Frameworks for HCI

Long and Dowell (1989) 150 150 John

Long and Dowell (1989)

Conceptions of the Discipline of HCI: Craft, Applied Science, and Engineering

John Long and John Dowell

Ergonomics Unit, University College London, 26 Bedford Way, London. WC1H 0AP.

The theme of HCI ’89 is ‘the theory and practice of HCI’. In providing a general introduction to the Conference, this paper develops the theme within a characterisation of alternative conceptions of the discipline of Human-Computer Interaction (HCI). First, consideration of disciplines in general suggests their complete definition can be summarised as: ‘knowledge, practices and a general problem having a particular scope, where knowledge supports practices seeking solutions to the general problem’. Second, the scope of the general problem of HCI is defined by reference to humans, computers, and the work they perform. Third, by intersecting these two definitions, a framework is proposed within which different conceptions of the HCI discipline may be established, ordered, and related. The framework expresses the essential characteristics of the HCI discipline, and can be summarised as: ‘the use of HCI knowledge to support practices seeking solutions to the general problem of HCI’. Fourth, three alternative conceptions of the discipline of HCI are identified. They are HCI as a craft discipline, as an applied scientific discipline, and as an engineering discipline. Each conception is considered in terms of its view of the general problem, the practices seeking solutions to the problem, and the knowledge supporting those practices; examples are provided. Finally, the alternative conceptions are reviewed, and the effectiveness of the discipline which each offers is comparatively assessed. The relationships between the conceptions in establishing a more effective discipline are indicated.

Published in: People and Computers V. Sutcliffe A. and Macaulay L. (ed.s). Cambridge University Press, Cambridge. Proceedings of the Fifth Conference of the BCS HCI SIG, Nottingham 5-8 September 1989. 1
Contents

1. Introduction

1.1. Alternative Interpretations of the Theme 1.2. Alternative Conceptions of HCI: the Requirement for a Framework 1.3. Aims

2. A Framework for Conceptions of the HCI Discipline

2.1. On the Nature of Disciplines 2.2. Of Humans Interacting with Computers 2.3. The Framework for Conceptions of the HCI Discipline

3. Three Conceptions of the Discipline of HCI

3.1. Conception of HCI as a Craft Discipline  3.2. Conception of HCI as an Applied Science Discipline 3.3. Conception of HCI as an Engineering Discipline

4. Summary and Conclusions

1. Introduction

HCI ’89 is the fifth conference in the ‘People and Computers’ series organised by the British Computer Society’s HCI Specialist Group. The main theme of HCI ’89 is ‘the theory and practice of HCI’. The significance of the theme derives from the questions it prompts and from the Conference aims arising from it. For example, what is HCI? What is HCI practice? What theory supports HCI practice? How well does HCI theory support HCI practice? Addressing such questions develops the Conference theme and so advances the Conference goals.

1.1. Alternative Interpretations of the Theme

Any attempt to address these questions, however, admits no singular answer. For example, some would claim HCI as a science, others as engineering. Some would claim HCI practice as ‘trial and error’, others as ‘specify and implement’. Some would claim HCI theory as explanatory laws, others as design principles. Some would claim HCI theory as directly supporting HCI practice, others as indirectly providing support. Some would claim HCI theory as effectively supporting HCI practice, whilst others may claim such support as non-existent. Clearly then, there will be many possible interpretations of the theme ‘the theory and practice of HCI’. Answers to some of the questions prompted by the theme will be related. Different answers to the same question may be mutually exclusive; for example, types of practice as ‘trial and error’ or ‘specify and implement’ will likely be mutually exclusive. Answers to different questions may also be mutually exclusive; for example, HCI as engineering would likely exclude HCI theory as explanatory laws, and HCI practice as ‘trial and error’. And moreover, answers to some questions may constrain the answers to other questions; for example, types of HCI theory, perhaps design principles, may constrain the type of practice, perhaps as ‘specify and implement’.

1.2. Alternative Conceptions of HCI: the Requirement for a Framework

It follows that we must admit the possibility of alternative, and equally legitimate, conceptions of the HCI discipline – and therein, of its theory and practice. A conception of the HCI discipline offers a unitary view; its value lies in the coherence and completeness with which it enables understanding of the discipline, how the discipline operates, and its effectiveness. So for example, a conception of HCI might be either of a scientific or of an engineering discipline; its view of the theory and practice of the discipline would be different in the two cases. Its view of how the discipline might operate, and its expectations for the effectiveness of the discipline, would also be different in the two cases. This paper identifies alternative conceptions of HCI, and attempts a comparative assessment of the (potential) effectiveness of the discipline which each views. The requirement for identifying the different conceptions is both prompted and required by the development of the Conference theme.

To advance alternative conceptions of HCI, however, it is necessary first to formulate some form of analytic structure to ensure that conceptions supposed as alternatives are both complete and of the same subject, rather than being conceptions of complementary, or simply different, subjects. A suitable structure for this purpose would be a framework identifying the essential characteristics of the HCI discipline. By such a framework, instances of conceptions of the HCI discipline – claimed to be substantively different, but equivalent – might be established, ordered, and related. And hence, so might their views of its theories and practices. The aims of this paper follow from the need to identify alternative conceptions of HCI as a discipline.

The aims are described in the next section.

1.3. Aims

To address and develop the Conference theme of ‘the theory and practice of HCI’ – and so to advance the goals of HCI ’89 – the aims of this paper are as follows:

(i) to propose a framework for conceptions of the HCI discipline

(ii) to identify and exemplify alternative conceptions of the HCI discipline in terms of the framework

(iii) to evaluate the effectiveness of the discipline as viewed by each of the conceptions, and to indicate the possible relationships between the conceptions in establishing a more effective discipline.

2. A Framework for Conceptions of the HCI Discipline

Two prerequisites of a framework for conceptions of the HCI discipline are assumed. The first is a definition of disciplines appropriate for the expression of HCI. The second is a definition of the province of concern of the HCI discipline which, whilst broad enough to include all disparate aspects, enables the discipline’s boundaries to be identified. Each of these prerequisites will be addressed in turn (Sections 2.1. and 2.2.). From them is derived a framework for conceptions of the HCI discipline (Section 2.3.). Source material for the framework is to be found in (Dowell & Long [1988]; Dowell & Long [manuscript submitted for publication]; and Long [1989]).

2.1. On the Nature of Disciplines

Most definitions assume three primary characteristics of disciplines: knowledge; practice; and a general problem.

All definitions of disciplines make reference to discipline knowledge as the product of research or more generally of a field of study. Knowledge can be public (ultimately formal) or private (ultimately experiential). It may assume a number of forms; for example, it may be tacit, formal, experiential, codified – as in theories, laws and principles etc. It may also be maintained in a number of ways; for example, it may be expressed in journals, or learning systems, or it may only be embodied in procedures and tools. All disciplines would appear to have knowledge as a component (for example, scientific discipline knowledge, engineering discipline knowledge, medical discipline knowledge, etc). Knowledge, therefore, is a necessary characteristic of a discipline.

Consideration of different disciplines suggests that practice is also a necessary characteristic of a discipline. Further, a discipline’s knowledge is used by its practices to solve a general (discipline) problem. For example, the discipline of science includes the scientific practice addressing the general (scientific) problem of explanation and prediction. The discipline of engineering includes the engineering practice addressing the general (engineering) problem of design. The discipline of medicine includes the medical practice addressing the general (medical) problem of supporting health. Practice, therefore, and the general (discipline) problem which it uses knowledge to solve, are also necessary characteristics of a discipline.

Clearly, disciplines are here being distinguished by the general (discipline) problem they address. The scientific discipline addresses the general (scientific) problem of explanation and prediction, the engineering discipline addresses the general (engineering) problem of design, and so on. Yet consideration also suggests those general (discipline) problems each have the necessary property of a scope. Decomposition of a general (discipline) problem with regard to its scope exposes (subsumed) general problems of particular scopes1. This decomposition allows the further division of disciplines into sub-disciplines.

For example, the scientific discipline includes the disciplines of physics, biology, psychology, etc., each distinguished by the particular scope of the general problem it addresses. The discipline of psychology addresses a general (scientific) problem whose particular scope is the mental and physical behaviours of humans and animals. It attempts to explain and predict those behaviours. It is distinguished from the discipline of biology which addresses a general problem whose particular scope includes anatomy, physiology, etc. Similarly, the discipline of engineering includes the disciplines of civil, mechanical, electrical engineering, etc. Electrical engineering is distinguished by the particular scope of the general (engineering) problem it addresses, i.e., the scope of electrical artefacts. And similarly, the discipline of medicine includes the disciplines of dermatology, neurology etc., each distinguished by the particular scope of the general problem it addresses. 1Notwithstanding the so-called ‘hierarchy theory ‘ which assumes a phenomenon to occur at a particular level of complexity and to subsume others at a lower level (eg, Pattee, 1973).

 

Figure 1. Definition of a Discipline

Two basic properties of disciplines are therefore concluded. One is the property of the scope of a general discipline problem. The other is the possibility of division of a discipline into sub-disciplines by decomposition of its general discipline problem.

Taken together, the three necessary characteristics of a discipline (and the two basic properties additionally concluded), suggest the definition of a discipline as: ‘the use of knowledge to support practices seeking solutions to a general problem having a particular scope’. It is represented schematically in Figure 1. This definition will be used subsequently to express HCI.

2.2. Of Humans Interacting with Computers

The second prerequisite of a framework for conceptions of the HCI discipline is a definition of the scope of the general problem addressed by the discipline. In delimiting the province of concern of the HCI discipline, such a definition might assure the completeness of any one conception (see Section 1.2.).

HCI concerns humans and computers interacting to perform work. It implicates: humans, both individually and in organisations; computers, both as programmable machines and functionally embedded devices within machines (stand alone or networked); and work performed by humans and computers within organisational contexts. It implicates both behaviours and structures of humans and computers. It implicates the interactions between humans and computers in performing both physical work (ie, transforming energy) and abstract work (ie, transforming information). Further, since both organisations and individuals have requirements for the effectiveness with which work is performed, also implicated is the optimisation of all aspects of the interactions supporting effectiveness.

Taken together, these implications suggest a definition of the scope of the general (discipline) problem of HCI. It is expressed, in summary, as ‘humans and computers interacting to perform work effectively’; it is represented schematically in Figure 2. This definition, in conjunction with the general definition of disciplines, will now enable expression of a framework for conceptions of the HCI discipline.
Figure 2. Definition of the Scope of the General Problem addressed by the discipline of HCI. (Humans and computers interacting to perform work. effectively).

2.3. The Framework for Conceptions of the HCI Discipline

The possibility of alternative, and equally legitimate, conceptions of the discipline of HCI was earlier postulated. This section proposes a framework within which different conceptions may be established, ordered, and related.

Given the definition of its scope (above), and the preceding definition of disciplines, the general problem addressed by the discipline of HCI is asserted as: ‘the design of humans and computers interacting to perform work effectively’. It is a general (discipline) problem of design : its ultimate product is designs. The practices of the HCI discipline seek solutions to this general problem, for example: in the construction of computer hardware and software; in the selection and training of humans to use computers; in aspects of the management of work, etc. HCI discipline knowledge supports the practices that provide such solutions.

The general problem of HCI can be decomposed (with regard to its scope) into two general problems, each having a particular scope. Whilst subsumed within the general problem of HCI, these two general problems are expressed as: ‘the design of humans interacting with computers’; and ‘the design of computers interacting with humans’. Each problem can be associated with a different sub- discipline of HCI. Human Factors (HF), or Ergonomics, addresses the problem of designing the human as they interact with a computer. Software Engineering (SE) addresses the problem of designing the computer as it interacts with a human. With different – though complementary – aims, both sub-disciplines address the problem of designing humans and computers which interact to perform work effectively. However, the HF discipline concerns the physical and mental aspects of the human and is supported by HF discipline knowledge. The SE discipline concerns the physical and software aspects of the computer and is supported by SE discipline knowledge.

Hence, we may express a framework for conceptions of the discipline of HCI as: ‘the use of HCI knowledge to support practices seeking solutions to the general problem of HCI of designing humans and computers interacting to perform work effectively. HCI knowledge is
constituted of HF knowledge and SE knowledge, respectively supporting HF practices and SE practices. Those practices respectively address the HF general problem of the design of humans interacting with computers, and the SE general problem of the design of computers interacting with humans’. The framework is represented schematically in Figure 3.

Importantly, the framework supposes the nature of effectiveness of the HCI discipline itself. There are two apparent components of this effectiveness. The first is the success with which its practices solve the general problem of designing humans and computers interacting to perform work effectively. It may be understood to be synonymous with ‘product quality’. The second component of effectiveness of the discipline is the resource costs incurred in solving the general problem to a given degree of success – costs incurred by both the acquisition and application of knowledge. It may be understood to be synonymous with ‘production costs’.

The framework will be used in Section 3 to establish, order, and relate alternative conceptions of HCI. It supports comparative assessment of the effectiveness of the discipline as supposed by each conception.
Figure 3 . Framework for Conceptions of the Disicpline of HCI
3. Three Conceptions of the Discipline of HCI

