http://www.creatingthe21stcentury.org/Larry.html

Larry Prusak, executive director of IBM's Institute of Knowledge Management, author of Working Knowledge and In Good Company, is widely credited with having invented knowledge management and he talked about these issues in Washington DC in October 2000.

Music for Modern Listening by Stargarden

Map/Territory from timo on Vimeo.

Jodi Folizzi "The role of design and design research in Human-Computer Interaction"

The field of human-computer interaction represents collaboration between technologists, human scientists, and designers. As a result, the scope of HCI has broadened from a narrow focus on improving efficiency,effectiveness, and ease of use in the workplace to new contexts of use such as the homes, the vehicle, and public spaces such as cafes, stores, and streets. In addition, the goals of HCI have changed from increasing work productivity to allowing for the creation of meaningful experiences in people’s lives. New research topics are now of interest, including the relationship between experience, design, and emotion, and how to design to evoke and support social behavior. For these reasons, interaction design has developed a larger role within HCI. While HCI practice and education have successfully integrated interaction design, the HCI research community is still undergoing change. Our ongoing research with HCI and design academics and practitioners has allowed us to identify several types of design research within HCI: case-based research, design in the support of HCI research, critical design, and research through design, where understanding is codified into an artifact that in turn evolves new research questions. In addition, we have identified a new model for interaction design research within HCI. The model describes how interaction designers make research contributions based on their strength in addressing under-constrained problems. We have also developed a set of four lenses for evaluating a design research contribution within HCI.

http://cache3.asset-cache.net/xc/85476921.jpg?v=1&c=NewsMaker&k=2&d=757AE3003E041986A599A57DB663CE3F

"Jodi Forlizzi

School of Design, Carnegie Mellon University, Pittsburgh, USA

The field of interaction design has broadened its focus from issues surrounding one person interacting with one system to how systems are socially and culturally situated among groups of people. To understand the situations surrounding product use interaction design researchers have turned to qualitative, ethnographic research methods. However, stripped from underlying theory, these methods can be prescriptive at best. This paper introduces Product Ecology as a theoretical design framework to describe how products evoke social behavior, to provide a roadmap for choosing appropriate qualitative research methods and to extend design culture within HCI by allowing for flexible, design-centered research planning and opportunity-seeking. This product-centered framework is illustrated as a method for selecting a set of design research methods and for working with other research approaches that study people in naturalistic settings.-interaction design journal

Key Ideas About the Product Ecology

• each product has its own ecology, resulting in subjective and individual experience in using the same product. However, this experience of product use is mediated by other factors in the ecology.
• the factors in the Product Ecology are dynamic, and interconnected in several ways.
• changes in product use cause changes in other factors of the Product Ecology.
• the Product Ecology can be delimited by a group of people in close proximity, or a group that is spread out over a great distance.

The Culture of Design:Flexibility in Seeking Change

one motivation for this research is to provide an understanding of how to use qualitative research methods to scaffold explicit knowledge in the world and the implicit knowledge of a design team. This is a key component of the culture of design, which is characterized by particular activities and approaches to choosing research methods.

One view of design culture is of the design team as a selforganizing system in response to a wicked, or unconstrained problem (Löwgren & Stolterman, 1999; Nelson & Stolterman,2005). Horst Rittel, a mathematician, architect, and designer,extensively studied and compared approaches to problem solving over a variety of disciplines (Rith & Dubberly, 2007). Rittel sought to differentiate the approach of designers and scientists in solving problems, differentiating problem types as either tame or wicked.Tame problems have trivial concerns, are quickly identified, and are solved rationally, practically, and efficiently using linear problem solving methods (Nelson & Stolterman, 2005). On the other hand, wicked problems do not lend themselves to simple characterizations, or to simple procedures for solution. According to Rittel, wicked problems are a “class of social system problems which are ill-formulated, where the information is confusing,where many [shareholders] have conflicting values, and where the ramifications in the whole system are thoroughly confusing”(Churchman, 1967, p. 164). These problems are well suited for intuitive, design-centered approaches to opportunity and solutionseeking."

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• 生态的系统？agglomeration（集群）？集群内部的自适应：与周围环境的自适应；内部成员的自适应；环境对集群整体的自适应；整体对个体的自适应...
• 从单个人与机器（系统）到一个系统更在社会和文化层面更人性化的服务对应用户群。
• flexible, design-centered research planning and opportunity-seeking
• from opportunity-seeking to solution-seeking

 

 

 

By Nathan Shedroff. Rosenfeld Media, March 2009.

Design makes a tremendous impact on the produced world in terms of usability, resources, understanding, and priorities. What we produce, how we serve customers and other stakeholders, and even how we understand how the world works is all affected by the design of models and solutions. Designers have an unprecedented opportunity to use their skills to make meaningful, sustainable change in the world—if they know how to focus their skills, time, and agendas. In Design is the Problem: The Future of Design Must be Sustainable, Nathan Shedroff examines how the endemic culture of design often creates unsustainable solutions, and shows how designers can bake sustainability into their design processes in order to produce more sustainable solutions.

