10 Outline of the Book -- 1.10.1 Part 1-Motivations and Inspirations -- 1.10.2 Part 2-Theories and Foundations -- 1.10.3 Part 3-Design Untamed -- References -- 2 Being Through Interaction -- 2.1 Being and Time -- 2.1.1 Towards the Tangible -- 2.1.2 The Interactive Experience of Time -- 2.2 A Circular History of Being (and Interacting) -- 2.3 Being Through Interaction -- 2.3.1 Interaction, the Conscious and the Unconscious -- 2.4 The Challenges of Primitive Design -- 2.4.1 Designing for Emotion -- 2.4.2 Designing Embodiment -- 2.5 Conclusions -- References -- Part IITheories and Foundations -- 3 Savage and Trickster -- 3.1 Introduction: Before and After Design -- 3.2 The Logic of Myth -- 3.3 "Primitive" Peoples -- 3.4 The Trickster -- 3.5 Centre and Periphery -- 3.6 Concluding Comments -- References -- 4 Emptiness, Nothingness and the Interval in Between -- 4.1 Introduction -- 4.2 Emptiness, Nothingness and the Interval in Between -- 4.3 Deficiency and Impermanence -- 4.3.1 Nietzsche's Nihilism -- 4.3.2 The Ordinariness, Logic and Structure of "Ma" -- 4.4 "i" for Art -- 4.4.1 The Root of Creativity -- 4.4.2 Seasonal Feeling -- 4.4.3 Topography -- 4.5 Decorative Space and Lyrical Space -- 4.5.1 Tearoom, Tea Garden and "Ma" -- 4.5.2 Dance -- 4.6 Mind and Communication -- 4.7 "Ma" in Design -- 4.8 Concluding Comments -- References -- 5 Unconscious Interaction and Design -- 5.1 Introduction