A review of the literature was undertaken to identify alternative conceptions of HCI, that is, conceptions of the use of knowledge to support practices solving the general problem of the design of humans and computers interacting to perform work effectively. The review identified three such conceptions. They are HCI as a craft discipline; as an applied scientific discipline; and as an engineering discipline. Each conception will be described and exemplified in terms of the framework. 3.1. Conception of HCI as a Craft Discipline Craft disciplines solve the general problems they address by practices of implementation and evaluation. Their practices are supported by knowledge typically in the form of heuristics; heuristics are implicit (as in the procedures of good practice) and informal (as in the advice provided by one craftsperson to another). Craft knowledge is acquired by practice and example, and so is experiential; it is neither explicit nor formal. Conception of HCI as a craft discipline is represented schematically in Figure 4. HCI as a craft discipline addresses the general problem of designing humans and computers interacting to perform work effectively. For example, Prestel uses Videotex technology to provide a public information service which also includes remote electronic shopping and banking facilities (Gilligan & Long [1984]). The practice of HCI to solve the general problem of Prestel interaction design is by implementation, evaluation and iteration (Buckley [1989]). For example, Videotex screen designers try out new solutions – for assigning colours to displays, for selecting formats to express user instructions, etc. Successful forms of interaction are integrated into accepted good practice – for example, clearly distinguishing references to domain ‘objects’ (goods on sale) from references to interface ‘objects’ (forms to order the goods) and so reducing user difficulties and errors. Screen designs successful in supporting interactions are copied by other designers. Unsuccessful interactions are excluded from subsequent implementations – for example, the repetition of large scale logos on all the screens (because the screens are written top-to-bottom and the interaction is slowed unacceptably). HCI craft knowledge, supporting practice, is maintained by practice itself. For example, in the case of Videotex shopping, users often fail to cite on the order form the reference number of the goods they wish to purchase. A useful design heuristic is to try prompting users with the relevant information, for example, by reminding them on the screen displaying the goods that the associated reference number is required for ordering and should be noted. An alternative heuristic is to try re-labelling the reference number of the goods, for example to ‘ordering’ rather than reference number. Heuristics such as these are formulated and tried out on new implementations and are retained if associated with successful interactions. To illustrate HCI as a craft discipline more completely, there follows a detailed example taken from a case history reporting the design of a text editor (Bornat & Thimbleby [1989]). Bornat and Thimbleby are computer scientists who, in the 1970s, designed a novel text display editor called ‘Ded’. The general problem of HCI for them was to design a text editor which would enable the user to enter text, review it, add to it, to reorganise its structure and to print it. In addition, the editor was to be easy to use. They characterise their practice as ‘production’ (implementation as used here) suffused by design activity. Indeed, their view is that Ded was not designed but evolved. There was always a fully working version of the text editor to be discussed, even from the very early days. 9
10 Figure 4. Conception of HCI as a Craft Discipline The evolution, however, was informed by ‘user interface principles’ (which they sometimes call theories and at other times call design ideas) which they invented themselves, tried out on Ded, retained if successful and reformulated if unsuccessful. The status of the principles at the time of their use would be termed here craft discipline knowledge or heuristics. (Subsequent validation of the heuristics as other than craft knowledge would of course be possible, and so change this status.) For example, ‘to indicate to users exactly what they are doing, try providing rapid feedback for every keypress’. Most feedback was embodied in changes to the display (cursor movements, characters added or deleted, etc.) which were visible to the user. However, if the effect of a keypress was not visible, there was no effect, but a bell rang to let the user know. In this way, the craft heuristic supporting the SE craft practice – by informing the design of the computer interacting with the human – can be expressed as: ‘if key depression and no display change, then ring bell’. The heuristic also supported HF craft practice – by informing the design of the human interacting with the computer. It may be expressed as: ‘if key pressed and no display change seen, and bell heard, then understand no effect of keypress (other than bell ring)’. Another example of a craft heuristic used by Bornat and Thimbleby (and one introduced to them by a colleague) is ‘to ensure that information in the computer is what the user thinks it is, try using only HCI Problem HCI HCI work (domain) human computer Pract ice HF imHpFlePmraecntt &ictest + SE implement & test Knowledge HF heuristics + SE heuristics
one mode’. The heuristic supported SE practice, informing the design of the computer interacting with the human – ‘if text displayed, and cursor under a character, and key depression, then insert character before cursor position’. The heuristic also supported HF practice, informing the design of the human interacting with the computer – ‘if text seen, and cursor located under a character, and key has been pressed, then only the insertion of a character before the cursor position can be seen to be effected (but nothing else)’. In summary, the design of Ded by Bornat and Thimbleby illustrates the critical features of HCI as a craft discipline. They addressed the specific form of the general problem (general because their colleague suggested part of the solution – one ‘mode’ – and because their heuristics were made available to others practising the craft discipline). Their practices involved the iterative implementation and evaluation of the computer interacting with the human, and of the human interacting with the computer. They were supported by craft discipline heuristics – for example: ‘simple operations should be simple, and the complex possible’. Such craft knowledge was either implicit or informal; the concepts of ‘simple’ and ‘complex’ remaining undefined, together with their associated operations (the only definitions being those implicit in Ded and in the expertise of Bornat and Thimbleby, or informal in their report). And finally, the heuristics were generated for a purpose, tried out for their adequacy (in the case of Ded) and then retained or discarded (for further application to Ded). This too is characteristic of a craft discipline. Accepting that Ded met its requirements for both functionality (enter text, review text, etc.) and for usability (use straight away, etc) – as claimed by Bornat and Thimbleby – it can be accepted as an example of good HCI craft practice. To conclude this characterisation of HCI as a craft discipline, let us consider its potential for effectiveness. As earlier proposed (Section 2.3), an effective discipline is one whose practices successfully solve its general problem, whilst incurring acceptable costs in acquiring and applying the knowledge supporting those practices (see Dowell & Long [1988]). HCI as a craft discipline will be evaluated in general for its effectiveness in solving the general problem of designing humans and computers interacting, as exemplified by Bornat and Thimbleby’s development of Ded in particular. Consideration of HCI as a craft discipline suggests that it fails to be effective (Dowell & Long [manuscript submitted for publication]). The first explanation of this – and one that may at first appear paradoxical – is that the (public) knowledge possessed by HCI as a craft discipline is not operational. That is to say, because it is either implicit or informal, it cannot be directly applied by those who are not associated with the generation of the heuristics or exposed to their use. If the heuristics are implicit in practice, they can be applied by others only by means of example practice. If the heuristics are informal, they can be applied only with the help of guidance from a successful practitioner (or by additional, but unvalidated, reasoning by the user). For example, the heuristic ”simple operations should be simple, and the complex possible’ could not be implemented without the help of Bornat and Thimbleby or extensive interpretation by the designer. The heuristic provides insufficient information for its operationalisation. In addition, since craft heuristics cannot be directly applied to practice, practice cannot be easily planned and coordinated. Further, when HF and SE design practice are allocated to different people or groups, practice cannot easily be integrated. (Bornat was responsible for both HF and SE design practice and was also final arbiter of design solutions.) Thus, with respect to the requirement for its knowledge to be operational, the HCI craft discipline fails to be effective. If craft knowledge is not operational, then it is unlikely to be testable – for example, whether the ‘simple’ operations when implemented are indeed ‘simple’, and whether the ‘complex’ operations when implemented are indeed ‘possible’. Hence, the second reason why HCI as a craft discipline fails to be effective is because there is no guarantee that practice applying HCI craft knowledge will have the consequences intended (guarantees cannot be provided if testing is precluded). There is no guarantee that its application to designing humans and computers interacting will result in their performing work effectively. For example, the heuristic of providing rapid feedback in Ded does not guarantee that users know what they are doing, because they might not understand the contingencies of the feedback. (However, it would be expected to help understanding, at least to 11
some extent, and more often than not). Thus, with respect to the guarantee that knowledge applied by practice will solve the general HCI problem, the HCI craft discipline fails to be effective. If craft knowledge is not testable, then neither is it likely to be generalisable – for example, whether ‘simple’ operations that are simple when implemented in Ded are also ‘simple’ when implemented in a different text editor. Hence, the third explanation of the failure of HCI as a craft discipline to be effective arises from the absence of generality of its knowledge. To be clear, if being operational demands that (public) discipline knowledge can be directly applied by others than those who generated the knowledge, then being general demands that the knowledge be guaranteed to be appropriate in instances other than those in which it was generated. Yet, the knowledge possessed by HCI as a craft discipline applies only to those problems already addressed by its practice, that is, in the instances in which it was generated. Bornat and Thimbleby’s heuristics for solving the design problem of Ded may have succeeded in this instance, but the ability of the heuristics to support the solution of other design problems is unknown and, until a solution is attempted, unknowable. The suitability of the heuristics ‘ignore deficiencies of the terminal hardware’ and ‘undo one keystroke at a time’ for a system controlling the processes of a nuclear power plant could only be established by implementation and evaluation in the context of the power plant. In the absence of a well defined general scope for the problems to be addressed by the knowledge supporting HCI craft practice, each problem of designing humans and computers interacting has to be solved anew. Thus, with respect to the generality of its knowledge, the HCI craft discipline fails to be effective. Further consideration of HCI as a craft discipline suggests that the costs incurred in generating, and so in acquiring craft knowledge, are few and acceptable. For example, Bornat and Thimbleby generated their design heuristics as required, that is – as evaluation showed the implementation of one heuristic to fail. Further, heuristics can be easily communicated (if not applied) and applied now (if applicable). Thus, with respect to the costs of acquiring its knowledge, HCI as a craft discipline would seem to be effective. In summary, although the costs of acquiring its knowledge would appear acceptable, and although its knowledge when applied by practice sometimes successfully solves the general problem of designing humans and computers interacting to perform work effectively, the craft discipline of HCI is ineffective because it is generally unable to solve the general problem. It is ineffective because its knowledge is neither operational (except in practice itself), nor generalisable, nor guaranteed to achieve its intended effect – except as the continued success of its practice and its continued use by successful craftspeople. 3.2. Conception of HCI as an Applied Science Discipline The discipline of science uses scientific knowledge (in the form of theories, models, laws, truth propositions, hypotheses, etc.) to support the scientific practice (analytic, empirical, etc.) of solving the general problem of explaining and predicting the phenomena within its scope (structural, behavioural, etc.) (see Section 3.1). Science solves its general problem by hypothesis and test. Hypotheses may be based on deduction from theory or induction from regularities of structure or behaviour associated with the phenomena. Scientific knowledge is explicit and formal, operational, testable and generalisable. It is therefore refutable (if not proveable; Popper [1959]). Scientific disciplines can be associated with both HF – for example, psychology, linguistics, artificial intelligence, etc. and SE – for example, computer science, artificial intelligence, etc. Psychology explains and predicts the phenomena of the mental life and behaviour of humans (for example, the acquisition of cognitive skill (Anderson [1983])); computer science explains, and predicts the phenomena of the computability of computers as Turing-compatible machines (for example, as concerns abstract data types (Scott [1976])). An applied science discipline is one which recruits scientific knowledge to the practice of solving its general problem – a design problem. HCI as an applied science discipline uses scientific knowledge 12
13 as an aid to addressing the general problem of designing humans and computers interacting to perform work effectively. HCI as an applied science is represented schematically in Figure 5. Figure 5. Conception of HCI as an Applied Science Discipline An example of psychological science knowledge which might be recruited to support the HF practice concerns the effect of feedback on sequences of behaviour, for example, noise and touch on keyboard operation, and confirmatory feedback on the sending of electronic messages (Hammond [1987]). (Feedback is chosen here because it was also used to exemplify craft discipline knowledge (see Section 3.1) and the contrast is informative.) Psychology provides the following predictive truth proposition concerning feedback: ‘controlled sequences need confirmatory feedback (both required and redundant); automated sequences only need required feedback during the automated sequence’. (The research supporting this predictive (but also explanatory proposition) would be expected to have defined and operationalised the terms – ‘feedback’, ‘controlled’, etc. and to have reported the empirical data on which the proposition is based.) HCI Problem HCI Practice HF i m H p F l e P mr a e c n t t &ictest HCI Knowledge HF g u i d e l i n e s ex science work (domain) human computer ++ SE implement & test SE guidelines ex science
However, as it stands, the proposition cannot contribute to the solution of the HF design problem such as that posed by the development of the text-editor Ded (Bornat & Thimbleby [1989] – see Section 3.1). The proposition only predicts the modifications of behaviour sequences by feedback under a given set of conditions. It does not prescribe the feedback required by Ded to achieve effective performance of work (enter text, review it, etc.; to be usable straight away etc.). Predictive psychological knowledge can be made prescriptive. For example Hammond transforms the predictive truth proposition concerning feedback into the following prescriptive proposition (or ‘guideline’): “When a procedure, task or sequence is not automatic to users (either because they are novice users or because the task is particularly complex or difficult), provide feedback in a number of complementary forms. Feedback should be provided both during the task sequence, to inform the user that things are progressing satisfactorily or otherwise, and at completion, to inform the user that the task sequence has been brought to a close satisfactorily or otherwise”. However, although prescriptive, it is so with respect to the modifiability of sequences of behaviour and not with respect to the effective performance of work. Although application of the guideline might be expected to modify behaviour (for example, decrease errors and increase speed), there is no indication of how the modification (either in absolute terms, or relative to other forms of feedback or its absence) would ensure any particular desired effective performance of work. Nor can there be, since its prescriptive form has not been characterised, operationalised, tested, and generalised with respect to design for effective performance (but only the knowledge on which it is based with respect to behavioural phenomena). As a result, the design of a system involving feedback, configured in the manner prescribed by the guideline, would still necessarily proceed by implementation, evaluation, and iteration. For example, although Bornat and Thimbleby appear not to have provided complementary feedback for the novice users of Ded, but only feedback by keypress (and not in addition on sequence completion – for example, at the end of editing a command), their users appear to have achieved the desired effective performance of work of entering text, using Ded straight away etc. Computer science knowledge might similarly be recruited to support SE practice in solving the problem of designing computers interacting with humans to perform work effectively. For example, explanatory and predictive propositions concerning computability, complexity, etc. might be transformed into prescriptive propositions informing system implementation, perhaps in ways similar to the attempt to achieve ‘effective computability’ (Kapur & Srivs [1988]). Alternatively, predictive computer science propositions might support general prescriptive SE principles, such as modularity, abstraction, hiding, localization, uniformity, completeness, confirmability, etc. (Charette [1986]). These general principles might in turn be used to support specific principles to solve the SE design problem of computers interacting with humans. However, as in the case of psychology, for as long as the general problem of computer science is the explanation and prediction of computability, and not the design of computers interacting with humans to perform work effectively, computer science knowledge cannot be prescriptive with respect to the latter. Whatever computer science knowledge (for example, use of abstract data types) or general SE principles (for example, modularity) informed or could have informed Bornat and Thimbleby’s development of Ded, the design would still have had to proceed by implementation, evaluation and iteration, because neither the computer science knowledge nor the SE principles address the problem of designing for the effective performance of work – entering text, using Ded straight away, etc. To illustrate HCI as an applied science discipline more completely, there follows a detailed example taken from a case history reporting the design of a computer-aided learning system to induct new undergraduates into their field of study – cognitive psychology (Hammond & Allinson [1988]). Hammond and Allinson called upon three areas of psychological knowledge, concerned with understanding and learning, to support the design of their system. These were ‘encoding specificity’ 14
theory (Tulving [1972]), ‘schema’ theory (Mandler [1979]), and ‘depth of processing’ theory (Craik & Lockhart [1972]). Only the first will be used as an example here. ‘Encoding specificity’ and ‘encoding variability’ explain and predict peoples’ memory behaviours. ‘Encoding specificity’ asserts that material can be recalled if it contains distinctive retrieval cues that can be generated at the time of recall. ‘Encoding variability’ asserts that multiple exposure to the same material in different contexts results in easier recall, since the varied contexts will result in a greater number of potential retrieval cues. On the basis of this psychological knowledge, Hammond and Allinson construct the guideline or principle: ‘provide distinctive and multiple forms of representation.’ They followed this prescription in their learning system by using the graphical and dynamic presentation of materials, working demonstrations and varied perspectives of the same information. However, although the guideline might have been expected to modify learning behaviour towards that of the easier recall of materials, the system design would have had to proceed by implementation, evaluation, and iteration. The theory of encoding specificity does not address the problem of the design of effective learning, in this case – new undergraduate induction, and the guideline has not been defined, operationalised, tested or generalised with respect to effective learning. Effective induction learning might follow from application of the guideline, but equally it might not (in spite of materials being recalled). Although Hammond and Allinson do not report whether computer science knowledge was recruited to support the solution of the SE problem of designing the computer interacting with the undergraduates, nor whether general SE principles were recruited, the same conclusion would follow as for the use of psychological knowledge. Effective induction learning performance might follow from the application of notions such as effective computability, or of principles such as modularity, but equally it might not (in spite of the computer’s program being more computably effective and better structured). In summary, the design of the undergraduate induction system by Hammond and Allinson illustrates the critical features of HCI as an applied science discipline. They addressed the specific form of the general problem (general because the knowledge and guidelines employed were intended to support a wide range of designs). Their practice involved the application of guidelines, the iterative implementation of the interacting computer and interacting human, and their evaluation. The implementation was supported by the use of psychological knowledge which formed the basis for the guidelines. The psychological knowledge (encoding specificity) was defined, operationalised, tested and generalised. The guideline ‘provide distinctive and multiple forms of representation’ was neither defined, operationalised, tested nor generalised with respect to effective learning performance. Finally, consider the effectiveness of HCI as an applied science discipline. An evaluation suggests that many of the conclusions concerning HCI as a craft discipline also hold for HCI as an applied science discipline. First, its science knowledge cannot be applied directly, not – as in the case of craft knowledge – because it is implicit or informal, but because the knowledge is not prescriptive; it is only explanatory and predictive. Its scope is not that of the general problem of design. The theory of encoding specificity is not directly applicable. Second, the guidelines based on the science knowledge, which are not predictive but prescriptive, are not defined, operationalised, tested or generalised with respect to desired effective performance. Their selection and application in any system would be a matter of heuristics (and so paradoxically of good practice). Even if the guideline of providing distinctive and multiple forms of representation worked in the case of undergraduate induction, it could not be generalised on the basis of this good practice alone. Third, the application of guidelines based on science knowledge does not guarantee the consequences intended, that is effective performance. The provision of distinctive and multiple forms of representation may enhance learning behaviours, but not necessarily such as to achieve the effective undergraduate induction desired. 15