Design is the Problem explains:

1. How sustainability isn't as difficult to understand and address as many would have you think
2. Several of the leading frameworks and perspectives on sustainability
3. How to insert sustainability into the development process that you're already using
4. The many, practical strategies that make the products, services, and events you design and develop more sustainable—right now

 

先援引谭浩老师的博文一篇作为起始。

今天，清华大学美术学院工业设计系的蔡军老师和几个老师一起来湖南大学参观访问。在今天早上的讨论中，有一个环节是我向各位老师介绍了湖南大学工业设计专业开设湖南大学设计艺术学院交互设计模块课程的基本情况。对于交互设计课程本身而言，在国内还是比较新的。而模块化的管理，更是对设计教育的挑战。以下是我的一些体会：

第一，设计教育是教方法还是教观念。这是一个蛮难回答的问题。从现在交互设计和用户体验从业人员来看，设计出身的大约占一半左右，那另外一半是怎么学会设计的。这是一个具有挑战意义的话题。设计究竟可不可以教？今天赵江洪老师的一席话给我比较大的启发：设计教学是一个既传授知识也传授经验的过程，和其他学科相比，很多的时候传授经验的作用也许更大。

第二，如何平衡科学精神和艺术。科学和艺术是一体两面。科学需要分析，但是分析得再精当，设计得不好也是没有意义的。设计的本质还是在于其综合的特征。因此，在课程中，如何平衡综合和分析的关系，如何把分析数据运用于综合中，具有非常重要的意义。

第三，如何强化逻辑思维和形象思维的统一。交互设计和计算机有非常密切的关系，特别是在流程设计、纸张原型等方面，逻辑思维所占的比重是相当大的。而现在的设计教育似乎强调形象思维为主，逻辑思维和科学精神的培养是一个巨大的挑战，特别对交互设计而言。

第四，核心竞争力和融入企业。我心目中，理想的毕业生应该是具有自己的独特的竞争力的东西是非常重要的。别人都不会只有你会，这会得到企业的垂青。但是，另一方面，毕业生也应该学会和企业的其他同事一起讲共同的语言，把自己的核心竞争力通过大家都可以理解的形式表现出来。其实，在我工作过的两家企业中，讲共同的语言都是设计师的第一课。

最后，回到交互设计教育。事实上，中国的交互设计教育还处于起步阶段。包括湖南大学在内的很多尝试都还是在探索阶段。作为工业设计专业交互设计课程模块课程的负责人，挑战更为重大。不管怎么样，先迈出这一步，在干中学吧。引自谭浩，设计教育的挑战：从交互设计谈起

作为此次模块课程的第一门课，合作课程的第一门课，工业设计方向的第一门交互课，有太多的理由供我紧张、使我倍感压力。好在各位同仁和先进的一路支持和帮助下，让我顺利完成此次教学。感受诸多。

关于Interaction design，

• user research or user study for design\innovation;
• gap between user research and concept design or twist of both;

关于教学，

• 是告诉学生怎么做？还是和学生一起做？
• 如何培养学生的“核心竞争力”？选择性学习？

更好更快的UX解决过程——sketchboards、paper prototype - [用户体验]

 

http://uiclub.blogbus.com/logs/20127849.html

A Call to Arms

• Keynote: An Insurgency of Quality
  Alan Cooper, Cooper
• Keynote: The Design Eco-System
  Bill Buxton, Microsoft

Practice and Skills

• Concept Models: A Tool for Planning Interaction
  Dan Brown, EightShapes
• Concept Ideation and IxD
  Gretchen Anderson, Lunar
• Don't Make Me Click
  Aza Raskin, Humanized
• Conceptual Designs
  Susan Wyche, Georgia Tech
• Effective Prototyping Methods
  Jonathan Arnowitz, Google
• What Makes a Design Seem Intuitive?
  Jared Spool, UIE
• Designing for the Other 99%
  Morten Hjerde, mBricks
• Help Me! A New Approach to Support Interactions
  Doug Bolin, Avenue A | Razorfish
• New Interaction Model for a Modular Personal Infotainment System
  Sajid Saiyed, Phillips

Thinking in Different Ways

• Keynote: Intervention-Interaction
  Sigi Moeslinger, Antenna Design
• Design for Flow
  Dave Cronin, Cooper
• Conversations with Everyday Objects
  Bill DeRouchey, Ziba Design
• Classic Design Movements and IxD: Kissing Cousins?
  Chris Bernard, Microsoft
• Hit it with The Pretty Stick
  Jenny Lam, Jackson Fish Market
• Strategic Boredom
  Molly Wright Steenson, Princeton University
• Device Art
  Régine Debatty, We Make Money Not Art

Interaction Design and Cinema

• Cinematic Interaction Design
  Sarah Allen, Laszlo Systems
• Dramatic Features in Interaction Design
  Chris Conley, Gravity Tank
• Self-Conscious Gaming
  Andrew Hieronymi, SCAD

Interaction Design and Organizations

• Interaction Across Disciplines
  Michele Tepper, frog
• Experience Design, Convergence + The Digital Agency
  David Armano, Critical Mass
• User Interface Design in an Agile Environment: Enter the Design Studio
  Jeff White and Jim Unger, JewelryTV

Case Studies

• Designing for SpaceTime, Building in No-Time
  Matt Jones, Dopplr
• Redesigning Sony-Ericsson's Product Catalog
  Saskia Idzerda, Media Catalyst
• Visualizing Radio
  Yasser Rashid, BBC

Interaction Design's Place in the World

• Keynote: Dense Notation, In Context
  Malcolm McCullough, University of Michigan
• Ethics of Everyday Design
  Gabriel White, frog
• Interaction Design for Community Empowerment
  Carl DiSalvo, Georgia Tech

Pick a Career Instead of a Job

是“择业”而不是选择“工作”

