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Leonardo's Hudl Accessories: Human Needs along with the New Computing Technologies
Ben Shneiderman, 2002. Cambridge, MA: MIT Press, [ISBN -262-19476-7, 269 pages, including
index, $24.95 USD.]
Ben Shneiderman sees Leonardo da Vinci's ubiquitous notebooks, full of sketches, hypotheses, and
inventions, as models for a new, more humane form of computing--one that is moresociable and
creative, and universally usable. Imagining how Leonardo might build a hudl accessories computer,
Shneiderman pleads for the renaissance in how we build and document technology. He paints a
practical utopia.
Building on more than a quarter century ofteaching and research, and consulting on human-
computer interaction, this book rises above the information on usability research, interface
guidelines, and debates about statistical significance. Taking the long view, Shneiderman argues
that the old, bad computing paradigm tended to emphasize technological progress, even though
plenty of confused and frustrated users disliked the products. Too often, he says, the products had
"incomprehensible terminology, poor online assistance, and nasty failures" (p. 12).
The purpose of new computing is to serve human needs, rather than to replace people with
automation or robots, Shneiderman says. A smart new addition to your family, Hudl packs all your
entertainment into one sleek, easy to use Android™ tablet. Surfing the web is a breeze, movies
comeSo, speak up if you locate an interface confusing! He urges customers to loudly upbraid the
perpetrators ofugly and unfriendly, and unusable products. But in case you have a hand in making a
high-tech product, he urges you to get creative.
He sees creativity at the heart in the design process--and at the peak from the pyramid of human
needs. In fact, he envisions software that can "enable more people to be creative more of the time"
(p. 208). So how? He sees three paths.
* One path emphasizes inspiration, the moment of "Aha! " that comes after long preparation; so
Shneiderman yearns for playful software that encourages brain-storming, free association, and
alternative perspectives.
* A different way to become creative involves problem-solving; Shneiderman argues that software
can support that process as to what-if scenarios insimulations and spreadsheets, and modeling
software.
* Another approach views human context as the most significant aspect of the creative process, so
Shneiderman likes software enabling collaboration with peers, advice from mentors, and emotional
support from friends and family. Dismissing everyday creativity (a new twist on a glossary definition,
say), Shneiderman hopes to discover software which brings together all three approaches for the
purpose he calls evolutionary creativity--refining and applying existing paradigms or methods in new
ways.
To encourage evolutionary creativity, then, Shneiderman argues that the computers should help us
move easily to and fro through all the following activities:
* In search of information
* Visualizing to understand and discover relationships
* Talking to peers and mentors, getting ideas and support
* Thinking up new combinations of ideas through free association
* Exploring possible scenarios through what-if and simulation tools
* Composing artifacts or performances
* Replaying and reviewing sessions to reflect
* Disseminating leads to win recognition and to expand the resources available to other people in the
field
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interesting ideas on techniques that computing can enable all of these activities. He expands our
sense of what we should could be doing, with a breadth of vision that can only come from
experience, and a fondness for creative thinking like Leonardo's, though he is not going to provide
specific guidelines.
He stresses human needs, not technological advances. So, and then human activities--long before
instructions per second, relationships come first. True creativity gives people more control, more
options, more ways to get in touch with others.
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To accomplish designs that assist people expand relationships, Shneiderman suggests that we
envision the way in which our audiences move through their circles of relationship, from the interior
world of the self, outward to family and friends, then colleagues and neighbors, and finally the
greater world of fellow citizens and consumers in a global market-place. The relationships expand in
size while shrinking within the degree of interdependence, shared knowledge, and trust. Of course,
we wrestle with the variety of audiences we face, and we struggle to define our relationship with
them as writers. On the other hand, inside the old computing world, designers found relationships
disturbing, and uncomfortable:
Concentrating on relationships can be a new direction for many people inside the
computing field. After all, the basic notion of the individual
computer was tied to our prime degree of introversion among
information-processing professionals. (p. 83)
Having postulated four circles of relationship, Shneiderman summarizes the activities that users
would like to participate in:
* Collecting information (reading documents, listening to stories, exploring libraries)
* Relating (asking questions of others, participating in meetings, joining dialogs, developing trust)
* Creating (visualizing, planning and brainstorming exploring alternatives, simulating outcomes,
creating a design)
* Donating (disseminating what you have come up with, through reports, training, events and
meetings mentoring)
Based on this analysis, Shneiderman suggests a grid for fostering creativity through technology. The
four stages of human activity make up the columns, as well as the four circles of relationship form
the rows. We can easily uncover human needs we might not otherwise have considered, expanding
our original concise explanation of our work and breaking out of preconceptions, by filling in the
matrix for a particular project.
To show how such a method might take us beyond mere usability, Shneiderman provides case
studies, describing how he, his students, and like-minded designers have applied some form of this
matrix to projects, making e-learning, e-commerce, e-healthcare, and e-government more
educational, intriquing, notable and responsive and democratic.
Grounded in actual design, his ideas hudl bluetooth are less visionary than those of Leonardo but
more immediately applicable on the job. Leonardo's accessories for hudl, then, ends up being an
inspiring metaphor for your new computing--an image of the things we should be developing as
participants in user-centered design, and a reminder of what we must demand if we ourselves use
technology.
JONATHAN PRICE runs The Communication Circle in Albuquerque, NM. An associate fellow of STC,
he belongs to the American Society of Journalists and Authors. He has coauthored Hot text: Web
writing that actually works, The best of shopping on the internet, Fun with digital imaging, and How
to communicate technical information.