HCI as an applied science discipline, however, differs in two important respects from HCI as a craft discipline. Science knowledge is explicit and formal, and so supports reasoning about the derivation of guidelines, their solution and application (although one might have to be a discipline specialist so to do). Second, science knowledge (of encoding specificity, for example) would be expected to be more correct, coherent and complete than common sense knowledge concerning learning and memory behaviours. Further, consideration of HCI as an applied science discipline suggests that the costs incurred in generating, and so in acquiring applied science knowledge, are both high (in acquiring science knowledge) and low (in generating guidelines). Whether the costs are acceptable depends on the extent to which the guidelines are effective. However, as indicated earlier, they are neither generalisable nor offer guarantees of effective performance. In summary, although its knowledge when applied by practice in the form of guidelines sometimes solves the general problem of designing humans and computers interacting to perform work effectively, the applied science discipline is ultimately ineffective because it is generally unsuccessful in solving the general problem and its costs may be unacceptable. It fails to be effective principally because its knowledge is not directly applicable and because the guidelines based on its knowledge are neither generalisable, nor guaranteed to achieve their intended effect. 3.3. Conception of HCI as an Engineering Discipline The discipline of engineering may characteristically solve its general problem (of design) by the specification of designs before their implementation. It is able to do so because of the prescriptive nature of its discipline knowledge supporting those practices – knowledge formulated as engineering principles. Further, its practices are characterised by their aim of ‘design for performance’. Engineering principles may enable designs to be prescriptively specified for artefacts, or systems which when implemented, demonstrate a prescribed and assured performance. And further, engineering disciplines may solve their general problem by exploiting a decompositional approach to design. Designs specified at a general level of description may be systematically decomposed until their specification is possible at a level of description of their complete implementation. Engineering principles may assure each level of specification as a representation of the previous level. A conception of HCI as an engineering discipline is also apparent (for example: Dix & Harrison [1987]; Dowell & Long [manuscript submitted for publication]). It is a conception of HCI discipline knowledge as (ideally) constituted of (HF and SE) engineering principles, and its practices (HF and SE practices) as (ideally) specifying then implementing designs. This Section summarises the conception (schematically represented in Figure 6) and attempts to indicate the effectiveness of such a discipline. The conception of HCI engineering principles assumes the possibility of a codified, general and testable formulation of HCI discipline knowledge which might be prescriptively applied to designing humans and computers interacting to perform work effectively. Such principles would be unequivocally formal and operational. Indeed their operational capability would derive directly from their formality, including the formality of their concepts – for example, the concepts of ‘simple’ and ‘complex’ would have an explicit and consistent definition (see Section 3.1). The complete and coherent definition of concepts, as necessary for the formulation of HCI engineering principles, would occur within a public and consensus conception of the general problem of HCI. A proposal for the form of such a conception (Dowell & Long [manuscript submitted for publication]), intended to promote the formulation of HCI engineering principles, can be summarised here. It dichotomises ‘interactive worksystems’ which perform work, and ‘domains of application’ in which work originates, is performed, and has its consequences. An interactive worksystem is conceptualised as the interacting behaviours of a human (the ‘user’) and a computer: 16
17 it is a behavioural system. The user and computer constitute behavioural systems in their own right, and therefore sub-systems of the interactive worksystem. Behaviours are the trajectory of states of humans and computers in their execution of work. The behaviours of the interactive worksystem are reflexive with two independent structures, a human structure of the user and a hardware and software structure of the computer. The behaviours of the interactive worksystem are both physical and informational, and so also are its structures. Further, behaviour incurs a resource cost, distinguished as the ‘structural’ resource cost of establishing and maintaining the structure able to support behaviour, and the ‘behavioural’ resource cost of recruiting the structure to express behaviour. Figure 6. Conception of HCI as an Engineering Discipline The behaviours of an interactive worksystem intentionally effect, and so correspond with, transformations of objects. Objects are physical and abstract and exhibit the affordance for transformations arising from the state potential of their attributes. A domain of application is a class of transformation afforded by a class of objects. An organisations` requirements for specific transformations of objects are expressed as product goals; they motivate the behaviours of an interactive worksystem. The effectiveness of an interactive worksystem is expressed in the concept of performance. Performance assimilates concepts expressing the transformation of objects with regard to its HCI Problem HCI Pract ice HCI Knowledge HF engineering principles + SE engineering principles HF specify & HFPra implement human ctice work (domain) + SE specify & computer implement
satisfying a product goal, and concepts expressing the resource costs incurred in realising that transformation. Hence, performance relates an interactive worksystem with a domain of application. A desired performance may be specified for any worksystem attempting to satisfy a particular product goal. The concepts described enable the expression of the general problem addressed by an engineering discipline of HCI as: specify then implement user behaviour {U} and computer behaviour {C}, such that {U} interacting with {C} constitutes an interactive worksystem exhibiting desired performance (PD). It is implicit in this expression that the specification of behaviour supposes and enables specification of the structure supporting that behaviour. HCI engineering principles are conceptualised as supporting the practices of an engineering HCI discipline in specifying implementable designs for the interacting behaviours of both the user and computer that would achieve PD. This conception of the general problem of an engineering discipline of HCI supposes its further decomposition into two related general problems of different particular scopes. One problem engenders the discipline of HF, the other the discipline of SE; both disciplines being incorporated in HCI. The problem engendering the discipline of SE is expressed as: specify then implement {C}, such that {C} interacting with {U} constitutes an interactive worksystem exhibiting PD. The problem engendering the discipline of HF is expressed as: specify then implement {U}, such that {U} interacting with {C} constitutes an interactive worksystem exhibiting PD. The disciplines of SE and HF might each possess their own principles. The abstracted form of those principles is visible. An HF engineering principle would take as input a performance requirement of the interactive worksystem, and a specified behaviour of the computer, and prescribe the necessary interacting behaviour of the user. An SE engineering principle would take as input the performance requirement of the interactive worksystem, and a specified behaviour of the user, and prescribe the necessary interacting behaviour of the computer. Given the independence of their principles, the engineering disciplines of SE and HF might each pursue their own practices, having commensurate and integrated roles in the development of interactive worksystems. Whilst SE specified and implemented the interacting behaviours of computers, HF would specify and implement the interacting behaviours of users. Together, the practices of SE and HF would aim to produce interactive worksystems which achieved PD. It is the case, however, that the contemporary discipline of HF does not possess engineering principles of this idealised form. Dowell & Long [manuscript submitted for publication) have postulated the form of potential HF engineering principles for application to the training of designers interacting with particular visualisation techniques of CAD systems. A visualisation technique is a graphical representational form within which images of artefacts are displayed; for example, the 21/2 D wireframe representational form of the Necker cube. The supposed principle would prescribe the visual search strategy {u} of the designer interacting with a specified display behaviour {c} of the computer (supported by a specified visualisation technique) to achieve a desired performance in the ‘benchmark’ evaluation of a design. Neither does the contemporary discipline of SE possess engineering principles of the idealised form discussed. However, formal models of the interaction of display editors proposed by Dix and Harrison [1987] may show potential for development in this respect. For example, Dix and Harrison model the (behavioural) property of a command that is ‘passive’, a command having no effect on the ‘data’ component of the computer’s state. Defining a projection from state into result as r: S R, a passive command c has the property that r(s) = r(c(s)). Although the model has a formal expression, the user behaviour interacting with the (passive) computer behaviour is only implied, and the model makes no reference to desired performance. 18
It is likely the case, however, that some would claim the (idealised) conception of HCI as an engineering discipline to be unrealiseable. They might justify their objection by claiming the general problem of HCI to be ‘too soft’ to allow the development of engineering principles – that human behaviour is too indeterministic (too unspecifiable) to be subject to such principles. Yet human behaviour can be usefully deterministic to some degree – as demonstrated, for example, by the response of driver behaviour to traffic system protocols. There may well be at least a commensurate potential for the development of HCI engineering principles. To conclude this summary description of the conception of an engineering discipline of HCI, we might consider the potential effectiveness of such a discipline. As before, effectiveness is evaluated as the success with which the discipline might solve its general problem, and the costs incurred with regard to both the acquisition and application of knowledge. First, HCI engineering principles would be a generaliseable knowledge. Hence, application of principles to solving each new design problem could be direct and efficient with regard to costs incurred. The discipline would be effective. Second, engineering HCI principles would be operational, and so their application would be specifiable. The further consequence of this would be that the roles of HF and SE in Systems Development could be specified and integrated, providing better planned and executed development programmes. The minimisation of application costs would result in an effective discipline. Third, engineering principles would have a guaranteed efficacy. Because they would be operational, they would be testable and their reliability and generality could be specified. Their consequent assurance of product quality would render effective an engineering discipline of HCI. Finally, consideration of HCI as an engineering discipline suggests that the costs of formulating engineering principles would be severe. A research programme committed to formulating even a basic corpus of HCI engineering principles might only be conceived as a long-term endeavour of extreme scale. In summary, although the costs of their formulation would be severe, the potential of a corpus of engineering principles for improving product quality is large, and so also might be the potential for effectiveness of an engineering discipline of HCI. 4. Summary and Conclusions This paper has developed the Conference theme of ‘the theory and practice of HCI’. Generalisation of the theme, in terms of a framework for conceptions of the HCI discipline, has shown that in addition to theory and practice, the theme needs to explicitly reference the general problem addressed by the discipline of HCI and the scope of the general problem. The proposal made here is that the general problem of HCI is the design of humans and computers interacting to perform work effectively. The qualification of the general problem as ‘design’, and the addition to the scope of that problem of ‘…. to perform work effectively’, has important consequences for the different conceptions of HCI (see Section 3). For example, since design is not the general problem of science, scientific knowledge (for example, psychology or computer science) cannot be recruited directly to the practice of solving the general problem of design (see Barnard, Grudin & Maclean [1989]). Further, certain attempts to develop complete engineering principles for HCI fail to qualify as such, because they make no reference to ‘…. to perform work effectively’ (Dix & Harrison [1987]; Thimbleby [1984]). Development of the theme indicated there might be no singular conception of the discipline of HCI. Although all conceptions of HCI as a discipline necessarily include the notion of practice (albeit of different types), the concept of theory is more readily associated with HCI as an applied science discipline, because scientific knowledge in its most correct, coherent and complete form is typically expressed as theories. Craft knowledge is more typically expressed as heuristics. Engineering 19
knowledge is more typically expressed as principles. If HCI knowledge is limited to theory, and theory is presumed to be that of science, then other conceptions of HCI as a discipline are excluded (for example, Dowell & Long [manuscript submitted for publication]). Finally, generalisation of the Conference theme has identified two conceptions of HCI as a discipline as alternatives to the applied science conception implied by the theme. The other two conceptions are HCI as a craft discipline and HCI as an engineering discipline. Although all three conceptions address the general problem of HCI, they differ concerning the knowledge recruited to solve the problem. Craft recruits heuristics; applied science recruits theories expressed as guidelines; and engineering recruits principles. They also differ in the practice they espouse to solve the general problem. Craft typically implements, evaluates and iterates (Bornat & Thimbleby [1989]); applied science typically selects guidelines to inform implementation, evaluation and iteration (although guidelines may also be generated on the basis of extant knowledge, e.g. – Hammond & Allinson [1988]); and engineering typically would specify and then implement (Dowell & Long [1988]). The different types of knowledge and the different types of practice have important consequences for the effectiveness of any discipline of HCI. Heuristics are easy to generate, but offer no guarantee that the design solution will exhibit the properties of performance desired. Scientific theories are difficult and costly to generate, and the guidelines derived from them (like heuristics) offer no final guarantee concerning performance. Engineering principles would offer guarantees, but are predicted to be difficult, costly and slow to develop. The development of the theme and the expression of the conceptions of HCI as a discipline – as craft, applied science and engineering – can usefully be employed to explicate issues raised by, and of concern to, the HCI community. Thus, Landauer’s complaint (Landauer [1987a]) that psychologists have not brought to HCI an impressive tool kit of design methods or principles can be understood as resulting from the disjunction between psychological principles explaining and predicting phenomena, and prescriptive design principles required to guarantee effective performance of work (see Section 3.2). Since research has primarily been directed at establishing the psychological principles, and not at validating the design guidelines, then the absence of an impressive tool kit of design methods or principles is perhaps not so surprising. A further issue which can be explained concerns the relationship between HF and SE during system development. In particular, there is a complaint by SE that the contributions of HF to system development are ‘too little’, too late’ and unemployable (Walsh, Lim, Long, & Carver [1988]). Assuming HCI to be an applied science discipline, HF contributions are too little because psychology does not address the general problem of design and so fails to provide a set of principles for the solution of that problem. HF contributions are too late, because they consist largely of evaluations of designs already implemented, but without the benefit of HF. They are unemployable, because they were never specified, and because implemented designs can be difficult, if not impossible, and costly to modify. Within an HCI engineering discipline, HF contributions would be adequate (because within the scope of the discipline’s problem); on time (because specifiable); and implementable (because specified). Landauer’s plea (Landauer [1987b]) that HF should extend its practice from implementation evaluation to user requirements identification and the creation of designs to satisfy those requirements can be similarly explicated. Lastly, Carroll and Campbell’s claim (Carroll & Campbell [1988]) that HCI research has been more successful at developing methodology than theory can be explicated by the need for guidelines to express psychological knowledge and the need to validate those guidelines formally, and the absence of engineering principles, plus the importation of psychology research methods into HCI and the simulation of good (craft) practice. The methodologies, however, are not methodological principles which guarantee the solution of the design problem (Dowell & Long [manuscript submitted for publication]), but procedures to be tailored anew in the manner of a craft discipline. Thus, relating the conceptions of HCI as a set of possible disciplines provides insight into whether HCI research has been more successful at developing methodologies than theories. 20
In addition to explicating issues already formulated, the development of the Conference theme and the expression of the conceptions of HCI as a discipline raise two novel issues. The first concerns reflexivity both with respect to the general design problem and with respect to the creation of discipline knowledge. It is often assumed that only HCI as an applied scientific discipline (by means of guidelines) and as an engineering discipline (by means of principles) are reflexive with respect to the general design problem. The conception of HCI as a craft discipline, however, has shown that it is similarly reflexive – by means of heuristics. Concerning the creation of discipline knowledge, it is often assumed that only the solution of the general discipline problem requires the reflexive cognitive act – of reason and intuition concerning the objects of activity (Kant [1781]). However, the conceptions of HCI as a craft discipline, as an applied science discipline, and as an engineering discipline suggest that the intial creation of discipline knowledge, whether heuristics, guidelines or principles, in all cases requires a reflexive cognitive act involving intuition and reason. Thus, contrary to common assumption, the craft, applied science, and engineering conceptions of the discipline of HCI are similarly reflexive with regard to the general design problem. The intial generation of albeit different discipline knowledges requires in each case the reflexive cognitive act of reason and intuition. The second novel issue raised by the development of the Conference theme and the conceptions of HCI as a discipline is the relationship between the different conceptions. For example, the different conceptions of HCI and their associated paradigm activities might be considered to be mutually exclusive and uninformative, one with respect to the other. Alternatively, one conception and its associated activities might be considered to be mutually supportive with respect to another. For example, engineering principles might be developed bottom-up on the basis of inductions from good craft practice. Alternatively, engineering principles might be developed top-down on the basis of deductions from scientific theory – both from psychology and from computer science. It would be possible to advance a rationale justifying either mutual exclusion of conceptions or mutual support. The case for mutual exclusion would be based on the fact that the form of their knowledge and practice differs, and so one conception would be unable directly to inform another. For example, craft practice will not develop a theory which can be directly assimilated to science; science will not develop design principles which can be directly recruited to engineering. Thus, the case for mutual exclusion is strong. However, there is a case for mutual support of conceptions and it is presented here as a final conclusion. The case is based on the claim made earlier that the creation of discipline knowledge of each conception of HCI requires a reflexive cognitive act of reason and intuition. If the claim is accepted, the reflexive cognitive act of one conception might be usefully but indirectly informed by the discipline knowledge of another. For example, the design ideas, or heuristics, which formed part of the craft practice of Bornat and Thimbleby in the 1970s (Bornat & Thimbleby [1989]), undoubtedly contributed to Thimbleby’s more systematic formulation (Thimbleby [1984]) and the formal expression by Dix and Harrison (Dix & Harrison [1987]). Although the principles fail to address the effectiveness of work and so fail to qualify as HCI engineering principles, their development towards that end might be encouraged by mutual support from engineering conceptions of HCI. Likewise, scientific concepts such as compatibility (Long [1987]) may indirectly inform the development of principles relating users’ mental structures to the analytic structure of a domain of application (Long [1989]), and even provide an indirect rationalisation for the concepts themselves and their relations with other associated concepts. Mutual support of conceptions, as opposed to mutual exclusion, has two further advantages. First, it maximises the exploitation of what is known and practised in HCI. The current success of HCI is not such that it can afford to ignore potential contributions to its own advancement. Second, it encourages the notion of a community of HCI superordinate to that of any single discipline conception. The novelty and complexity of the enterprise of developing knowledge to support the solution of the general problem of designing humans and computers interacting to perform work effectively requires every encouragement for the establishment and maintenance of such a community. Thus, the mutual support of different conceptions of HCI as a discipline is recommended. 21
References J R Anderson [1983], The Architecture of Cognition, Harvard University, Cambridge MA. P Barnard, J Grudin & A Maclean [1989], “Developing a Science Base for the Naming of Computer Commands”, in Cognitive Ergonomics and Human Computer Interaction, J B Long & A D Whitefield, eds., Cambridge University Press, Cambridge. R Bornat & H Thimbleby [1989], “The Life and Times of Ded, Text Display editor”, in Cognitive Ergonomics and Human Computer Interaction, J B Long & A D Whitefield, eds., Cambridge University Press, Cambridge. P Buckley [1989], “Expressing Research Findings to have a Practical Influence on Design”, in Cognitive Ergonomics and Human Computer Interaction, J B Long & A D Whitefield, eds., Cambridge University Press, Cambridge. J M Carroll & R L Campbell [1988], “Artifacts as Psychological Theories: the Case of Human Computer Interaction”, IBM research report, RC 13454(60225) 1/26/88, T.J. Watson Research Division Center, Yorktown Heights, NY. 10598. R N Charette [1986], Software Engineering Environments, Intertexts Publishers/McGraw Hill, New Y ork. F I M Craik & R S Lockhart [1972], “Levels of Processing: A Framework for Memory Research”, Journal of Verbal Learning and Verbal Behaviour, 11, 671-684. A J Dix & M D Harrison [1987], “Formalising Models of Interaction in the Design of a Display Editor”, in Human-Computer Interaction – INTERACT’87, H J Bullinger & B Shackel, (ed.s), North- Holland, Amsterdam, 409-414. J Dowell & J B Long [1988], “Human-Computer Interaction Engineering”, in Designing End-User Interfaces, N Heaton & M Sinclair, eds., Pergamon Infotech, Oxford. J Dowell & J B Long, “Towards a Conception for an Engineering Discipline of Human Factors”, (manuscript submitted for publication). P Gilligan & J B Long [1984], “Videotext Technology: an Overview with Special Reference to Transaction Processing as an Interactive Service”, Behaviour and Information Technology, 3, 41-47. N Hammond & L Allinson [1988], “Development and Evaluation of a CAL System for Non-Formal Domains: the Hitchhiker`s Guide to Cognition”, Computer Education, 12, 215-220. N Hammond [1987], “Principles from the Psychology of Skill Acquisition”, in Applying Cognitive Psychology to User-Interface Design, M Gardiner & B Christie, eds., John Wiley and Sons, Chichester. I Kant [1781], The Critique of Pure Reason, Second Edition, translated by Max Muller, Macmillan, London. D Kapur & M Srivas [1988], “Computability and Implementability: Issues in Abstract Data Types,” Science of Computer Programming, Vol. 10. T K Landauer [1987a], “Relations Between Cognitive Psychology and Computer System Design”, in Interfacing Thought: Cognitive Aspects of Human-Computer Interaction, J M Carroll, (ed.), MIT Press, Cambridge MA. 22
T K Landauer [1987b], “Psychology as Mother of Invention”, CHI SI. ACM-0-89791-213- 6/84/0004/0333 J B Long [1989], “Cognitive Ergonomics and Human Computer Interaction: an Introduction”, in Cognitive Ergonomics and Human Computer Interaction, J B Long & A D Whitefield, eds., Cambridge University Press, Cambridge. J Long [1987], “Cognitive Ergonomics and Human Computer Interaction”, in Psychology at Work, P Warr, eds., Penguin, England. J M Mandler [1979], “Categorical and Schematic Organisation in Memory”, in Memory Organisation and Structure, C R Puff, ed., Academic Press, New York. H H Pattee [1973], Hierarchy Theory: the Challenge of Complex Systems, Braziller, New York. K R Popper [1959], The Logic of Scientific Discovery, Hutchinson, London. D Scott [1976], “Logic and Programming”, Communications of ACM, 20, 634-641. H Thimbleby [1984], “Generative User Engineering Principles for User Interface Design”, in Proceedings of the First IFIP Conference on Human-Computer Interaction, Human-Computer Interaction – INTERACT’84. Vol.2, B Shackel, ed., Elsevier Science, Amsterdam, 102-107. E Tulving [1972], “Episodic and Semantic Memory”, in Organisation of Memory, E Tulving & N Donaldson, eds., Academic Press, New York. P Walsh, K Y Lim, J B Long & M K Carver [1988], “Integrating Human Factors with System Development”, in Designing End-User Interfaces, N Heaton & M Sinclair, eds., Pergamon Infotech, Oxford. Acknowledgement. This paper has greatly benefited from discussion with others and from their criticisms. In particular, we would like to thank: Andy Whitefield and Andrew Life, colleagues at the Ergonomics Unit, University College London; Charles Brennan of Cambridge University, and Michael Harrison of York University; and also those who attended a seminar presentation of many of these ideas at the MRC Applied Psychology Unit, Cambridge. The views expressed in the paper, however, are those of the authors. 23