Looking for a job haphazardly, because you majored in something or because you saw a listing that looks somewhat interesting, you'll risk getting started in a career that holds no real appeal for you, and then you'll have to leave it to find something else. Why not plan your career strategically, just like you planned your education?
随意找一份工作，只不过因为你的专业相关或感到工作内容有趣，那么你可能会进入一个对你来说并没有真正吸引力的行业，不用多久你就得再去找工作。何不用战略的眼光来规划你的职业，就像曾规划教育一样？

Start by doing a self-assessment that teaches you things about yourself that you might never have thought about -- for example, what you like and don't like in a work environment, what defines success for you, and what type of work would make you want to sit in traffic for hours just for the privilege of showing up. Knowing these things can help you determine which occupations could be a good fit for you.
你可以先作个自我评估，这会让你了解许多你不曾注意到的事情——例如，你喜欢怎样的工作环境、讨厌的工作环境又如何；你认为怎样才算是成功；什么样的工作会让你宁愿忍受几小时的交通堵塞、仅仅为了出现在办公室？了解这些能帮你决定那些职业适合你。

If You Can't Get a Job Right Away, Don't Despair
即使不能立刻找到工作，也不要绝望

If you start thinking of yourself as a victim or allow yourself to lapse into prolonged negativity, you won't be hurting anyone except yourself. Worrying until you get sick, abusing drugs or denying that you've reached an impasse won't help either. The best strategy for moving on is to recognize the reality of the situation, acknowledge your feelings and find a way to cope productively. Reach out to your support systems, and consider taking some time off -- after all, you'll never have the freedom of being between school and work again!
如果你开始把自己看成“受害者”，或是长期消极，受伤的只会是你 自己。烦恼到生病、吸毒或不承认自己遇到了僵局，这些都是没有帮助的。最好的办法是承认现实、承认自我感受，找一个有富有成效的方法来解决问题。向支持你 的人寻求帮助，考虑休息一段时间——毕竟，将来你不会再有这种不用上学也不用工作的自由了。

Network Like Mad in Your Chosen Field
在你选择的领域中“疯狂”地建立联系

A huge percentage of job openings aren't advertised because employers prefer to hire people through word of mouth. Developing relationships with people working in your field, then, means that you're top of mind whenever they hear of a new opportunity.
许多工作空缺都不会登广告招聘，因为雇主更喜欢任用推荐的人选。和在你的领域工作的人们建立联系的意义是：当一有新机会出现，人们头脑中第一时间想到的就是你。

Learn about new contacts by researching firms in your industry, joining social networking sites like LinkedIn, asking your parents' friends, and joining relevant professional associations. Approach individuals by e-mail first, and don't put them on the defensive by asking for a job outright. Instead, show curiosity about their career path and see if they'll agree to lunch or coffee.
你 可以调查你所在行业的公司，或者，加入在线社交网站，或是问问父母的朋友和参加相关的职业组织。这些都能帮你建立联系。可以先用电子邮件和别人取得联系， 不要明确地提出想获得工作，这会使对方心生戒备。对他们的职业生涯表示好奇；然后，问一问是否能同他们一起吃午饭或喝咖啡。

Hone Your Reputation as a Can-Do, Enthusiastic Employee
为自己赢得一个动手能力强、工作热忱的好名声

Don't have a sense of entitlement -- your company isn't responsible for your career growth: you are. Only approach your boss with a problem or complaint if you've explored all options for resolving it yourself. When you do, be prepared with a solution you could implement with her help.
不要认为什么都是“应当”的——你应该对自己的职业发展负责，而不是你的公司。在向老板提出问题或是抱怨之前，先尝试一切能自己解决的办法。如果你不得不提，也要准备好一个解决方案，这个方案有她的帮助就能实现。

The words I don't have time should never escape your lips. If you know something needs to be done, do it without being prodded. Your boss will quickly come to see you as someone she can count on and a huge asset to the team. If you have conflicting priorities, ask your boss to help sort them out.
绝对不该说“我没有时间”这样的话。如果你知道需要做某项工作，应该不用敦促地完成。你的老板很快会把你看成一个靠得住的人、团队的一大资产。如果要做的事情先后顺序有冲突，让老板为你决定。

Don't Think of Your First Job as the Be All, End All to Career Stardom
不要把自己的第一份工作看成职业生涯中的“永远”

How can you master the skills it takes to get ahead without putting any time in the trenches? That's like saying you could win an Olympic medal in swimming without learning to doggie paddle first. Look at your first post-college positions as temporary stops on your career path instead of permanent ones. Don't be in such a rush to get promoted either -- you have a long career life ahead of you to shoulder the heavy burden of being on top. In the meantime, enjoy getting paid to learn everything you can so that snagging your next job isn't quite as challenging!
不从底层做起你怎么能掌握发展所需要的技能？这就好比连狗刨都没学会就想在奥运会上 拿金牌。把你刚毕业后的工作看成职业生涯中的临时站点而不是永久站点。也不要急着获得晋升——前方的职业道路由你扛重担的时间会很长。快乐地一边拿着工资 一边学习吧，这样获得下一份工作就不费吹灰之力了!

机器与人交流的五大法则

作者 Don Norman

阅读本文英文原文（翻译：陈可，校对：李鱼）

编者注：本文为作者Don Norman的最新书籍《The Design of Future Things》

编者：本书最后部分，作者比较了由机器开发的设计原则和由人总结的设计原则。下文中是机器对于如何与人交流的想法。 

1.  让事情尽量简单。

人类难以处理任何复杂的事物，他们不喜欢聆听。因此，提示信息应该尽量简短。最好不要使用语言。语言的理解需要较长的时间，并且，人类的语言很容易产生歧义。

2.  给人类一个清晰的概念模型。 

给人类一些他们简单的脑袋瓜能理解的东西。概念模型是一个虚像，但是非常重要，它可以帮助人们理解。人类总是渴望知道接下来是什么。因此，告诉他们正在做什么，尤其不要忘记告诉他们为什么，这样才能取悦他们。传达概念模型的最好方式是通过“自然”的交流系统。

有时候最“自然”的吸引人类的方法是我们——机器，做出的奇怪动作。这里所说的“自然”，当然是指对于人类来说的自然。这就是说当人们进行错误操作的时候，你不能仅仅是告诉他们他们正在进行错误的操作。你要让要让事情看上去像什么东西就要坏了。人们常常在驾车的时候不注意安全，但是几乎不可能对他们解释这样做的危险性及其后果。最好的方法是让他们相信，这将会使得自己陷入困境。我们发现颤抖，抽动，对于操作没有反应，以及奇怪的噪音可以非常有效的对于让人类意识到错误。人们会迅速形成一个概念模型，意识到什么东西已经破坏了，因此他们会放慢下来，而这也恰恰是我们想要他们做的。 

3.  给出理由 

人们总是缺乏信任。如果我们告诉他们某些信息，他们总是会想自己亲眼看到。他们喜欢直观的图片与图表。必须确定你给他们的解释和你教授给他们的概念模型是一致的，否则他们就会感到疑惑。

当我们刚开始代替人们做事的时候，我们遇到过一些麻烦。我们二十一世纪早期的汽车几乎已经完全放弃了劝说人们在潮湿路面低速驾驶。随后，我们发 现通过制造在潮湿的路面上打滑的假象，我们可以让人们以为出了什么问题，这样他们就会恳求我们减速。侧滑的危险比我们的口头说教更符合人们关于危险的概念模型，给了他们一个减速的理由。因此 不管什么时候，不要尝试说教——让他们自己去体验。

4.  让人们认为自己掌握着控制。 

当人们有一个好的概念模型和好的反馈信息，他们会觉得一切尽在掌控中，尽管有时候实情并不是这样。保持这个善意的欺骗，这非常有用。人们喜欢控制的感觉，尽管实际上他们很不擅长这一点。他们喜欢想象他们控制着一切，即使这意味着他们需要好好补补功课。

任何时候你需要向人们建议某事的时候，请让他们相信这是他们自己的主意。如果你真想速战速决，那就不要让他们知道。他们不知道的事情不会让他们烦。就好像许多年来我们使用各种技术制动和平衡人们使用的车辆，控制家中的灯具和室内温度，所有这一切都没有让他们知道。洗碗机和洗衣机为人们服务以来也鲜有不满。 

我们中一些生活在城市里的机器们还学会了其他的戏法。我们为步行者提供交通信号灯上的虚假开关。我们在电梯加上标识“关门”的虚假按钮，在办公室安装虚假的温度控制器。我们甚至都懒得为这些东西接上线，只是做做样子而已，这些开关和调节装置完全不起作用，但却让人们觉得安心。真是不可思议！

5. 持续的信心。 

让他们放心是人类一个非常重要的需求。这更多程度上是一个情感的需求，而不是信息量的需求。这是可以让人们减少焦虑的一种方式。反馈信息是让用户安心的有效手段。不管人们什么时候通过按下按钮或者转动旋钮来跟你说话，你都要让他们知道你注意到了他们做了什么——“是的，我听到了。”“好的，我正在做这个”“这正是你所期待的”“瞧，这里，我已经完成了，我早说了我能说到做到”。人们喜欢这些东西，这会帮助他们更有耐心。

我们机器认为不必要的交流是违反直觉的，不自然的。但是对人们来说，反馈信息是必要的。这对于他们的情感的帮助远甚于对认知的帮助。如果他们有一会儿看不到任何发生的事情，他们就会变得神经质。而没有人想和一个神经质的人打交道。

让人们安心是一件复杂的事情，因为安心和厌烦之间只有非常小的距离。因此，你需要同时迎合人们的情感和智力需求。不要说得太多，他们讨厌喋喋不休。不要吡吡叫或者不停地闪灯，人们永远也记不住那些信号是什么意思，而且还容易被整的心烦意乱或者生气。最好的让人们觉得放心的方法是让事情下意识的完成。也就是说，意图很清晰，但是不需要人们中断有意识的思维来注意它。就象第二条总结的，给他们自然的反应。 

原文链接：http://www.uigarden.net/chinese/ren-yu-ji-qi-jiao-liu-de-5-da-fa-ze

year 1: The history and materials of interaction design 交互设计的历史和事务

Interaction design 1: Use qualities  交互设计1：使用质量
Interaction design 2: Use contexts  交互设计2：使用上下文
Media design 1: Visual communication 媒体设计1：视觉交流
Object-oriented programming 1: Concepts 目标导向的设计1：概念
Object-oriented programming 2: Object architectures 目标导向的设计2：目标架构
Object-oriented programming 3: User interface design 目标导向的设计3：概念
Data communication and networks 数据交流和网络
X Cultural studies 文化研究
X Joint project 联合项目
X Workshops 工作坊

year 2: Interaction design in context  上下文中的交互设计

Interaction design 3: Senses and sensors  交互设计3：感觉
Media design 2: Interactive narrative and games 媒体设计2:交互式叙述和游戏
Object-oriented programming 4: Databases 目标导向的设计4：数据库
X Design theory 设计理论
X Joint project  联合项目
X Workshops 工作坊


year 3: Professional interaction design  专业的交互设计

Research topics in interaction design 交互设计研究
Object-oriented programming 5: Catalogs and API:s  目标导向的设计5：目录和API
Degree project  毕业设计
X Philosophy of science 哲学
X Workshops 工作坊