 

Dowell and Long (1989) 150 150 John

Dowell and Long (1989)

 

Towards a Conception for an Engineering Discipline of Human Factors

John Dowell and John Long

Ergonomics Unit, University College London,

26, Bedford Way, London. WC1H 0AP.

abstract

This paper concerns one possible response of Human Factors to the need for better user-interactions of computer-based systems. The paper is in two parts. Part I examines the potential for Human Factors to formulate engineering principles. A basic pre-requisite for realising that potential is a conception of the general design problem addressed by Human Factors. The problem is expressed informally as: ‘to design human interactions with computers for effective working’. A conception would provide the set of related concepts which both expressed the general design problem more formally, and which might be embodied in engineering principles. Part II of the paper proposes such a conception and illustrates its concepts. It is offered as an initial and speculative step towards a conception for an engineering discipline of Human Factors.

In P. Barber and J. Laws (ed.s) Special Issue on Cognitive Ergonomics, Ergonomics, 1989, vol. 32, no. 11, pp. 1613-1536. Dowell and Long 2

Part I. Requirement for Human Factors as an Engineering Discipline of Human-Computer Interaction

1.1 Introduction…………………………………………………………………………………………….2

1.2. Characterisation of the Human Factors Discipline…………………………………..3

1.3. State of the Human Factors Art………………………………………………………………..5

1.4. Human Factors Engineering Principles……………………………………………………7

1.5. The Requirement for an Engineering Conception for Human Factors…………………………………………………………………………………..11

1.1. Introduction

Advances in computer technology continue to raise expectations for the effectiveness of its applications. No longer is it sufficient for computer-based systems simply ‘to work’, but rather, their contribution to the success of the organisations utilising them is now under scrutiny (Didner, 1988). Consequently, views of organisational effectiveness must be extended to take account of the (often unacceptable) demands made on people interacting with computers to perform work, and the needs of those people. Any technical support for such views must be similarly extended (Cooley, 1980).

With recognition of the importance of ‘human-computer interactions’ as a determinant of effectiveness (Long, Hammond, Barnard, and Morton, 1983), Cognitive Ergonomics is emerging as a new and specialist activity of Ergonomics or Human Factors (HF). Throughout this paper, HF is to be understood as a discipline which includes Cognitive Ergonomics, but only as it addresses human-computer interactions. This usage is contrasted with HF as a discipline which more generally addresses human-machine interactions.

HF seeks to support the development of more effective computer-based systems. However, it has yet to prove itself in this respect, and moreover, the adequacy of the HF response to the need for better human-computer interactions is of concern. For it continues to be the case that interactions result from relatively ad hoc design activities to which may be attributed, at least in part, the frequent ineffectiveness of systems (Thimbleby, 1984).

This paper is concerned to develop one possible response of HF to the need for better human-computer interactions. It is in two parts. Part I examines the potential for HF to formulate HF engineering principles for supporting its better response. Pre-requisite to the realisation of that potential, it concludes, is a conception of the general design problem it addresses. Part II of the paper is a proposal for such a conception.

The structure of the paper is as follows. Part I first presents a characterisation of HF (Section 1.2) with regard to: the general design problem it addresses; its practices providing solutions to that problem; and its knowledge supporting those practices. The characterisation identifies the relations of HF with Software Engineering (SE) and with the super-ordinate discipline of Human-Computer Interaction (HCI). The characterisation supports both the assessment of contemporary HF and the arguments for the requirement of an engineering HF discipline.

Assessment of contemporary HF (Section 1.3.) concludes that its practices are predominantly those of a craft. Shortcomings of those practices are exposed which indict the absence of support from appropriate formal discipline knowledge. This absence prompts the question as to what might be the Dowell and Long 3

formal knowledge which HF could develop, and what might be the process of its formulation. By comparing the HF general design problem with other, better understood, general design problems, and by identifying the formal knowledge possessed by the corresponding disciplines, the potential for HF engineering principles is suggested (Section 1.4.).

However, a pre-requisite for the formulation of any engineering principle is a conception. A conception is a unitary (and consensus) view of a general design problem; its power lies in the coherence and completeness of its definition of the concepts which can express that problem. Engineering principles are articulated in terms of those concepts. Hence, the requirement for a conception for the HF discipline is concluded (Section 1.5.).

If HF is to be a discipline of the superordinate discipline of HCI, then the origin of a ‘conception for HF’ needs to be in a conception for the discipline of HCI itself. A conception (at least in form) as might be assumed by an engineering HCI discipline has been previously proposed (Dowell and Long, 1988a). It supports the conception for HF as an engineering discipline of HCI presented in Part II.

1.2. Characterisation of the Human Factors Discipline

HF seeks to support systems development through the systematic and reasoned design of human-computer interactions. As an endeavour, however, HF is still in its infancy, seeking to establish its identity and its proper contribution to systems development. For example, there is little consensus on how the role of HF in systems development is, or should be, configured with the role of SE (Walsh, Lim, Long, and Carver, 1988). A characterisation of the HF discipline is needed to clarify our understanding of both its current form and any conceivable future form. A framework supporting such a characterisation is summarised below (following Long and Dowell, 1989).

Most definitions of disciplines assume three primary characteristics: a general problem; practices, providing solutions to that problem; and knowledge, supporting those practices. This characterisation presupposes classes of general problem corresponding with types of discipline. For example, one class of general problem is that of the general design problem1 and includes the design of artefacts (of bridges, for example) and the design of ‘states of the world’ (of public administration, for example). Engineering and craft disciplines address general design problems.

Further consideration also suggests that any general problem has the necessary property of a scope, delimiting the province of concern of the associated discipline. Hence may disciplines also be distinguished from each other; for example, the engineering disciplines of Electrical and Mechanical Engineering are distinguished by their respective scopes of electrical and mechanical artefacts. So, knowledge possessed by Electrical Engineering supports its practices solving the general design problem of designing electrical artefacts (for example, Kirchoff’s Laws would support the analysis of branch currents for a given network design for an amplifier’s power supply).

Although rudimentary, this framework can be used to provide a characterisation of the HF discipline. It also allows a distinction to be made between the disciplines of HF and SE. First, however, it is required that the super-ordinate discipline of HCI be postulated. Thus, HCI is a discipline addressing a general design problem expressed informally as:

‘to design human-computer interactions for effective working’.

The scope of the HCI general design problem includes: humans, both as individuals, as groups, and as social organisations; computers, both as programmable machines, stand-alone and networked, and as functionally embedded devices within machines; and work, both with regard to individuals and the organisations in which it occurs (Long, 1989). For example, the general design problem of HCI

1They are to be distinguished from the class of general scientific problem of the explanation and prediction of phenomena. Dowell and Long 4

includes the problems of designing the effective use of navigation systems by aircrew on flight-decks, and the effective use of wordprocessors by secretaries in offices.

The general design problem of HCI can be decomposed into two general design problems, each having a particular scope. Whilst subsumed within the general design problem of HCI, these two general design problems are expressed informally as:

‘to design human interactions with computers for effective working’; and

‘to design computer interactions with humans for effective working’.

Each general design problem can be associated with a different discipline of the superordinate discipline of HCI. HF addresses the former, SE addresses the latter. With different – though complementary – aims, both disciplines address the design of human-computer interactions for effective working. The HF discipline concerns the physical and mental aspects of the human interacting with the computer. The SE discipline concerns the physical and software aspects of the computer interacting with the human.

The practices of HF and SE are the activities providing solutions to their respective general design problems and are supported by their respective discipline knowledge. Figure 1 shows schematically this characterisation of HF as a sub-discipline of HCI (following Long and Dowell, 1989). The following section employs the characterisation to evaluate contemporary HF.

1.3. State of the Human Factors Art

It would be difficult to reject the claim that the contemporary HF discipline has the character of a craft (at times even of a technocratic art). Its practices can justifiably be described as a highly refined form of design by ‘trial and error’ (Long and Dowell, 1989). Characteristic of a craft, the execution and success of its practices in systems development depends principally on the expertise, guided intuition and accumulated experience which the practitioner brings to bear on the design problem1.

It is also claimed that HF will always be a craft: that ultimately only the mind itself has the capability for reasoning about mental states, and for solving the under-specified and complex problem of designing user-interactions (see Carey, 1989); that only the designer’s mind can usefully infer the motivations underlying purposeful human behaviour, or make subjective assessments of the elegance or aesthetics of a computer interface (Bornat and Thimbleby, 1989).

The dogma of HF as necessarily a craft whose knowledge may only be the accrued experience of its practitioners, is nowhere presented rationally. Notions of the indeterminism, or the un-predictability of human behaviour are raised simply as a gesture. Since the dogma has support, it needs to be challenged to establish the extent to which it is correct, or to which it compels a misguided and counter-productive doctrine (see also, Carroll and Campbell, 1986).

Current HF practices exhibit four primary deficiencies which prompt the need to identify alternative forms for HF. First, HF practices are in general poorly integrated into systems development practices, nullifying the influence they might otherwise exert. Developers make implicit and explicit decisions with implications for user-interactions throughout the development process, typically without involving HF specialists. At an early stage of design, HF may offer only advice – advice which may all too easily be ignored and so not implemented. Its main contribution to the development of user-interactive systems is the evaluations it provides. Yet these are too often relegated to the closing stages of development programmes, where they can only suggest minor enhancements to completed designs because of the prohibitive costs of even modest re-implementations (Walsh et al,1988).

Second, HF practices have a suspect efficacy. Their contribution to improving product quality in any instance remains highly variable. Because there is no guarantee that experience of one development programme is appropriate or complete in its recruitment to another, re-application of that experience cannot be assured of repeated success (Long and Dowell, 1989).

Third, HF practices are inefficient. Each development of a system requires the solving of new problems by implementation then testing. There is no formal structure within which experience accumulated in the successful development of previous systems can be recruited to support solutions to the new problems, except through the memory and intuitions of the designer. These may not be shared by others, except indirectly (for example, through the formulation of heuristics), and so experience may be lost and may have to be re-acquired (Long and Dowell, 1989).

1The claimed craft status of HF practice remains unaffected by the counterclaim that science and, in particular, psychology, offers guidance to the designer. The guidance may be direct – by the designer’s familiarity with psychological theory and practice, or may be indirect by means of guidelines derived from psychological findings. In both cases, the guidance can offer only advice which must be implemented then tested to assess its effectiveness. Since the general scientific problem is the explanation and prediction of phenomena, and not the design of artifacts, the guidance cannot be directly embodied in design specifications which offer a guarantee with respect to the effectiveness of the implemented design. It is not being claimed here that the application of psychology directly or indirectly cannot contribute to better practice or to better designs, only that a practice supported in such a manner remains a craft, because its practice is by implementation then test, that is, by trial and error (see also Long and Dowell, 1989). Dowell and Long 6

Fourth, there are insufficient signs of systematic and intentional progress which will alleviate the three deficiencies of HF practices cited above. The lack of progress is particularly noticeable when HF is compared with the similarly nascent discipline of SE (Gries, 1981; Morgan, Shorter and Tainsh, 1988).

These four deficiencies are endemic to the craft nature of contemporary HF practice. They indict the tacit HF discipline knowledge consisting of accumulated experience embodied in procedures, even where that experience has been influenced by guidance offered by the science of psychology (see earlier footnote). Because the knowledge is tacit (i.e., implicit or informal), it cannot be operationalised, and hence the role of HF in systems development cannot be planned as would be necessary for the proper integration of the knowledge. Without being operationalised, its knowledge cannot be tested, and so the efficacy of the practices it supports cannot be guaranteed. Without being tested, its knowledge cannot be generalised for new applications and so the practices it can support will be inefficient. Without being operationalised, testable, and general, the knowledge cannot be developed in any structured way as required for supporting the systematic and intentional progress of the HF discipline.

It would be incorrect to assume the current absence of formality of HF knowledge to be a necessary response to the indeterminism of human behaviour. Both tacit discipline knowledge and ‘trial and error’ practices may simply be symptomatic of the early stage of development of the discipline1. The extent to which human behaviour is deterministic for the purposes of designing interactive computer-based systems needs to be independently established. Only then might it be known if HF discipline knowledge could be formal. Section 1.4. considers what form that knowledge might take, and Section 1.5. considers what might be the process of its formulation.

1.4. Human Factors Engineering Principles

HF has been viewed earlier (Section 1.2.) as comparable to other disciplines which address general design problems: for example, Civil Engineering and Health Administration. The nature of the formal knowledge of a future HF discipline might, then, be suggested by examining such disciplines. The general design problems of different disciplines, however, must first be related to their characteristic practices, in order to relate the knowledge supporting those practices. The establishment of this relationship follows.

The ‘design’ disciplines are ranged according to the ‘hardness’ or ‘softness’ of their respective general design problems. ‘Hard’ and ‘soft’ may have various meanings in this context. For example, hard design problems may be understood as those which include criteria for their ‘optimal’ solution (Checkland, 1981). In contrast, soft design problems are those which do not include such criteria. Any solution is assessed as ‘better or worse’ relative to other solutions. Alternatively, the hardness of a problem may be distinguished by its level of description, or the formality of the knowledge available for its specification (Carroll and Campbell, 1986). However, here hard and soft problems will be generally distinguished by their determinism for the purpose, that is, by the need for design solutions to be determinate. In this distinction between problems is implicated: the proliferation of variables expressed in a problem and their relations; the changes of variables and their relations, both with regard to their values and their number; and more generally, complexity, where it includes factors other than those identified. The variables implicated in the HF general design problem are principally those of human behaviours and structures.

A discipline’s practices construct solutions to its general design problem. Consideration of disciplines indicates much variation in their use of specification as a practice in constructing solutions.

1 Such was the history of many disciplines: the origin of modern day Production Engineering, for example, was a nineteenth century set of craft practices and tacit knowledge. Dowell and Long 7

This variation, however, appears not to be dependent on variations in the hardness of the general design problems. Rather, disciplines appear to differ in the completeness with which they specify solutions to their respective general design problems before implementation occurs. At one extreme, some disciplines specify solutions completely before implementation: their practices may be described as ‘specify then implement’ (an example might be Electrical Engineering). At the other extreme, disciplines appear not to specify their solutions at all before implementing them: their practices may be described as ‘implement and test’ (an example might be Graphic Design). Other disciplines, such as SE, appear characteristically to specify solutions partially before implementing them: their practices may be described as ‘specify and implement’. ‘Specify then Implement’, therefore, and ‘implement and test’, would appear to represent the extremes of a dimension by which disciplines may be distinguished by their practices. It is a dimension of the completeness with which they specify design solutions.

 

Taken together, the dimension of problem hardness, characterising general design problems, and the dimension of specification completeness, characterising discipline practices, constitute a classification space for design disciplines such as Electrical Engineering and Graphic Design. The space is shown in Figure 2, including for illustrative purposes, the speculative location of SE.

Two conclusions are prompted by Figure 2. First, a general relation may be apparent between the hardness of a general design problem and the realiseable completeness with which its solutions might be specified. In particular, a boundary condition is likely to be present beyond which more complete solutions could not be specified for a problem of given hardness. The shaded area of Figure 2 is intended to indicate this condition, termed the ‘Boundary of Determinism’ – because it derives from the determinism of the phenomena implicated in the general design problem. It suggests that whilst Dowell and Long 8

very soft problems may only be solved by ‘implement and test’ practices, hard problems may be solved by ‘specify then implement’ practices.

Second, it is concluded from Figure 2 that the actual completeness with which solutions to a general design problem are specified, and the realiseable completeness, might be at variance. Accordingly, there may be different possible forms of the same discipline – each form addressing the same problem but with characteristically different practices. With reference to HF then, the contemporary discipline, a craft, will characteristically solve the HF general design problem mainly by ‘implementation and testing’. If solutions are specified at all, they will be incomplete before being implemented. Yet depending on the hardness of the HF general design problem, the realiseable completeness of specified solutions may be greater and a future form of the discipline, with practices more characteristically those of ‘specify then implement’, may be possible. For illustrative purposes, those different forms of the HF discipline are located speculatively in the figure.

Whilst the realiseable completeness with which a discipline may specify design solutions is governed by the hardness of the general design problem, the actual completeness with which it does so is governed by the formality of the knowledge it possesses. Consideration of the traditional engineering disciplines supports this assertion. Their modern-day practices are characteristically those of ‘specify then implement’, yet historically, their antecedents were ‘specify and implement’ practices, and earlier still – ‘implement and test’ practices. For example, the early steam engine preceded formal knowledge of thermodynamics and was constructed by ‘implementation and testing’. Yet designs of thermodynamic machines are now relatively completely specified before being implemented, a practice supported by formal knowledge. Such progress then, has been marked by the increasing formality of knowledge. It is also in spite of the increasing complexity of new technology – an increase which might only have served to make the general design problem more soft, and the boundary of determinism more constraining. The dimension of the formality of a discipline’s knowledge – ranging from experience to principles, is shown in Figure 2 and completes the classification space for design disciplines.

It should be clear from Figure 2 that there exists no pre-ordained relationship between the formality of a discipline’s knowledge and the hardness of its general design problem. In particular, the practices of a (craft) discipline supported by experience – that is, by informal knowledge – may address a hard problem. But also, within the boundary of determinism, that discipline could acquire formal knowledge to support specification as a design practice.

In Section 1.3, four deficiencies of the contemporary HF discipline were identified. The absence of formal discipline knowledge was proposed to account for these deficiencies. The present section has been concerned to examine the potential for HF to develop a more formal discipline knowledge. The potential would appear to be governed by the hardness of the HF general design problem, that is, by the determinism of the human behaviours which it implicates, at least with respect to any solution of that problem. And clearly, human behaviour is, in some respects and to some degree, deterministic. For example, drivers’ behaviour on the roads is determined, at least within the limits required by a particular design solution, by traffic system protocols. A training syllabus determines, within the limits required by a particular solution, the behaviour of the trainees – both in terms of learning strategies and the level of training required. Hence, formal HF knowledge is to some degree attainable. At the very least, it cannot be excluded that the model for that formal knowledge is the knowledge possessed by the established engineering disciplines.

Generally, the established engineering disciplines possess formal knowledge: a corpus of operationalised, tested, and generalised principles. Those principles are prescriptive, enabling the complete specification of design solutions before those designs are implemented (see Dowell and Long, 1988b). This theme of prescription in design is central to the thesis offered here.