Bentley's 人机因素硕士课程

Core Courses核心课程

Foundations in Human Factors 人机因素基础
Managing a User-Centered Design Team 管理用户为中心的设计团队
Testing and Assessment Programs 测试和评估

HF Elective Courses (Five courses) 专业选修课

Localization and the Global Market 本地化和全球化市场
Visualizing Information 可视化信息
Information Architecture: User-Centered Design for the World Wide Web 信息架构：网络的用户为中心的设计
Special Topics in Human Computer Interaction (HCI) 人机交互的特别课题
Advanced User Interface Design 高级用户界面设计
Knowledge-Based Products 知识基础的产品
Prototyping Theory and Practice 原型理论和实践
Internship in Information Design 信息设计实习

Non-HF Elective Courses (Two courses) 非专业选修课

Object-Oriented Programming 目标导向设计
Computer and Network Foundations 计算机网络基础
Systems Analysis and Design 系统分析和设计
Database Management 数据库管理
Managing Effective Work Teams 管理有效的工作团队
Managing organizational Change 管理组织变化
Management of Technology 技术管理
Project Management 项目管理
Management of Innovation 创新管理
E-Privacy: Policy, Strategy and Technology 网络上的隐私：条款，策略和技术
Intermediate Statistical Modeling for Business 商务的媒介统计建模
Mathematical and Statistical Analysis 数学和统计分析

1.终于走出了校园，又重新走进校园，只是换了个身份。
2.终于把有史以来写的最长的文章写完，并且还被优秀收录了。
3.终于开始确定自己的专业方向，并且开头都还不错。在此谢谢原moto的Dennis\现ms的“狮兄”；感谢ms的Prof. Ling；感谢nokia的“颜兄”，当然还有我们的整个"diary"小组：媛媛、嘉嘉、琛琛、佳佳（妞妞）、航航、小彪、娟娟。
4.终于收了一个如花似玉、秀外慧中、无所不能的金牛座的牛妹（绝对不是牛魔王的妹妹）。我们对着毛主席他老人家发誓...（这仪式将于年末年初郑重举行）
5.终于开始有了小投资，效果暂时还不完全明了。不过据专家保证，金娃娃很严肃，后果较丰富。
6.终于有点想明白爱情、设计等一些重大和琐碎的tag，推测着这些会和我的皱纹一起成长。
7.终于独立完整做了第一本书。
8.终于那么近距离的和世界级大师交流。Michele De Lucchi、Zaha、Massimo、Henry、Paul、Newson...
9.终于可以对一段时段盖棺定论了。困了5年了。
10.终于开始做面膜了，我开心并爽朗的面对自己的脸，也坦然和真实的面对我自己和我的周围。
好了，把2007打包，开始我的2008。到了那天全世界的人民群众都为我庆祝生日，多美啊！妈妈真伟大。

When we think about social networks—we tend to focus on the connecting nodes. The links that bind us and what makes a network, a network. But the less frequently told story is the one where we spend countless hours building and maintaining our own little "social solar systems". In these "social systems" we have multiple planetary ecosystems revolving around us.

We are the center of our own micro-universe.

The related social graph is difficult to explain, but social systems is easy. Many of us are now managing multiple social ecosystems. If you think of these as planets—some rotate in closer proximity to us. We "warm" them with our attention frequently. Others may orbit at further proximities—but they are still in our social systems. When we abandon a social ecosystem that we can no longer sustain, it drifts away from our orbit and dies. Many of us have had these experiences.

But when we find ourselves as the supplier of light in our self-created microverse, the implications become clear. There are only so many ecosystems that we can meaningfully sustain. And I suppose if you were to zoom out of this specific "social system"—you might encounter others. The number could be infinite.

我们的想象已经离现实很近了。 

引用http://beta.ixda.org/about_interaction.php

 

What Is Interaction Design

 

The success of products in the marketplace depends on the design of high-quality, engaging interactive experiences. Good interaction design

• effectively communicates a system's interactivity and functionality
• defines behaviors that communicate a system's responses to user interactions
• reveals both simple and complex workflows
• informs users about system state changes
• prevents user error

While interaction designers often work closely with specialists in visual design, information architecture, industrial design, user research, or usability, and may even provide some of these services themselves, their primary focus is on defining interactivity.

The discipline of interaction design produces products and services that satisfy specific user needs, business goals, and technical constraints. Interaction designers advance their discipline by exploring innovative design paradigms and technological opportunities. As the capabilities of interactive devices evolve and their complexity increases, practitioners of the discipline of interaction design will play an increasingly important role in ensuring that technology serves people's needs.

In summary, interaction design defines

• the structure and behaviors of interactive products and services
• user interactions with those products and services

男人：哇！电脑城。走，进去看看。

女人：哦。

男人：快点...（说时迟那时快，一溜烟没影了）

女人：人呢？我想去吃泡芙啊...

男人：相机..有没有广角....（剧烈兴奋持续中...）

...

女人：你不是刚买了个吗？还逛什么？

男人：刚买的是专门拍微距的，还差个防手抖的，就是专门偷拍的。绝对需要一个...

......

女人：还没完啊，我脚好疼啊。

男人：你不知道，这个电脑城东西新而且齐。你像我上次在网上看到的一个镜头，国内都没有，刚我一问，就有，而且报价比网上还便宜了％¥＃@＊—％

女人：不都一样嘛，能照相就可以了啊。买那么多也没见你给我照几张好点的...

无数刻钟后...

男人：真爽，今天淘到了这么多。不过信用卡就...

女人：你是爽了，我的泡芙点都关门了。就知道买那些东西，又不能吃，又不能看，还过失落伍那么快，你今天买的，估计过3个月又有新品出，还不如到时候在买现在的款，掉了价多划算...

男人：哎！你不懂，真没法沟通。那 你买那么多衣服干吗？不也过时不也打折吗？

女人：衣服买了能穿能保暖，我穿了能心情好。我买的都是不怎么打折的,怎么呢？

男人：那你更浪费钱＊％¥＃@@！⋯⋯＊

斗嘴、斗气、冷战＊—⋯⋯¥＃@

最后，该买啥照样买啥，该逛哪照逛哪...

以下内容引用了部分内容http://www.sitepoint.com/article/quantify-user-experience

 

What is the User Experience?

The term "user experience" refers to a concept that places the end-user at the focal point of design and development efforts, as opposed to the system, its applications or its aesthetic value alone. It's based on the general concept of user-centered design.

The user experience is primarily made up of a four factors:

• branding
• usability
• functionality
• content

Independently, none of these factors makes for a positive user experience; however, taken together, these factors constitute the main ingredients for a website's success.

测量前需要注意的：

An objective tool for measurement and analysis helps you provide your clients with fact-based recommendations, as opposed to mere conjecture and opinion. The methodology we'll explore in this article will help you to:

• Remove your personal preferences (subjectivity) from the equation as much as possible.
• Enable persons with different backgrounds (designers, developers, clients) to share a common understanding of the site.
• Create ground rules for comparisons of the site to those of competitors, or past development efforts.
• Provide your clients with a fact-based, visual representation of their site's benefits and limitations.

Branding

Branding includes all the aesthetic and design-related items within a Website. It entails the site's creative projection of the desired organizational image and message. Statements used to measure branding can include:

• The site provides visitors with an engaging and memorable experience.
• The visual impact of the site is consistent with the brand identity.
• Graphics, collaterals and multimedia add value to the experience.
• The site delivers on the perceived promise of the brand.
• The site leverages the capabilities of the medium to enhance or extend the brand.
• 
  
  Functionality

  Functionality includes all the technical and 'behind the scenes' processes and applications. It entails the site's delivery of interactive services to all end users, and it's important to note that this sometimes means both the public as well as administrators. Statements used to measure a site's functionality can include:

• Users receive timely responses to their queries or submissions.
• Task progress is clearly communicated (e.g., success pages or email updates).
• The Website and applications adhere to common security and privacy standards.
• Online functions are integrated with offline business processes.
• The site contains administration tools that enhance administrator efficiency.

Usability

Usability entails the general ease of use of all site components and features. Sub-topics beneath the usability banner can include navigation and accessibility. Statements used to measure usability might include:

• The site prevents errors and helps the user recover from them.
• Overall page weight is optimized for the main target audience.
• The site helps its visitors accomplish common goals and tasks.
• The site adheres to its own consistency and standards.
• The site provides content for users with disabilities.

Content

Content refers to the actual content of the site (text, multimedia, images) as well as its structure, or information architecture. We look to see how the information and content are structured in terms of defined user needs and client business requirements. Statements used to measure content can include:

• Link density provides clarity and easy navigation.
• Content is structured in a way that facilitates the achievement of user goals.
• Content is up-to-date and accurate.
• Content is appropriate to customer needs and business goals.
• Content across multiple languages is comprehensive.

然后用蜘蛛图做比较和分析。

Michele De Lucchi was born in 1951 in Ferrara and graduated in architecture in Florence. During the period of radical and experimental architecture he was a prominent figure in movements like Cavart, Alchymia and Memphis.

De Lucchi has designed lamps and furniture for some of the best-known Italian and European makers. At Olivetti he was Director of Design from 1992 to 2002, He has developed various personal theories on the evolution of the workplace, as well as experimental projects for Compaq Computers, Philips, Siemens and Vitra.

His architectural designs have been mainly for office buildings, in Japan for NTT, in Germany for Deutsche Bank, in Switzerland for Novartis, and in Italy for Enel, Telecom Italia and Piaggio. In 1999 he was appointed to renovate some of ENEL's (the Italian Electricity Board's) power plants.

For Deutsche Bank, Deutsche Bundesbahn, Enel, Poste Italiane, Telecom Italia, Banca Popolare di Lodi, Banca 121, Banca Intesa and for other Italian and foreign banks he has collaborated on the evolution of their corporate images, introducing technical and aesthetic innovation.

He has curated numerous art and design exhibitions and designed buildings for museums such as the Museo Diocesano in Ivrea, the Triennale di Milano, the Permanente di Milano, the Palazzo delle Esposizioni in Rome and the Neues Museum in Berlin.
His professional work has always been closely associated with a personal exploration of architecture, design, technology and crafts.

In 1990 he set up Produzione Privata, a small-scale concern through which Michele De Lucchi, unsolicited by clients, designs products made using artisan techniques and crafts.