Engineering principles can be substantive or methodological (see Checkland, 1981; Pirsig, 1974). Methodological Principles prescribe the methods for solving a general design problem optimally. For example, methodological principles might prescribe the representations of designs specified at a general level of description and procedures for systematically decomposing those representations Dowell and Long 9

until complete specification is possible at a level of description of immediate design implementation (Hubka, Andreason and Eder, 1988). Methodological principles would assure each lower level of specification as being a complete representation of an immediately higher level.

Substantive Principles prescribe the features and properties of artefacts, or systems that will constitute an optimal solution to a general design problem. As a simple example, a substantive principle deriving from Kirchoff’s Laws might be one which would specify the physical structure of a network design (sources, resistances and their nodes etc) whose behaviour (e.g., distribution of current) would constitute an optimal solution to a design problem concerning an amplifier’s power supply.

1.5. The Requirement for an Engineering Conception for Human Factors

The contemporary HF discipline does not possess either methodological or substantive engineering principles. The heuristics it possesses are either ‘rules of thumb’ derived from experience or guidelines derived from psychological theories and findings. Neither guidelines nor rules of thumb offer assurance of their efficacy in any given instance, and particularly with regard to the effectiveness of a design. The methods and models of HF (as opposed to methodological and substantive principles) are similarly without such an assurance. Clearly, any evolution of HF as an engineering discipline in the manner proposed here has yet to begin. There is an immediate need then, for a view of how it might begin, and how formulation of engineering principles might be precipitated.

van Gisch and Pipino (1986) have suggested the process by which scientific (as opposed to engineering) disciplines acquire formal knowledge. They characterise the activities of scientific disciplines at a number of levels, the most general being an epistemological enquiry concerning the nature and origin of discipline knowledge. From such an enquiry a paradigm may evolve. Although a paradigm may be considered to subsume all discipline activities (Long, 1987), it must, at the very least, subsume a coherent and complete definition of the concepts which in this case describe the General (Scientific) Problem of a scientific discipline. Those concepts, and their derivatives, are embodied in the explanatory and predictive theories of science and enable the formulation of research problems. For example, Newton’s Principia commences with an epistemological enquiry, and a paradigm in which the concept of inertia first occurs. The concept of inertia is embodied in scientific theories of mechanics, as for example, in Newton’s Second Law.

Engineering disciplines may be supposed to require an equivalent epistemological enquiry. However, rather than that enquiry producing a paradigm, we may construe its product as a conception. Such a conception is a unitary (and consensus) view of the general design problem of a discipline. Its power lies in the coherence and completeness of its definition of concepts which express that problem. Hence, it enables the formulation of engineering principles which embody and instantiate those concepts. A conception (like a paradigm) is always open to rejection and replacement.

HF currently does not possess a conception of its general design problem. Current views of the issue are ill-formed, fragmentary, or implicit (Shneiderman, 1980; Card, Moran and Newell, 1983; Norman and Draper, 1986). The lack of such a shared view is particularly apparent within the HF research literature in which concepts are ambiguous and lacking in coherence; those associated with the ‘interface’ (eg, ‘virtual objects’, ‘human performance’, ‘task semantics’, ‘user error’ etc) are particular examples of this failure. It is inconceiveable that a formulation of HF engineering principles might occur whilst there is no consensus understanding of the concepts which they would embody. Articulation of a conception must then be a pre-requisite for formulation of engineering principles for HF. Dowell and Long 10

The origin of a conception for the HF discipline must be a conception for the HCI discipline itself, the superordinate discipline incorporating HF. A conception (at least in form) as might be assumed by an engineering HCI discipline has been previously proposed (Dowell and Long, 1988a). It supports the conception for HF as an engineering discipline presented in Part II.

In conclusion, Part I has presented the case for an engineering conception for HF. A proposal for such a conception follows in Part II. The status of the conception, however, should be emphasised. First, the conception at this point in time is speculative. Second, the conception continues to be developed in support of, and supported by, the research of the authors. Third, there is no validation in the conventional sense to be offered for the conception at this time. Validation of the conception for HF will come from its being able to describe the design problems of HF, and from the coherence of its concepts, that is, from the continuity of relations, and agreement, between concepts. Readers may assess these aspects of validity for themselves. Finally, the validity of the conception for HF will also rest in its being a consensus view held by the discipline as a whole and this is currently not the case. Dowell and Long 11

Part II. Conception for an Engineering Discipline of Human Factors

2.1. Conception of the Human Factors General Design Problem……………………………………………………………………………………….13

2.2 . Conception of Work and the User……………………………………………………………15

2.3. Conception of the Interactive Worksystem and the User……………………………………………………………………………………………………18

2.4. Conception of Performance of the Interactive Worksystem and the User………………………………………………………………………..24

2.5. Conclusions and the Prospect for Human Factors Engineering Principles.26

The potential for HF to become an engineering discipline, and so better to respond to the problem of interactive systems design, was examined in Part I. The possibility of realising this potential through HF engineering principles was suggested – principles which might prescriptively support HF design expressed as ‘specify then implement’. It was concluded that a pre-requisite to the development of HF engineering principles, is a conception of the general design problem of HF, which was informally expressed as:

‘to design human interactions with computers for effective working’.

Part II proposes a conception for HF. It attempts to establish the set of related concepts which can express the general design problem of HF more formally. Such concepts would be those embodied in HF engineering principles. As indicated in Section 1.1, the conception for HF is supported by a conception for an engineering discipline of HCI earlier proposed by Dowell and Long (1988a). Space precludes re-iteration of the conception for HCI here, other than as required for the derivation of the conception for HF. Part II first asserts a more formal expression of the HF general design problem which an engineering discipline would address. Part II then continues by elaborating and illustrating the concepts and their relations embodied in that expression.

2.1. Conception of the Human Factors General Design Problem.

The conception for the (super-ordinate) engineering discipline of HCI asserts a fundamental distinction between behavioural systems which perform work, and a world in which work originates, is performed and has its consequences. Specifically conceptualised are interactive worksystems consisting of human and computer behaviours together performing work. It is work evidenced in a world of physical and informational objects disclosed as domains of application. The distinction between worksystems and domains of application is represented schematically in Figure 3. Dowell and Long 12

 

Effectiveness derives from the relationship of an interactive worksystem with its domain of application – it assimilates both the quality of the work performed by the worksystem, and the costs it incurs. Quality and cost are the primary constituents of the concept of performance through which effectiveness is expressed.

The concern of an engineering HCI discipline would be the design of interactive worksystems for performance. More precisely, its concern would be the design of behaviours constituting a worksystem {S} whose actual performance (PA) conformed with some desired performance (PD). And to design {S} would require the design of human behaviours {U} interacting with computer behaviours {C}. Hence, conception of the general design problem of an engineering discipline of HCI is expressed as:

Specify then implement {U} and {C}, such that

{U} interacting with {C} = {S}as PAPD

where PD = fn. { QD ,KD }

QD expresses the desired quality of the products of work within the given domain of application,

KD expresses acceptable (i.e., desired) costs incurred by the worksystem, i.e., by both human and computer.

The problem, when expressed as one of to ‘specify then implement’ designs of interactive worksystems, is equivalent to the general design problems characteristic of other engineering disciplines (see Section 1.4.).

The interactive worksystem can be distinguished as two separate, but interacting sub-systems, that is, a system of human behaviours interacting with a system of computer behaviours. The human behaviours may be treated as a behavioural system in their own right, but one interacting with the system of computer behaviours to perform work. It follows that the general design problem of HCI may be decomposed with regard to its scope (with respect to the human and computer behavioural Dowell and Long 13

sub-systems) giving two related problems. Decomposition with regard to the human behaviours gives the general design problem of the HF1 discipline as:

Specify then implement {U} such that

{U} interacting with {C} = {S}as PAPD

The general design problem of HF then, is one of producing implementable specifications of human behaviours {U} which, interacting with computer behaviours {C}, are constituted within a worksystem {S} whose performance conforms with a desired performance (PD).

The following sections elaborate the conceptualisation of human behaviours (the user, or users) with regard to the work they perform, the interactive worksystem in which they are constituted, and performance.

2.2 . Conception of Work and the User

The conception for HF identifies a world in which work originates, is performed and has its consequences. This section presents the concepts by which work and its relations with the user are expressed.

Objects and their attributes

Work occurs in a world consisting of objects and arises in the intersection of organisations and (computer) technology. Objects may be both abstract as well as physical, and are characterised by their attributes. Abstract attributes of objects are attributes of information and knowledge. Physical attributes are attributes of energy and matter. Letters (i.e., correspondence) are objects; their abstract attributes support the communication of messages etc; their physical attributes support the visual/verbal representation of information via language.

Attributes and levels of complexity

The different attributes of an object may emerge at different levels within a hierarchy of levels of complexity (see Checkland, 1981). For example, characters and their configuration on a page are physical attributes of the object ‘a letter’ which emerge at one level of complexity; the message of the letter is an abstract attribute which emerges at a higher level of complexity.

Objects are described at different levels of description commensurate with their levels of complexity. However, at a high level of description, separate objects may no longer be differentiated. For example, the object ‘income tax return’ and the object ‘personal letter’ are both ‘correspondence’ objects at a higher level of description. Lower levels of description distinguish their respective attributes of content, intended correspondent etc. In this way, attributes of an object described at one level of description completely re-represent those described at a lower level.

Relations between attributes

Attributes of objects are related, and in two ways. First, attributes at different levels of complexity are related. As indicated earlier, those at one level are completely subsumed in those at a higher level. In particular, abstract attributes will occur at higher levels of complexity than physical attributes and will subsume those lower level physical attributes. For example, the abstract attributes of an object ‘message’ concerning the representation of its content by language subsume the lower level physical attributes, such as the font of the characters expressing the language. As an alternative example, an

1The General Design Problem of SE would be equivalent and be expressed as ‘Specify then implement {C} such that .. etc. Dowell and Long 14

industrial process, such as a steel rolling process in a foundry, is an object whose abstract attributes will include the process’s efficiency. Efficiency subsumes physical attributes of the process, – its power consumption, rate of output, dimensions of the output (the rolled steel), etc – emerging at a lower level of complexity.

Second, attributes of objects are related within levels of complexity. There is a dependency between the attributes of an object emerging within the same level of complexity. For example, the attributes of the industrial process of power consumption and rate of output emerge at the same level and are inter-dependent.

Attribute states and affordance

At any point or event in the history of an object, each of its attributes is conceptualised as having a state. Further, those states may change. For example, the content and characters (attributes) of a letter (object) may change state: the content with respect to meaning and grammar etc; its characters with respect to size and font etc. Objects exhibit an affordance for transformation, engendered by their attributes’ potential for state change (see Gibson, 1977). Affordance is generally pluralistic in the sense that there may be many, or even, infinite transformations of objects, according to the potential changes of state of their attributes.

Attributes’ relations are such that state changes of one attribute may also manifest state changes in related attributes, whether within the same level of complexity, or across different levels of complexity. For example, changing the rate of output of an industrial process (lower level attribute) will change both its power consumption (same level attribute) and its efficiency (higher level attribute).

Organisations, domains (of application), and the requirement for attribute state changes

A domain of application may be conceptualised as: ‘a class of affordance of a class of objects’. Accordingly, an object may be associated with a number of domains of application (‘domains’). The object ‘book’ may be associated with the domain of typesetting (state changes of its layout attributes) and with the domain of authorship (state changes of its textual content). In principle, a domain may have any level of generality, for example, the writing of letters and the writing of a particular sort of letter.

Organisations are conceptualised as having domains as their operational province and of requiring the realisation of the affordance of objects. It is a requirement satisfied through work. Work is evidenced in the state changes of attributes by which an object is intentionally transformed: it produces transforms, that is, objects whose attributes have an intended state. For example, ‘completing a tax return’ and ‘writing to an acquaintance’, each have a ‘letter’ as their transform, where those letters are objects whose attributes (their content, format and status, for example) have an intended state. Further editing of those letters would produce additional state changes, and therein, new transforms.

Goals

Organisations express their requirement for the transformation of objects through specifying goals. A product goal specifies a required transform – a required realisation of the affordance of an object. In expressing the required transformation of an object, a product goal will generally suppose necessary state changes of many attributes. The requirement of each attribute state change can be expressed as a task goal, deriving from the product goal. So for example, the product goal demanding transformation of a letter making its message more courteous, would be expressed by task goals possibly requiring state changes of semantic attributes of the propositional structure of the text, and of syntactic attributes of the grammatical structure. Hence, a product goal can be re-expressed as a task goal structure, a hierarchical structure expressing the relations between task goals, for example, their sequences. Dowell and Long 15

In the case of the computer-controlled steel rolling process, the process is an object whose transformation is required by a foundry organisation and expressed by a product goal. For example, the product goal may specify the elimination of deviations of the process from a desired efficiency. As indicated earlier, efficiency will at least subsume the process’s attributes of power consumption, rate of output, dimensions of the output (the rolled steel), etc. As also indicated earlier, those attributes will be inter-dependent such that state changes of one will produce state changes in the others – for example, changes in rate of output will also change the power consumption and the efficiency of the process. In this way, the product goal (of correcting deviations from the desired efficiency) supposes the related task goals (of setting power consumption, rate of output, dimensions of the output etc). Hence, the product goal can be expressed as a task goal structure and task goals within it will be assigned to the operator monitoring the process.

Quality

The transformation of an object demanded by a product goal will generally be of a multiplicity of attribute state changes – both within and across levels of complexity. Consequently, there may be alternative transforms which would satisfy a product goal – letters with different styles, for example – where those different transforms exhibit differing compromises between attribute state changes of the object. By the same measure, there may also be transforms which will be at variance with the product goal. The concept of quality (Q) describes the variance of an actual transform with that specified by a product goal. It enables all possible outcomes of work to be equated and evaluated.

Work and the user

Conception of the domain then, is of objects, characterised by their attributes, and exhibiting an affordance arising from the potential changes of state of those attributes. By specifying product goals, organisations express their requirement for transforms – objects with specific attribute states. Transforms are produced through work, which occurs only in the conjunction of objects affording transformation and systems capable of producing a transformation.

From product goals derive a structure of related task goals which can be assigned either to the human or to the computer (or both) within an associated worksystem. The task goals assigned to the human are those which motivate the human’s behaviours. The actual state changes (and therein transforms) which those behaviours produce may or may not be those specified by task and product goals, a difference expressed by the concept of quality.

Taken together, the concepts presented in this section support the HF conception’s expression of work as relating to the user. The following section presents the concepts expressing the interactive worksystem as relating to the user.

2.3. Conception of the Interactive Worksystem and the User.

The conception for HF identifies interactive worksystems consisting of human and computer behaviours together performing work. This section presents the concepts by which interactive worksystems and the user are expressed.

Interactive worksystems

Humans are able to conceptualise goals and their corresponding behaviours are said to be intentional (or purposeful). Computers, and machines more generally, are designed to achieve goals, and their corresponding behaviours are said to be intended (or purposive1). An interactive worksystem

1 Human behaviour is teleological, machine behaviour is teleonomic (Checkland, 1981). Dowell and Long 16

(‘worksystem’) is a behavioural system distinguished by a boundary enclosing all human and computer behaviours whose purpose is to achieve and satisfy a common goal. For example, the behaviours of a secretary and wordprocessor whose purpose is to produce letters constitute a worksystem. Critically, it is only by identifying that common goal that the boundary of the worksystem can be established: entities, and more so – humans, may exhibit a range of contiguous behaviours, and only by specifying the goals of concern, might the boundary of the worksystem enclosing all relevant behaviours be correctly identified.

Worksystems transform objects by producing state changes in the abstract and physical attributes of those objects (see Section 2.2). The secretary and wordprocessor may transform the object ‘correspondence’ by changing both the attributes of its meaning and the attributes of its layout. More generally, a worksystem may transform an object through state changes produced in related attributes. An operator monitoring a computer-controlled industrial process may change the efficiency of the process through changing its rate of output.

The behaviours of the human and computer are conceptualised as behavioural sub-systems of the worksystem – sub-systems which interact1. The human behavioural sub-system is here more appropriately termed the user. Behaviour may be loosely understood as ‘what the human does’, in contrast with ‘what is done’ (i.e. attribute state changes in a domain). More precisely the user is conceptualised as:

a system of distinct and related human behaviours, identifiable as the sequence of states of a person2 interacting with a computer to perform work, and corresponding with a purposeful (intentional) transformation of objects in a domain3 (see also Ashby, 1956).

Although possible at many levels, the user must at least be expressed at a level commensurate with the level of description of the transformation of objects in the domain. For example, a secretary interacting with an electronic mailing facility is a user whose behaviours include receiving and replying to messages. An operator interacting with a computer-controlled milling machine is a user whose behaviours include planning the tool path to produce a component of specified geometry and tolerance.

The user as a system of mental and physical human behaviours

The behaviours constituting a worksystem are both physical as well as abstract. Abstract behaviours are generally the acquisition, storage, and transformation of information. They represent and process information at least concerning: domain objects and their attributes, attribute relations and attribute states, and the transformations required by goals. Physical behaviours are related to, and express, abstract behaviours.

Accordingly, the user is conceptualised as a system of both mental (abstract) and overt (physical) behaviours which extend a mutual influence – they are related. In particular, they are related within an assumed hierarchy of behaviour types (and their control) wherein mental behaviours generally determine, and are expressed by, overt behaviours. Mental behaviours may transform (abstract) domain objects represented in cognition, or express through overt behaviour plans for transforming domain objects.

1 The human behaviours and computer behaviours are separate systems ‘coupled’ to form a worksystem (see Ashby, 1956)

2Behaviours are conceptualised as being supported and enabled by co-extensive structures. The user, however, is a description of a behavioural system and does not describe the corresponding human structures (see later in Section 2.3.).