He is currently working on the Fondazione Cini in Venice, on the renovation of the Sforzesco Castle museums with David Chipperfield, on the refurbishment of the Franco Parenti Theatre in Milan and on projects for the redevelopment of urban areas and quarters in Italy and abroad.

His firm, aMDL, has its offices in Milan and Rome.

In 2003 the Centre Georges Pompidou in Paris acquired a considerable number of his works, which were exhibited for one year in two rooms in the permanent museum.
Selections from his works are exhibited in the most important design Museums in Europe, the United States and Japan.

In 2000 he was honoured with the title Ufficiale della Repubblica Italiana by President Ciampi, for services to design and architecture.
In 2001 he was nominated Professor at the Faculty of Design and Art at the University of Venice.
In 2006 he received an Honorary Doctorate from Kingston University, for his contribution to the quality of living.

“只 要一点就已足够”是一种创造性的方法，从存在的万事发端。通过小小的变形、小小的置换、小小的变化，使得每件事物显得不同、清新又令人惊讶。它是一种邀 请，小心翼翼地工作以期最小限度的抑制，这样的情状要比整体的断言抗议能引发出更多的变革，要比重新质疑基础知识带去更多的创新。

——Michele de Lucchi

在bodw07的主题发言上，他的题目是“my client,my friend"

他说：他一个人住在chioso，一个人。有的时候就什么都没穿就去工作室干活。

他说：他在佛罗伦萨拿到了学位，在那时他受到了历史建筑和先锋建筑的影响，然后我邂逅了他的第一个客户：时代精神先生。

他说：通过Memphis他和时尚擦上了点关系...(其后他对其做了及其客观和谦虚的评价，对其自己和memphis）

他说：随着他自己水平的不断提高和成长，他也遇到了最难缠的客户：市场先生。（在访谈中，他谈到 在他的设计观里，设计应该被分成两类：一者，为商业工作生产的设计；一者，为人及其需求和幸福的设计。他表达了他对商业设计的无奈，也同时承认，设计需要把这两类较好的结合。）

他说：手工艺有它的好处，（他自己显然比较偏爱和擅长此类 ），但也承认手工艺总是那么似是而非，变化莫测。

他说：对工业，他总是在尝试着理想化的试验，一直在尝试...尽管怀着没有道理而犯错的恐惧，但仍然去尝试。

他说：研究永远都是必须而必要的。

他说：他有个持续的客户，这个客户 总是不那么好对付，那就是科技先生。

他说：他还有很多客户，空间先生，他终生交友的材料先生，材料先生始终没有为难到他。还有让他一直兴奋的未来先生。

他说：在1980年12月的一个夜晚，在一个很狭窄的公寓里，他、索老（Ettore）、Barbare创造了memphis,从此他结识了自由先生。

他说：和 memphis在一起的日子里，他认识到建筑、设计其实是一种交流。

 

相关信息联接：

http://www.amdl.it/en/micheledelucchi/quaderni/index.asp

http://www.amdl.it/en/index.asp

http://www.designstore.com.tw/designerView.php?d_SN=50

Karim Rashid说“我们生活的时代是历史上最有意思的时代。虽然世界上还存在许多问题，像是全球变暖，伊拉克问题等等，我们比历史上以往任何时期都过的好，仅在300年前，世界上4％的人很富裕，6％的人穷困潦倒，而现在是中产阶级很庞大，生活的相对更好，因为我们经历的重要的变化，什么变化呢？就是设计带来的变化。...为什么这些礼物不再是实物了，因为非物质化的世界比物质化的世界更好。公司如果能够思考世界究竟在发生什么样的变化（大多数这种变化是实在的物质的变化），如果我们想提供好的产品，我们就应该考虑下这样的产品在这个非物质世界扮演了什么样的角色，不是这样的吗？这种产品能代表这个时代吗？它能为这个时代服务吗？”

设计出适合这个时代的产品和服务，而不是为了保持某种风格和文化而设计。我们的设计应该代表这个时代的精神和这个时代生存着和生活着的人的气质和文化，而不是古代或者未来的。回想何师傅评价 奥运会的某些设计的笑话”未来的考古学家看到我们的设计会迷惑，这究竟是中国17世纪的设计还是乡村农民运动会的产物...“

Karim Rashid“只去 观察，不去阅读，去做而不去思考是很危险的。”

“大部分设计学校仅仅是告诉学生，例如设计椅子时，去商店里观察，并制造一把椅子，但这并不是设计师的工作。设计理念和制造是不同的，设计师是不用去做什么东西，设计师并不制造产品，机器才制造产品。”

不创新就灭亡

场景《

男人：哎！这还有甘蔗，你怎么没跟我说？

女人：我早说了啊，你没听到吧。

男人：恩，看来我们俩交流有点问题。

女人：那就赶紧的找个和你交流没问题的。

男人：啧，啧，瞧你这个女人...》

你说想吃水果就给你买回来了，买回来，放到你桌子上，还和你轻言细语的说了，自己只顾着看电脑，瞥都瞥我一眼，我是你老妈子吗？还要喂到你嘴里吗？我又不是你妈。自己没看到，还要怨我。还扯到我们沟通有问题，是你有问题还是我有问题？对你怎么个好，都要埋怨我，我就随口说你去找个好沟通的，人的自然随机反应，你就接岔了，来劲了。说我...自己心里怎么想的自己知道。我就这样，怎么啦？