3This conception of human behaviour differs from that of behaviourist psychology which generally seeks correlations between observable inputs and outputs of a mental ‘blackbox’ without reference to any postulated artifacts of the mind or brain. Dowell and Long 17

So for example, the operator working in the control room of the foundry has the product goal required to maintain a desired condition of the computer-controlled steel rolling process. The operator attends to the computer (whose behaviours include the transmission of information about the process). Hence, the operator acquires a representation of the current condition of the process by collating the information displayed by the computer and assessing it by comparison with the condition specified by the product goal. The operator`s acquisition, collation and assessment are each distinct mental behaviours, conceptualised as representing and processing information. The operator reasons about the attribute state changes necessary to eliminate any discrepancy between current and desired conditions of the process, that is, the set of related changes which will produce the required transformation of the process. That decision is expressed in the set of instructions issued to the computer through overt behaviour – making keystrokes, for example.

The user is conceptualised as having cognitive, conative and affective aspects. The cognitive aspects of the user are those of their knowing, reasoning and remembering, etc; the conative aspects are those of their acting, trying and persevering, etc; and the affective aspects are those of their being patient, caring, and assured, etc. Both mental and overt human behaviours are conceptualised as having these three aspects.

Human-computer interaction

Although the human and computer behaviours may be treated as separable sub-systems of the worksystem, those sub-systems extend a “mutual influence”, or interaction whose configuration principally determines the worksystem (Ashby, 1956).

Interaction is conceptualised as:

the mutual influence of the user (i.e., the human behaviours) and the computer behaviours associated within an interactive worksystem

Hence, the user {U} and computer behaviours {C} constituting a worksystem {S}, were expressed in the general design problem of HF (Section 2.1) as:

{U} interacting with {C} = {S}

Interaction of the human and computer behaviours is the fundamental determinant of the worksystem, rather than their individual behaviours per se. For example, the behaviours of an operator interact with the behaviours of a computer-controlled milling machine. The operator’s behaviours influence the behaviours of the machine, perhaps in the tool path program – the behaviours of the machine, perhaps the run-out of its tool path, influences the selection behaviour of the operator. The configuration of their interaction – the inspection that the machine allows the operator, the tool path control that the operator allows the machine – determines the worksystem that the operator and machine behaviours constitute in their planning and execution of the machining work.

The assignment of task goals then, to either the human or the computer delimits the user and therein configures the interaction. For example, replacement of a mis-spelled word required in a document is a product goal which can be expressed as a task goal structure of necessary and related attribute state changes. In particular, the text field for the correctly spelled word demands an attribute state change in the text spacing of the document. Specifying that state change may be a task goal assigned to the user, as in interaction with the behaviours of early text editor designs, or it may be a task goal assigned to the computer, as in interaction with the ‘wrap-round’ behaviours of contemporary wordprocessor designs. The assignment of the task goal of specification configures the interaction of the human and computer behaviours in each case; it delimits the user.

On-line and off-line human behaviours Dowell and Long 18

The user may include both on-line and off-line human behaviours: on-line behaviours are associated with the computer’s representation of the domain; offline behaviours are associated with non-computer representations of the domain, or the domain itself.

As an illustration of the distinction, consider the example of an interactive worksystem consisting of behaviours of a secretary and a wordprocessor and required to produce a paper-based copy of a dictated letter stored on audio tape. The product goal of the worksystem here requires the transformation of the physical representation of the letter from one medium to another, that is, from tape to paper. From the product goal derives the task goals relating to required attribute state changes of the letter. Certain of those task goals will be assigned to the secretary. The secretary’s off-line behaviours include listening to, and assimilating the dictated letter, so acquiring a representation of the domain directly. By contrast, the secretary’s on-line behaviours include specifying the represention by the computer of the transposed content of the letter in a desired visual/verbal format of stored physical symbols.

On-line and off-line human behaviours are a particular case of the ‘internal’ interactions between a human’s behaviours as, for example, when the secretary’s typing interacts with memorisations of successive segments of the dictated letter.

Human structures and the user

Conceptualisation of the user as a system of human behaviours needs to be extended to the structures supporting behaviour.

Whereas human behaviours may be loosely understood as ‘what the human does’, the structures supporting them can be understood as ‘how they are able to do what they do’ (see Marr, 1982; Wilden, 1980). There is a one to many mapping between a human`s structures and the behaviours they might support: the structures may support many different behaviours.

In co-extensively enabling behaviours at each level, structures must exist at commensurate levels. The human structural architecture is both physical and mental, providing the capability for a human’s overt and mental behaviours. It provides a represention of domain information as symbols (physical and abstract) and concepts, and the processes available for the transformation of those representations. It provides an abstract structure for expressing information as mental behaviour. It provides a physical structure for expressing information as physical behaviour.

Physical human structure is neural, bio-mechanical and physiological. Mental structure consists of representational schemes and processes. Corresponding with the behaviours it supports and enables, human structure has cognitive, conative and affective aspects. The cognitive aspects of human structures include information and knowledge – that is, symbolic and conceptual representations – of the domain, of the computer and of the person themselves, and it includes the ability to reason. The conative aspects of human structures motivate the implementation of behaviour and its perseverence in pursuing task goals. The affective aspects of human structures include the personality and temperament which respond to and supports behaviour.

To illustrate the conceptualisation of mental structure, consider the example of structure supporting an operator’s behaviours in the foundry control room. Physical structure supports perception of the steel rolling process and executing corrective control actions to the process through the computer input devices. Mental structures support the acquisition, memorisation and transformation of information about the steel rolling process. The knowledge which the operator has of the process and of the computer supports the collation, assessment and reasoning about corrective control actions to be executed.

The limits of human structure determine the limits of the behaviours they might support. Such structural limits include those of: intellectual ability; knowledge of the domain and the computer; memory and attentional capacities; patience; perseverence; dexterity; and visual acuity etc. The structural limits on behaviour may become particularly apparent when one part of the structure (a Dowell and Long 19

channel capacity, perhaps) is required to support concurrent behaviours, perhaps simultaneous visual attending and reasoning behaviours. The user then, is ‘resource’ limited by the co-extensive human structure.

The behavioural limits of the human determined by structure are not only difficult to define with any kind of completeness, they will also be variable because that structure can change, and in a number of respects. A person may have self-determined changes in response to the domain – as expressed in learning phenomena, acquiring new knowledge of the domain, of the computer, and indeed of themselves, to better support behaviour. Also, human structure degrades with the expenditure of resources in behaviour, as evidenced in the phenomena of mental and physical fatigue. It may also change in response to motivating or de-motivating influences of the organisation which maintains the worksystem.

It must be emphasised that the structure supporting the user is independent of the structure supporting the computer behaviours. Neither structure can make any incursion into the other, and neither can directly support the behaviours of the other. (Indeed this separability of structures is a pre-condition for expressing the worksystem as two interacting behavioural sub-systems.) Although the structures may change in response to each other, they are not, unlike the behaviours they support, interactive; they are not included within the worksystem. The combination of structures of both human and computer supporting their interacting behaviours is conceptualised as the user interface .

Resource costs of the user

Work performed by interactive worksystems always incurs resource costs. Given the separability of the human and the computer behaviours, certain resource costs are associated directly with the user and distinguished as structural human costs and behavioural human costs.

Structural human costs are the costs of the human structures co-extensive with the user. Such costs are incurred in developing and maintaining human skills and knowledge. More specifically, structural human costs are incurred in training and educating people, so developing in them the structures which will enable their behaviours necessary for effective working. Training and educating may augment or modify existing structures, provide the person with entirely novel structures, or perhaps even reduce existing structures. Structural human costs will be incurred in each case and will frequently be borne by the organisation. An example of structural human costs might be the costs of training a secretary in the particular style of layout required for an organisation’s correspondence with its clients, and in the operation of the computer by which that layout style can be created.

Structural human costs may be differentiated as cognitive, conative and affective structural costs of the user. Cognitive structural costs express the costs of developing the knowledge and reasoning abilities of people and their ability for formulating and expressing novel plans in their overt behaviour – as necessary for effective working. Conative structural costs express the costs of developing the activity, stamina and persistence of people as necessary for effective working. Affective structural costs express the costs of developing in people their patience, care and assurance as necessary as necessary for effective working.

Behavioural human costs are the resource costs incurred by the user (i.e by human behaviours) in recruiting human structures to perform work. They are both physical and mental resource costs. Physical behavioural costs are the costs of physical behaviours, for example, the costs of making keystrokes on a keyboard and of attending to a screen display; they may be expressed without differentiation as physical workload. Mental behavioural costs are the costs of mental behaviours, for example, the costs of knowing, reasoning, and deciding; they may be expressed without differentiation as mental workload. Mental behavioural costs are ultimately manifest as physical behavioural costs.

When differentiated, mental and physical behavioural costs are conceptualised as the cognitive, conative and affective behavioural costs of the user. Cognitive behavioural costs relate to both the mental representing and processing of information, and the demands made on the individual`s extant Dowell and Long 20

knowledge, as well as the physical expression thereof in the formulation and expression of a novel plan. Conative behavioural costs relate to the repeated mental and physical actions and effort required by the formulation and expression of the novel plan. Affective behavioural costs relate to the emotional aspects of the mental and physical behaviours required in the formulation and expression of the novel plan. Behavioural human costs are evidenced in human fatigue, stress and frustration; they are costs borne directly by the individual. Dowell and Long 21

2.4. Conception of Performance of the Interactive Worksystem and the User.

In asserting the general design problem of HF (Section 2.1.), it was reasoned that:

“Effectiveness derives from the relationship of an interactive worksystemwith its domain of application – it assimilates both the quality of the work performed by the worksystem, and the costs incurred by it. Quality and cost are the primary constituents of the concept of performance through which effectiveness is expressed. ”

This statement followed from the distinction between interactive worksystems performing work, and the work they perform. Subsequent elaboration upon this distinction enables reconsideration of the concept of performance, and examination of its central importance within the conception for HF.

Because the factors which constitute this engineering concept of performance (i.e the quality and costs of work) are determined by behaviour, a concordance is assumed between the behaviours of worksystems and their performance: behaviour determines performance (see Ashby, 1956; Rouse, 1980). The quality of work performed by interactive worksystems is conceptualised as the actual transformation of objects with regard to their transformation demanded by product goals. The costs of work are conceptualised as the resource costs incurred by the worksystem, and are separately attributed to the human and computer. Specifically, the resource costs incurred by the human are differentiated as: structural human costs – the costs of establishing and maintaining the structure supporting behaviour; and behavioural human costs – the costs of the behaviour recruiting structure to its own support. Structural and behavioural human costs were further differentiated as cognitive, conative and affective costs.

A desired performance of an interactive worksystem may be conceptualised. Such a desired performance might either be absolute, or relative as in a comparative performance to be matched or improved upon. Accordingly, criteria expressing desired performance, may either specify categorical gross resource costs and quality, or they may specify critical instances of those factors to be matched or improved upon1.

Discriminating the user’s performance within the performance of the interactive worksystem would require the separate assimilation of human resource costs and their achievement of desired attribute state changes demanded by their assigned task goals. Further assertions concerning the user arise from the conceptualisation of worksystem performance. First, the conception of performance is able to distinguish the quality of the transform from the effectiveness of the worksystems which produce them. This distinction is essential as two worksystems might be capable of producing the same transform, yet if one were to incur a greater resource cost than the other, its effectiveness would be the lesser of the two systems.

Second, given the concordance of behaviour with performance, optimal human (and equally, computer) behaviours may be conceived as those which incur a minimum of resource costs in producing a given transform. Optimal human behaviour would minimise the resource costs incurred in producing a transform of given quality (Q). However, that optimality may only be categorically determined with regard to worksystem performance, and the best performance of a worksystem may still be at variance with the performance desired of it (PD). To be more specific, it is not sufficient for human behaviours simply to be error-free. Although the elimination of errorful human behaviours may contribute to the best performance possible of a given worksystem, that performance may still be

1See Section 1.4. where the possibility for expressing, by an absolute value, the desired performance of a system or artifact is associated with the hardness of the design problem. Dowell and Long 22

less than desired performance. Conversely, although human behaviours may be errorful, a worksystem may still support a desired performance.

Third, the common measures of human ‘performance’ – errors and time, are related in this conceptualisation of performance. Errors are behaviours which increase resource costs incurred in producing a given transform, or which reduce the quality of transform, or both. The duration of human behaviours may (very generally) be associated with increases in behavioural user costs.

Fourth, structural and behavioural human costs may be traded-off in performance. More sophisticated human structures supporting the user, that is, the knowledge and skills of experienced and trained people, will incur high (structural) costs to develop, but enable more efficient behaviours – and therein, reduced behavioural costs.

Fifth, resource costs incurred by the human and the computer may be traded-off in performance. A user can sustain a level of performance of the worksystem by optimising behaviours to compensate for the poor behaviours of the computer (and vice versa), i.e., behavioural costs of the user and computer are traded-off. This is of particular concern for HF as the ability of humans to adapt their behaviours to compensate for poor computer-based systems often obscures the low effectiveness of worksystems.

This completes the conception for HF. From the initial assertion of the general design problem of HF, the concepts that were invoked in its formal expression have subsequently been defined and elaborated, and their coherence established.

2.5. Conclusions and the Prospect for Human Factors Engineering Principles

Part I of this paper examined the possibility of HF becoming an engineering discipline and specifically, of formulating HF engineering principles. Engineering principles, by definition prescriptive, were seen to offer the opportunity for a significantly more effective discipline, ameliorating the problems which currently beset HF – problems of poor integration, low efficiency, efficacy without guarantee, and slow development.

A conception for HF is a pre-requisite for the formulation of HF engineering principles. It is the concepts and their relations which express the HF general design problem and which would be embodied in HF engineering principles. The form of a conception for HF was proposed in Part II. Originating in a conception for an engineering discipline of HCI (Dowell and Long, 1988a), the conception for HF is postulated as appropriate for supporting the formulation of HF engineering principles.

The conception for HF is a broad view of the HF general design problem. Instances of the general design problem may include the development of a worksystem, or the utilisation of a worksystem within an organisation. Developing worksystems which are effective, and maintaining the effectiveness of worksystems within a changing organisational environment, are both expressed within the problem. In addition, the conception takes the broad view on the research and development activities necessary to solve the general design problem and its instantiations, respectively. HF engineering research practices would seek solutions, in the form of (methodological and substantive) engineering principles, to the general design problem. HF engineering practices in systems development programmes would seek to apply those principles to solve instances of the general design problem, that is, to the design of specific users within specific interactive worksystems. Collaboration of HF and SE specialists and the integration of their practices is assumed.

Notwithstanding the comprehensive view of determinacy developed in Part I, the intention of specification associated with people might be unwelcome to some. Yet, although the requirement for Dowell and Long 23

design and specification of the user is being unequivocally proposed, techniques for implementing those specifications are likely to be more familiar than perhaps expected – and possibly more welcome. Such techniques might include selection tests, aptitude tests, training programmes, manuals and help facilities, or the design of the computer.

A selection test would assess the conformity of a candidates’ behaviours with a specification for the user. An aptitude test would assess the potential for a candidates’ behaviours to conform with a specification for the user. Selection and aptitude tests might assess candidates either directly or indirectly. A direct test would observe candidates’ behaviours in ‘hands on’ trial periods with the ‘real’ computer and domain, or with simulations of the computer and domain. An indirect test would examine the knowledge and skills (i.e., the structures) of candidates, and might be in the form of written examinations. A training programme would develop the knowledge and skills of a candidate as necessary for enabling their behaviours to conform with a specification for the user. Such programmes might take the form of either classroom tuition or ‘hands on’ learning. A manual or on-line help facility would augment the knowledge possessed by a human, enabling their behaviours to conform with a specification for the user. Finally, the design of the computer itself, through the interactions of its behaviours with the user, would enable the implementation of a specification for the user.

To conclude, discussion of the status of the conception for HF must be briefly extended. The contemporary HF discipline was characterised as a craft discipline. Although it may alternatively be claimed as an applied science discipline, such claims must still admit the predominantly craft nature of systems development practices (Long and Dowell, 1989). No instantiations of the HF engineering discipline implied in this paper are visible, and examples of supposed engineering practices may be readily associated with craft or applied science disciplines. There are those, however, who would claim the craft nature of the HF discipline to be dictated by the nature of the problem it addresses. They may maintain that the indeterminism and complexity of the problem of designing human systems (the softness of the problem) precludes the application of formal and prescriptive knowledge. This claim was rejected in Part I on the grounds that it mistakes the current absence of formal discipline knowledge as an essential reflection of the softness of its general design problem. The claim fails to appreciate that this absence may rather be symptomatic of the early stage of the discipline`s development. The alternative position taken by this paper is that the softness of the problem needs to be independently established. The general design problem of HF is, to some extent, hard – human behaviour is clearly to some useful degree deterministic – and certainly sufficiently deterministic for the design of certain interactive worksystems. It may accordingly be presumed that HF engineering principles can be formulated to support product quality within a systems development ethos of ‘design for performance’.

The extent to which HF engineering principles might be realiseable in practice remains to be seen. It is not supposed that the development of effective systems will never require craft skills in some form, and engineering principles are not seen to be incompatible with craft knowledge, particularly with respect to their instantiation (Long and Dowell, 1989). At a minimum, engineering principles might be expected to augment the craft knowledge of HF professionals. Yet the great potential of HF engineering principles for the effectiveness of the discipline demands serious consideration. However, their development would only be by intention, and would be certain to demand a significant research effort. This paper is intended to contribute towards establishing the conception required for the formulation of HF engineering principles. Dowell and Long 24

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Bornat R. and Thimbleby H., (1989), The Life and Times of ded, Text Display Editor. In J.B. Long and A.D. Whitefield (ed.s), Cognitive Ergonomics and Human Computer Interaction. Cambridge: Cambridge University Press.

Card, S. K., Moran, T., and Newell, A., (1983), The Psychology of Human Computer Interaction, New Jersey: Lawrence Erlbaum Associates.

Carey, T., (1989), Position Paper: The Basic HCI Course For Software Engineers. SIGCHI Bulletin, Vol. 20, no. 3.

Carroll J.M., and Campbell R. L., (1986), Softening up Hard Science: Reply to Newell and Card. Human Computer Interaction, Vol. 2, pp. 227-249.

Checkland P., (1981), Systems Thinking, Systems Practice. Chichester: John Wiley and Sons.

Cooley M.J.E., (1980), Architect or Bee? The Human/Technology Relationship. Slough: Langley Technical Services.

Didner R.S. A Value Added Approach to Systems Design. Human Factors Society Bulletin, May 1988.

Dowell J., and Long J. B., (1988a), Human-Computer Interaction Engineering. In N. Heaton and M . Sinclair (ed.s), Designing End-User Interfaces. A State of the Art Report. 15:8. Oxford: Pergamon Infotech.

Dowell, J., and Long, J. B., 1988b, A Framework for the Specification of Collaborative Research in Human Computer Interaction, in UK IT 88 Conference Publication 1988, pub. IEE and BCS.

Gibson J.J., (1977), The Theory of Affordances. In R.E. Shaw and J. Branford (ed.s), Perceiving, Acting and Knowing. New Jersey: Erlbaum.

Gries D., (1981), The Science of Programming, New York: Springer Verlag.

Hubka V., Andreason M.M. and Eder W.E., (1988), Practical Studies in Systematic Design, London: Butterworths.

Long J.B., Hammond N., Barnard P. and Morton J., (1983), Introducing the Interactive Computer at Work: the Users’ Views. Behaviour And Information Technology, 2, pp. 39-106.

Long, J., (1987), Cognitive Ergonomics and Human Computer Interaction. In P. Warr (ed.), Psychology at Work. England: Penguin.

Long J.B., (1989), Cognitive Ergonomics and Human Computer Interaction: an Introduction. In J.B. Long and A.D. Whitefield (ed.s), Cognitive Ergonomics and Human Computer Interaction. Cambridge: Cambridge University Press.

Long J.B. and Dowell J., (1989), Conceptions of the Discipline of HCI: Craft, Applied Science, and Engineering. In Sutcliffe A. and Macaulay L., Proceedings of the Fifth Conference of the BCS HCI SG. Cambridge: Cambridge University Press. Dowell and Long 25

Marr D., (1982), Vision. New York: Wh Freeman and Co.

Morgan D.G., Shorter D.N. and Tainsh M., (1988), Systems Engineering. Improved Design and Construction of Complex IT systems. Available from IED, Kingsgate House, 66-74 Victoria Street, London, SW1.

Norman D.A. and Draper S.W. (eds) (1986): User Centred System Design. Hillsdale, New Jersey: Lawrence Erlbaum;

Pirsig R., 1974, Zen and the Art of Motorcycle Maintenance. London: Bodley Head.

Rouse W. B., (1980), Systems Engineering Models of Human Machine Interaction. New York: Elsevier North Holland.

Shneiderman B. (1980): Software Psychology: Human Factors in Computer and Information Systems. Cambridge, Mass.: Winthrop.

Thimbleby H., (1984), Generative User Engineering Principles for User Interface Design. In B. Shackel (ed.), Proceedings of the First IFIP conference on Human-Computer Interaction. Human-Computer Interaction – INTERACT’84. Amsterdam: Elsevier Science. Vol.2, pp. 102-107.

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This paper has greatly benefited from discussion with others and from their criticisms. We would like to thank our collegues at the Ergonomics Unit, University College London and in particular, Andy Whitefield, Andrew Life and Martin Colbert. We would also like to thank the editors of the special issue for their support and two anonymous referees for their helpful comments. Any remaining infelicities – of specification and implementation – are our own.

5. HCI Engineering Research Exemplar 150 150 John

5. HCI Engineering Research Exemplar

The HCI/E approach is based on a Conception for HCI/E and associated Frameworks for HCI research, comprising – Discipline; Design Problem; Design Knowledge; Design Practice (as set out above) and Design Research Exemplar – as set out below. The latter encapsulates all the HCI/E components.

The design research exemplar specifies a complete HCI/E design research cycle, which, once implemented, constitutes a case-study of HCI as Engineering.

The diagram, which follows, presents the HCI/E design research exemplar for HCI as Engineering.

Key: EP – Empirical Practice EK – Empirical Knowledge as: design guidelines; models and methods

SFP – Specific Formal Practice GFP – General Formal Practice

SFK Specific Formal Knowledge as: Specific Design Principle (Declarative and Methodological)

GFK – General Formal Knowledge as: General Design Principle (Declarative and methodological)

The HCI/E design research exemplar is described below by level, starting at the lowest level:

Level 1: User Requirements are transformed into an Interactive System by means of implicit design research, implicit design knowledge and implicit design practices of implement and test. The knowledge and practices at this level are not explicit and so are not addressed here. Hence, they do not appear in the diagram. If the design, however, is ‘for performance’ the knowledge and practices might be considered ‘Craft Engineering or some-such’.

As an illustration, User Requirements for e-shopping might be transformed into an Interactive e-shopping System to the satisfaction of the client. The knowledge and practices would comprise the experience and best practice of the interactive system designers. The research would comprise the enhancement of their design experience.

Level 2: Design Problems are explicitly, but empirically, derived from and validated, against User Requirements. Design Problems must, at least in principle, be soluble. User Requirements, however, may be impossible to be satisfied by an Interactive System. Likewise, Design Solutions are explicitly, but empirically, derived from and validated against the Interactive System. Design Research explicitly, but empirically, acquires and validates Design Knowledge. The latter supports the explicit, but empirical, Design Practices of Specification and Implementation and Test of Design Solutions from Design problems and from Design Solutions to Design Problems.

As an illustration, the e-shopping ‘check-out’ Design Problem of the slow and inaccurate billing of goods (ineffective performance) might be solved by a virtual shopping cart, which cumulates the costs of ordered goods (effective performance). The empirical Design Knowledge supporting the Design Practices might be expressed as: heuristics; guidelines etc.

Level 3: Specific Principle Design Problems are explicitly, but empirically, derived from and validated against Design Problems. Likewise, Specific Principle Design Solutions are explicitly, but empirically, derived from and validated against Design Solutions. Specific Principle Design Research explicitly, but empirically, acquires and validates Specific Principles. The latter support the explicit, formal Design Practices of Derivation and Verification of Specific Principle Design Solutions from Specific Principle Design Problems and from Specific Principle Design Solutions to Specific Principle Design Problems. That is to say, specify, then implement.

As an illustration, the e-shopping check-out ‘goods costs against client financial budget’ Specific Principle Design Problem of the slow and inaccurate client assessment of ordered goods’ costs against their financial budget (ineffective performance) might be solved by a virtual shopping cart, which deducts the financial costs of ordered goods against a client-specified financial budget (effective performance). The Specific Principle Formal Design Knowledge supporting the Specific Principle Formal Design Practices would be expressed as a Formal Specific Principle.

Level 4: General Principle Design Problems are formally derived from and validated against Specific Principle Design Problems. Likewise, General Principle Design Solutions are formally derived from and validated against Specific Principle Design Solutions. General Principle Design Research , formally acquires and formally validates General Principles. The latter support the formal Design Practices of Derivation and Verification of general Principle Design Solutions from General Principle Design Problems and from General Principle Design Solutions to General Principle Design Problems. That is to say, specify, then implement.

As an illustration, the e-shopping check-out ‘goods costs against client resources (that is, budget, calory’ Specific Principle Design Problem of the slow and inaccurate client assessment of ordered goods’ costs against their budget (ineffective performance) might be solved by a virtual shopping cart, which deducts the costs of ordered goods against a client-specified budget (effective performance). The Specific Principle Formal Design Knowledge supporting the Specific Principle Formal Design Practices would be expressed as a Formal Specific Principle.

As an illustration, the e-shopping check-out ‘goods costs against client financial and calorie budget’ General Principle Design Problem of the slow and inaccurate client assessment of ordered goods’ costs against their financial and calorie budget (ineffective performance) might be solved by a virtual shopping cart, which deducts the financial and calorie costs of ordered goods against a client-specified financial and calorie budget (effective performance). The General Principle Formal Design Knowledge supporting the general Principle Formal Design Practices would be expressed as a Formal General Principle.

Design Research Exemplar Illustrations

Towards Engineering principles for Human-Computer Interaction

Engineering Design Principles: Validating Successful HCI Design Knowledge to Support its Re-use

 

Craft Framework Illustration: Golsteijn et al. – Towards an Integrated Practice of Crafting with Physical and Digital Components 150 150 John

Craft Framework Illustration: Golsteijn et al. – Towards an Integrated Practice of Crafting with Physical and Digital Components

Hybrid Crafting:

Towards an Integrated Practice of Crafting with Physical and Digital Components

Connie Golsteijn1,2, Elise van den Hoven2,3, David Frohlich1, Abigail Sellen4

1 University of Surrey, Digital World Research Centre, Guildford, GU2 7XH, UK

2 Eindhoven University of Technology, Industrial Design Department, P.O. Box 513, 5600 MB Eindhoven, the Netherlands

3 University of Technology Sydney, Department of Design, Architecture & Building, PO Box 123, Broadway NSW 2007, Australia

4 Microsoft Research Ltd., 77 JJ Thomson Avenue, Cambridge, CB3 0FB, UK

info@conniegolsteijn.com, e.v.d.hoven@tue.nl, d.frohlich@surrey.ac.uk, asellen@microsoft.com

Abstract: With current digital technologies, people have large archives of digital media, such as images and audio files, but there are only limited means to include these media in creative practices of crafting and making. Nevertheless, studies have shown that crafting with digital media often makes these media more cherished, and that people enjoy being creative with their digital media. This paper aims to open up the way for novel means for crafting, which include digital media in integrations with physical construction, here called ‘hybrid crafting’. Notions of hybrid crafting were explored to inform the design of products or systems that may support these new crafting practices. We designed ‘Materialise’

Comment 1

The design of ‘Materialise’ is the object of the craft design considered here (and not the crafting supported by ‘Materialise’).

– a building set that allows for the inclusion of digital images and audio files in physical constructions by using tangible building blocks that can display images or play audio files, alongside a variety of other physical components – and used this set in four hands-on creative workshops to gain insight in how people go about doing hybrid crafting; if hybrid crafting is desirable; what characteristics of hybrid crafting are; and how we may design to support these practices.

Comment 2

This confirms Comment 1.

By reflecting on the findings from these workshops we provide concrete guidelines for the design of novel hybrid crafting products or systems that address craft context, process and result. We aim to open up the design space to designing for hybrid crafting because these new practices provide interesting new challenges and opportunities for future crafting that can lead to novel forms of creative expression.

Keywords: crafting, hybrid, physical materials, digital media, design research, interaction design

1. Introduction

Making and crafting have been interwoven in people’s lives for a long time; originally mostly within professions but later also recreationally, people have turned to making both for functional reasons and for love of the experience of making itself. In our current mass-production society there appears to be a turn back towards making [1,2] which becomes evident in the existence and popularity of maker fairs and online communities with how-to resources and blogs of makers’ experiences, such as ‘Instructables’ (instructables.com) and ‘Make Magazine’ (makeprojects.com). With the prominence of digital materials in our everyday lives, such as photographs, websites, and emails, there have been repeated findings that people enjoy making and crafting with digital materials as well, and that self-made digital things can become ‘cherished objects’ [e.g. 3,4,5]. However, currently there are limited means available for using digital media in physical crafting practices, and integrating these media in the landscapes of our everyday lives.

Since both physical and digital means for making have their strengths, this paper focusses on the integration of making practices in physical and digital realms into ‘hybrid’ forms of making, for example creating physical objects with the inclusion of digital media. Examples of such hybrid creations that are currently available are photo collages printed on canvas or commercially printed 3D models. However, despite the dynamic potential of digital media, the results of such hybrid creations are static: they do not react to someone interacting with them and cannot be changed or edited after they have been created, unless new versions of the objects are made.

We aim to inform and explore – with the goal of supporting the design of novel tools – the creation and facilitation of forms of hybrid making that result in interactive creations, which, for example, can respond to a person’s interaction with them, can change or evolve over time, can be different in different situations – e.g. when different people are present in a room –, or can be edited as new media becomes available or as someone’s interests or preferences change.These forms of interactive hybrid making will be referred to as ‘hybrid crafting’.

Comment 3

The paper is concerned with the design of HCI tools to support ‘hybrid crafting’.

We are interested in people’s everyday crafting practices, rather than those of ‘the certified genius’ [2, p.75], which is in line with Sennett’s view that craft ‘names an enduring, basic human impulse, the desire to do a job well for its own sake’,

Comment 4

‘Doing a job well’ is the same or similar to ‘doing something as desired’, as in the Craft Framework, proposed here. In practice, as desired equates with well or some-such.

which can be anything from playing a musical instrument, to teaching, to bricklaying, and which goes beyond manual labor [6, p.9]. Following Csikszentmihalyi’s definition of creativity [7] – employed by Gauntlett [2] to address everyday making – we include in our notion of everyday crafting ‘making [anything] which is novel in that context’ [2, p.76]. This includes creating something from scratch but also using existing materials or objects, physical or digital, in new ways. In fact, we are interested in how personal digital media, e.g. photos or audio files – existing digital materials – may be used in hybrid crafting. As such, our definition of hybrid crafting is: ‘everyday creative practices of using combinations of physical and digital materials, techniques or tools, to make interactive physical-digital creations.’

Comment 5

This definition can be considered the specific scope of the general problem of design with respect to framework considerations.

To explore how we can design means to facilitate hybrid crafting, we developed ‘Materialise’, a building set for hybrid crafting that consists of physical building blocks which can be used for crafting physical constructions, but also allows for the inclusion of digital media.

Comment 6

‘Materialise’, then, as a tool, can be considered as a form of HCI knowledge.

These media can be composed to form a meaningful integration with the physical components by using tangible building blocks that can display digital images or play audio files.

As a means to create compositions from physical and digital materials, Materialise not only addresses forms of craft that include existing elements, but also answers to views in materiality research that consider composition a key factor in successful integration of physical and digital materials in design [e.g. 8,9,10]. A set of creative workshops was organized in which through hands-on experiences with the set, discussions, and design activities we explored the following questions:

1 – How would you go about doing hybrid crafting with personal digital media?

2 – Is hybrid crafting preferred to crafting in only physical or only digital realms?

3 – What are characteristics of hybrid crafting?

4 – How can hybrid crafting be facilitated through the design of an interactive product or tool?

This paper will address a literature review into related work in HCI and design in the areas of tangible interaction (which, relatedly, aims to combine physical interaction mechanisms and digital media) and crafting (Section 2), after which we will address the design and implementation of Materialise (Section 3), and the creative workshops done with a prototype of Materialise to explore notions of hybrid crafting (Sections 4 and 5). This paper ends with a discussion and conclusions based on our findings (Sections 6 and 7).

2. Related work

While crafting and making were originally mostly practiced in professions, and aimed at making functional artifacts for everyday life, e.g. blacksmithing, bricklaying, and carpeting, nowadays people turn to crafting and making for recreational purposes and results of crafting do not have to be functional.

For these forms of recreational crafting and making the process is often more important than the result, and this process can be a personal, reflective activity, e.g. composing photo albums or scrapbooking [11-13].

Apart from material practices of crafting, such as painting, jewelry making, and sculpting, people have also turned to digital forms of crafting, i.e. making new creations with digital media, or augmenting digital media, for example making websites or digital photo collages. Apart from dedicated tools, such as image or video editing software, people appear to be creative in finding their own ways of making and personalizing digital media files. For example, Odom et al. [4] found in their study about the value of digital possessions that the teenagers they interviewed engaged in the personalization of metadata, both individually and collaboratively, which can be seen as a form of craft. Similarly, Petrelli et al. [5] found that digital things that are special are often self-made, such as PowerPoint presentations, animations, and photo montages. The authors argue for the development of new digital archiving tools that can support new practices of selecting and composing digital media in ways similar to making albums or scrapbooking. These results have shown that crafting and making with digital media can make these media more special or cherished, and, in fact, being self-made or augmented appears to be one of the main reasons people cherish their digital possessions [e.g. 3,14]. Crafting and creativity with digital media may further provide a means for selectivity by carefully reflecting and choosing which media to keep and discard, and, as Gauntlett argues: craft and creativity may offer a ‘positive vision to making and reusing’ and an alternative to accumulating more stuff that does not positively contribute to well-being [2, p.57].

Including digital media in craft practice, as is included in our notion of hybrid crafting, is therefore an important underlying motivation for the exploration of designing for hybrid crafting. This section will address HCI and design work in the area of craft, as well as related work on crafting platforms and tangible interaction with a focus on crafting and making – after all, tangible interaction focusses on the combination of interaction through physical and digital materials, as hybrid crafting does.

We will end this section by addressing interesting questions regarding designing for craft, and outlining which questions we focus on in this paper.

2.1 Craft in Design and HCI

Addressing craft from the perspective of cherished objects, Csikszentmihalyi has taken a broad perspective on craft, defining it as everything that is made by someone rather than being a ‘conveyor belt product’ [15]. In HCI this understanding of craft has further been taken up by Rosner and Ryokai who summarize craft to include a ‘partnership between people and technology for the creation of personally meaningful things’ [16, p.195].

Within HCI, craft-oriented research has also been identified as a strand within materiality research, which brings to the discussion the communicative dimensions of materiality – for example by communicating traditions, material choices, and processes of making through the material [17]. Crafting in everyday life, as addressed in this paper, is strongly linked to the DIY tradition which has previously been defined as: ‘an array of creative activities in which people use, repurpose and modify existing materials to produce something. These techniques are sometimes codified and shared so that others can reproduce, re-interpret or extend them.’ [18, p.4824].

Similarly, Gauntlett draws on Csikszentmihalyi’s definition of creativity [7] to define everyday creativity as follows: ‘Everyday creativity refers to a process which brings together at least one active human mind, and the material or digital world, in the activity of making something which is novel in that context, and is a process which evokes a feeling of joy’ [2, p.76].