场景《

男人：哎！这还有甘蔗，你怎么没跟我说？

女人：我早说了啊，你没听到吧。

男人：恩，看来我们俩交流有点问题。

女人：那就赶紧的找个和你交流没问题的。

男人：啧，啧，瞧你这个女人...》

我其实没什么意思，就是突然看到甘蔗，你怎么就延伸到找另外一个女人，我想换早就换了，上几次那谁谁对我都那样了，我不是还是经过了成熟的思考，还是坚定了思想嘛！你这个女人，就是神经质，成天有精力就是想和我吵！毛病！

想轻松下，和你玩笑下，都不行。没救了......我下半辈子要和你过下去？一定要把你憋过来，看怎么收拾你，女人。

 

对同一个问题的看待和对待，我们可以试着拖到20年后，20年前，别的人、专业、类型、年龄、性别，他们和那时的我们的想法是什么？

这个说法很好，很经典。我们把这个段子用来看以下的问题，很多困扰我们很久的问题就很清楚了：

1， 赚钱。（20年后，钱对我来说很重要吗？我会后悔现在的我为了钱放弃和错过了哪些东西？这些东西是什么？为什么现在的我不那么在乎它？现在比我有钱或者让我羡慕的人，20年前他们是什么样子的？20年后了？我们可以猜度一下。还有好多，其实想到这，就很明白了。下一个议题）

2，减肥。（20年后，我是减肥成功了了？还是更胖了？我的伴侣是因为我减肥没有外遇，还是照样该有的有，该没的没？我的孩子呢？他（她）会嫌弃我的身材吗？我的健康会因为我的肥或者瘦而发生剧烈变化吗？我周围的人会因为我的胖或者瘦喜欢我或者讨厌我吗？好像想到这，我找到了比减肥更重要的点。呵呵，又为自己找到了借口）

3，设计。（这个就有点复杂，以后有机会另开个贴。先将就着。20年前，或者更早，包豪斯，格老他们在什么环境下，做了些多么伟大的事情；梦菲斯，索老他们在什么环境下，做了些多么影响后世的事情；现在，这么多人在这么快的速度下，创造了这么多让人目不暇接的事情，20年后了？那时的环境是什么？需要什么样的设计和设计师？或者还有没有设计？设计师？这个，这个，呵呵，先括号在这。）

4，婚姻。（好像这个应该在左眼和右眼里讲，但也先将就着。20年前，我说西方先，别人婚后稀里糊涂的，该浪漫的浪漫，该出轨的出轨，就像我们现在这样。今听闻和我母亲同年的一阿姨，21恋爱，22结婚，23生崽，24结扎，25离婚。那几年倒是都没闲着。现在的西方别人们，倒是结婚结的晚，大家都玩到40岁左右，安定下来，徘徊完了，结。结了就好好过日子，一是折腾不起了，二也是不想折腾了。那我们呢？不说20年后，5年后，轮我们的时候，是自由自在？还是考虑坟墓不坟墓？严肃点，这么这结婚了。

兰桂坊附近的泰味餐厅

放眼望去，就是有名的 兰桂坊。我们的桌子正好在街的中轴线上，很奇怪这条线上都没有人。

这里有形形色色的人。各国、各种民族、各个肤色，所以也充斥着各种语言、神态、服装和动作。像大杂烩似的。也许它的魅力正在于此，把各色的东西混淆在一起，也不给个定义。在让你把你自己放进去，搅拌一下，各品各味，余味无尽。

一所会员制的西餐厅，这个圣诞树是真树哦。这里的红酒真的很棒！

我的甜点和正餐，当然正餐还有重要的没上。

后面有人现场演唱，很卖力，也很享受，他们自己。

香港，香港，关于香港的地名由来，有两种流传较广的说法。 百先看看：

说法一：香港的得名与香料有关。宋元时期，香港在行政上隶属广东东莞。 从明朝开始，香港岛南部的一个小港湾，为转运南粤香料的集散港，因转运产在广东东莞的香料而出了名，被人们称为“香港”。据说那时香港转运的香料，质量上 乘，被称为“海南珍奇”，香港当地许多人也以种香料为业，香港与其种植的香料一起，名声大噪，也就逐渐为远近所认可。不久这种香料被列为进贡皇帝的贡品， 并造就了当时鼎盛的制香、运香业。可后来，村里人不肯种植了，香料的种植和转运也就逐渐消失，但香港这名称却保留了下来。

说法二：香港是一个天然的港湾，附近有溪水甘香可口，海上往来的水手，经常到这里来取水饮用，久而久之，甘香的溪水出了名，这条小溪，也就被称为“香 江”，而香江入海冲积成的小港湾，也就开始被称为“香港”。有一批英国人登上香港岛时就是从这个港湾上岸的，所以他们也就用“香港”这个词来命名整个岛 屿。直到今天，“香江”仍然是香港的别称。

尽管有不同的说法，但可以大致肯定的是，香港这地名最早出现在明朝，它最初是指今天香港岛上的一个小港湾、小村落，后来才扩大为对整个岛屿（香港岛）的称呼，最后，到了19世纪初，才成了被英国殖民主义者占领的整个地区的统称。

她像风，她的男人，她的女人，在她的怀抱下都有海风的气息。且不管她真的是否有甘甜的溪水，但这里的饮食、行为、人物都像及掺了丝丝甜意、涂了淡淡香水的风。

我在她的善舞长袖下，吮吸着她的味道，不痴迷，但的确很享受。Thank you,Hongkong, for giving me an indelible week.