In his book about creativity and making in the digital realm, he includes examples ranging from game avatars to YouTube videos, which illustrates the great variety in which people can be creative in crafting things with digital materials. Crafting with digital materials or tools can also be seen in for example CAD design [e.g. 19] or rapid prototyping technologies [e.g. 20,21]. Since the processes and/or results of these forms of making are not hybrid and/or not interactive, they do not fall under our notion of hybrid making, and are thus outside the scope of this paper.

Craft has recently started to gain interest from the HCI community and over the past years a number of studies have looked at craft practice to inform design, or have developed ways to combine technology with more traditional means of crafting to support new craft practices with digital technology.

Informing design through the study of craft practice

In this category, some studies aim to extend notions of craft in the context of design. Kettley [22] for example, argues that craft should be seen as something fluid that has the ability to shift between transparency and reflection and that looking at craft thus can provide a promising model for tangible interaction design that is both metaphorically meaningful as well as useful.

Kolko [23] introduces a new notion of craftsmanship centered on empathy through narrative, prototyping and public action, and inference, for situations in design in which the ‘material’ to work with is not a traditional material, such as paint or clay, but instead related to service design or interaction design. Robles and Wiberg [24, p.137] use the design and crafting of an Icehotel to introduce the term ‘texture’, ‘a material property signifying relations between surfaces, structures, and forms’ to argue for a focus on the similarities and extensions of physical and digital rather than the differences, within and beyond the realm of crafting. Tanenbaum et al. [25] look at the Steampunk movement and how, through the concepts of design fiction, DIY and appropriation, Steampunk maker practices can inform design. They argue that such practices introduce new models of values and meanings, and as such construct new models of craftsmanship, functionality, and aesthetics, in which creativity and resourcefulness are encouraged and designers act as ‘bricoleurs’. Future craft [26] introduces a design methodology that aims at the use of digital tools and processes, such as digital fabrication and open-source communities, to create designs that are socially and environmentally sustainable, through the application of principles of public, local, and personal design.

And Finally, Nimkulrat has used her own practice-based research in textile craft to explore how craft can inform practice-based research and how research can inform craft practice [27].

Other studies have looked at specific craft practices to illustrate how the design of technological products may benefit from taking into account these forms of making. Meastri and Wakkery [28], for example, look at the repair and reuse of objects in the home as a form of everyday creativity and ‘everyday design’ and argue for the employment of a framework of resourcefulness, adaptation, and quality to overcome the barriers of repairing and adapting digital technologies.

Also addressing repair, Rosner and Taylor [29] studied bookbinding practices and use antiquarian book restoration to illustrate the material practices of restoration for HCI, highlighting the making of authenticity through careful use of materiality, and designing for longevity by integration in social practice as means for designing more meaningful and lasting technological products. Bardzell et al. [30] have interviewed elite craft practitioners to enrich understanding of notions of quality and provide insights in interacting with integrity, self-expression through interaction with materials, and socio-cultural positioning of creative work, in light of designing products with socio-cultural relevance and value. Lindell studies the practices of programmers within design processes to argue that code can be seen as a material and programming as a craft [31].

Goodman and Rosner [32] look at the practices and use of information technologies of gardeners and knitters to argue for a framework of handwork that can inform design that goes beyond the distinction of physical and digital, by focusing on extending, interrupting, and splitting up physical practices with digital technology.

Again drawing on craft practice, Rosner [33] further argues for designing technological products that allow for tracking provenance, for example by replaying traces of production, foregrounding traces of breaking, and extending traces of ownership. Similarly, Broken Probes aim to give new life to broken and worn down objects by digitally associating stories with marks of degradation [34]. Finally, Wallace’s work [e.g. 35,36] uses examples of jewelry making to illustrate how aesthetics and beauty, and enchantment, can arise from the process of making, through empathy and sensibility towards felt life, and the relationships between maker and wearer, and maker and materials.

Comment 7

The details, accompanying these different forms of craft practice, provide a rich database for populating the lower levels of description of crafting practice, along the lines of the framework extensions, proposed here.

Combining technology with traditional means of crafting

In the second category, the first large group of enhanced or ‘mediated crafts’ [37] are textile-based crafts. Buechley and Eisenberg [38] designed new means to attach off-the-shelf electronics to textiles to make this so-called ‘e-textile craft’ available for crafters and hobbyists. Perner-Wilson et al. [39] take the approach of a ‘kit-of-no-parts’ as a means for supporting the building of electronics from a variety of craft materials, illustrated by the development of a number of textile sensors, hereby bypassing the constraints that modular, pre-determined building blocks in traditional construction or electronics kits may have.

Embroidered Confessions [40] is a collection of QR codes associated with digital confession stories from the internet embedded in a quilt. Rosner and Ryokai’s Spyn [41] is a mobile phone software tool that allows needle-crafters to associate specific locations on physical garments with digital media to enrich the meaning of these garments as gifts and the relationships between maker/giver and receiver.

A second well-employed material appears to be paper. Freed et al.’s I/O stickers [42] provide children with a means to craft personalized remote communication interfaces by combining the crafting of greeting cards with the use of networked sensor and actuator stickers. Zhu [43] looks at paper-craft, such as writing, drawing, folding, cutting, gluing, and presents two supporting technologies to allow the building of paper-computing systems around three themes: the ubiquity of paper-craft, the flexibility of paper-craft as a means to control digital data, and displaying digital information through changes in the paper. Cheng et al.’s Tessela [44] is an interactive origami light that encourages creative, poetic interaction through changing light patterns. And finally, Saul et al. [45] propose a number of interactive paper devices, construction techniques – e.g. cutting, folding, gluing – and materials – e.g. paper, copper tape, gold leaf foil – and a piece of software, which support a DIY design practice for users to build their own paper electronics.

Tangible Interaction and crafting platforms

A number of existing Tangible Interaction systems can be considered platforms that support making or crafting. Some of these have looked repurposing and employing existing means to novels ends, such as the use of open-source hardware as a means to support creativity [46,47], the role of hacking and DIY in tangible interaction [48], or creating objects that can be used in home crafting projects with such hardware, such as Rototack [49] and a programmable hinge [50]. Inspirational Bits [51] further aim to expose material properties of technologies that can inform a design process and design sketches, although they are not intended as prototyping means. Other platforms are prototyping tools that allow for the quick assembly of electronics in the design phase, but the use of which can extend to creative practices of users, such as Voodoo I/O [52,53], LittleBits [54], and .NET Gadgeteer [55]. A third category is formed by systems aimed at children and which allow them to create their own toys and tools for storytelling, such as Plushbot [56], Craftopolis [57], e-textiles [58], kidCAD [59], and Telltable [60]. Finally, some studies have looked at the use of craft materials and crafting as augmented input for digital technologies or creative interaction with digital technologies, e.g. claying [61], or sketching [62].

2.2 Design Questions for Hybrid Crafting

Despite the wealth of HCI and design work in the craft area, none of the addressed studies has looked at hybrid crafting in the form addressed in this paper, a physical-digital making process that results in interactive physical-digital creations. Interesting questions arise from considering hybrid crafting as a direction for design, and based on a review of the related work described above, a literature review into craft (which lies outside the scope of this paper), and our own research interests, we formulated design questions about the inclusion of digital materials and tools in crafting. These questions lay in the following areas:

1 – Social aspects, such as: ‘Would people like to craft collaboratively using digital means?’ or ‘How can the results of crafting with digital means be communicated and displayed in more suitable ways?’

2 – Materiality, such as: ‘How do people use the different affordances of various digital media in hybrid crafting?’ or ‘How can we provide a sense of materiality in working with digital materials?’

3 – Process, such as: ‘To what extent would people allow for creations with digital media to be edited by others?’ or ‘How can people develop specific ways of working with digital materials?’

4 – Result, such as: ‘How can the ability of digital means to evolve and grow change the perception of a creation?’ or ‘How can the process of making be shown in the result?’

These four areas arose from our set of design questions, and were merely used to categorize the questions, rather than as a framework for design or analysis.

Comment 8

It is noted here and accepted, that the questions are not themselves a framework for design or analysis. However, this observation does not exclude the questions informing a framework for design or analysis, implied by the paper as a whole or at the very least the potential for such a framework or analysis. Analysis and design appear both to be general problems addressed by the paper. See also Comments 1 and 2.

Early in the design research process ideas were generated around each of the design questions, and these questions further led to refining our definition of hybrid crafting.

Comment 9

The object of research here is design (of ‘Materialise’). See also Comments 1 and 2.

The design direction we eventually decided to pursue focuses mainly on the Materiality area and aims to explore how physical and digital materials may be integrated in crafting practice; what the value of this integration is; how we can design for this integration; and how characteristics of physical and digital crafting apply to this hybrid form of crafting. In the next section we will address the design and implementation of a research probe we developed to explore these questions.

3. Materialise: a Design for Hybrid Crafting

One of our early design ideas was a building set that allowed for the creation of a customized media cube by connecting six physical building blocks, which could each hold one specific digital media type, e.g. a photo, an audio file, or a text message, as a novel form of making customized gifts. Based on this idea we developed ‘Materialise’, a design research probe which was the result of an iterative design process.

Comment 10

No specific ‘iterative design process’ is identified at this point in the paper. It may well have been ‘generic’ and closely related to the authors’ design experience. Hence, consideration of the paper as craft. The design process appears not to be the object of the design research here. The object is the tool ‘Materialise. See Comments 1, 2 and 6.

Materialise employed the tenets of the described early idea but was developed into a much more flexible and open-ended building set for hybrid crafting. The set contains physical building blocks that can also include personal digital media, but rather than the goal being to build a gift-cube, now physical and digital components can be combined in various ways, and many possibilities for creative applications and additions are present, due to the provision of building blocks in different shapes and materials which can be connected in various ways and orientations. To support the integration of the digital media files, a software application was implemented that allows the users to start composing how the digital media will be integrated in the physical creation, by showing digital representations of the physical building blocks that can be dragged, rotated and connected in much the same way as the actual physical blocks. Digital media can then be dragged and dropped to the digital representations of the blocks and displayed as it would look in the final creation. In this way Materialise supports a hybrid crafting process – including both physical building, and composing the digital media on screen – and result – ending with a creation that is interactive (more about this in the next section) and includes both physical and digital materials.

A prototype was implemented of Materialise (see figure 2) to be used in a set of creative workshops to explore notions of hybrid crafting. The set of building blocks consists of a number of ‘active blocks’ which can contain digital media files, and a large variety of ‘passive blocks’ that are not interactive or contain digital media but can be used to build physical structures.

3.1 Active Building Blocks

Two different types of active building blocks were implemented. The first type had a touch screen and could display digital images (see figure 3a). This type of block could display a series of images, and provided interactivity by allowing the user to press the ‘next’ and ‘previous’ buttons on the screen to change to image, or it could automatically display a sequence of images by activating a slideshow on the touchscreen. The second type of building block could, when a speaker or headphone was attached, play digital audio files (see figure 3b). It could play a sequence of sounds by pressing ‘next’ and ‘previous’ buttons on the block. Three active blocks were implemented for the prototype, of which two were of the image type and one of the audio type. Further a separate speaker was provided. All active blocks were implemented using the .NET Gadgeteer platform for prototyping (netmf.com/gadgeteer/) and had, apart from either a touchscreen or an audio module, Wi-Fi capabilities, and a micro SD card reader. Casings were designed and produced using rapid prototyping. Wi-Fi capabilities were used to download media content wirelessly from a webserver, which was the dedicated place for the users to place media they wanted to upload to the blocks. Media content was downloaded and saved on the micro SD card and consequently displayed or played back. Each block further had a ‘reload’ button which could be used to reload media files from the server if the content on the server had been updated by the user. Wi-Fi capabilities were further used for communication between active blocks. Whenever content was changed on one block, either because a slideshow was activated, or by user input, the filename of the new media file that was displayed or played was passed on to the other blocks wirelessly. The other blocks then checked if their file lists contained media with this file name and if this was the case displayed or played that media. This allowed the users to associate multiple related media files and display them at the same time, e.g. two photos taken at the same event, and an audio file related to that same event. This function provided interactivity for the hybrid creation; apart from being able to easily change the physical composition, digital media on the blocks could be easily changed and updated by the user to alter the hybrid end result.

3.2 Passive Building Blocks

Passive blocks did not have interactive functions but could be used to enhance the physical composition. Most passive blocks were made of wood and included: four cubes painted white that could serve as whiteboards; four cubes that were painted with blackboard paint; nine bar-shaped blocks; a frame; four rings; two blocks with hooks. Further building blocks were: a pin board; a clip; two magnet boards; and magnetic transparent sleeves. All building blocks, including the active building blocks, were equipped with a number of magnets to allow for them to be connected in different ways. To provide more flexibility in how blocks could be connected metal connector strips were also provided of different lengths and with different angles. See figure 4a for an example of some passive blocks and connector strips. Furthermore, whiteboard markers, chalk, paper and pens, scissors, and pins were included to allow users to write and draw and attach notes to the creation. Finally, a variety of Lego bricks were provided which could be connected to the other building blocks in a number of ways: some Lego bricks were equipped with a magnet on the underside; other Lego bricks were adapted to have magnets and small metal discs on the top; and a wooden block was provided that had holes in which Lego bricks could be clicked for further building flexibility; see figure 4b for the Lego connector blocks. The passive blocks and connector strips in combination with the Lego bricks were expected to provide the users with great flexibility to execute their ideas about what they wanted to create physically, and in addition provided means to bring in additional materials – for example magnetic objects – beyond the set.

3.3 User Software

A software application was created that allowed the users to start exploring the hybrid composition digitally, and which helped them with the uploading process. By clicking a digital representation of an active building block (figure 5a) a pop-up window would appear which would allow the user to drag and drop media content from a directory on their computer to the block. Image files could then be seen on the illustration of the block to give the user an idea of what it would look like on the physical blocks and thus how this may be incorporated in a physical creation (figure 5b). After selecting media and dragging these to the desired blocks the user had the option to change the target file name of each media file in order to be able to link related media on the active blocks. After renaming, media could be uploaded to the webserver, from where they were downloaded by the active blocks, which each had their own dedicated directory on the webserver.

Comment 11

See Comment 7, as concerns lower-level descriptions of the particular scope of the design and analysis general problems.

Restrictions of this first version of the user software were the absence of built-in image editing possibilities, such as rotation, resizing and cropping images; and audio editing possibilities, such as clipping a section of audio, and changing the bitrate. Because these functions were important for accurate functioning of the active blocks – images needed to be adjusted to fit the screen resolution and the audio bitrate needed to be 128 kbps or lower for smooth audio feedback – some preparation of media files using other software applications was needed in the workshops.

3.4 Other envisioned functionality

Because of technical limitations in the .NET Gadgeteer prototyping platform, and time restrictions, only a limited number of functions were implemented in the prototype: displaying images and navigating through the image sequence; a slideshow; playing audio files and navigating through the audio sequence; and wireless communication to download media and enable communication between blocks. However, other functionality of the blocks was envisioned which was communicated to the users to get them thinking beyond the current possibilities. Other envisioned functionality included: downloading content from Facebook, e.g. displaying a Facebook photo on one block and the comments with that photo on another block; live feeds from the internet, e.g. Facebook status updates or Tweets; playing movies; easy ways to load web content to the blocks; and text content, e.g. email or forwarding text messages from a mobile phone to a block.

4. Creative workshops

The prototype of Materialise was used in a set of creative workshops to explore notions of hybrid crafting through hands-on experience with this form of hybrid crafting, discussions, and design exercises. Four two-hour workshops were done in the UK, each with three or four participants. The workshops were held with small groups because participants had to collaborate in the workshops using the one-off prototype and a laptop. The first workshop was held with a group of designers, the second with a group of parents, the third with a group of teenagers, and the fourth with a group of crafters. Each of these groups was considered to be able to provide useful comments either from the perspective of creators and makers to consider design implications for hybrid crafting (the crafters and designers) or from the perspective of potential target users (the parents and the teenagers).

Comment 12

Although not User Requirements for a specific interactive system (as typifies case-studies of craft design), these ‘design implications’ must be considered analogous.

The group of designers consisted of professional designers and postgraduate researchers in interaction design. For the crafters group, the definition of who may be considered a crafter was deliberately kept open to include anyone who liked to make things either recreationally or professionally. All participants were recruited from the personal and professional networks of the researchers through e-mail adverts and verbal explanations of the study. The workshops took place in a meeting room at the research institute, with the exception of the designers’ workshop, which took place in a meeting room at the designers’ own place of employment. Participants were paid a small incentive (£20.00) for their participation. In each workshop two researchers were present: one facilitator, and one other who was in charge of audio and video recording, and taking photographs.

4.1 Method

Because Materialise focusses on the use of personal digital media in hybrid crafting, as a preparation to the sessions, participants were asked to select from their own media, search online, or create, 5-10 digital images that were interesting, meaningful, or beautiful to them, such as personal photographs, digital artworks, or screenshots from online content. They were further asked to select, search online, or create, 1-5 audio files that were in one way or another related to one or more of their images, for example a song that reminded them of a holiday of which they had included a photograph, or a recorded narrative about an image. Participants were asked to bring their selected media to the sessions or email them to the facilitator beforehand.

The sessions themselves were started with welcoming and introducing participants, researchers and the topic of the workshops, followed by three parts: 1– a demonstration of the prototype and software; 2 – hands-on experience with the prototype and software; and 3 – a group discussion about potential use, improvements and extensions. At the end of this section we will describe how each of these parts informed our research questions.

The first part, the demonstration, included showing the participants the physical building blocks, the software, and the functionality of the active blocks, as well as introducing envisioned other functionality, in order to get them to think about what they would like to make. The demonstration was done by showing the uploading of media with the software and showing a photo of a physical creation built around these media. This example showed a relevant integration of digital media and physical construction, namely a series of images of cartoon and movie characters headshots (e.g. the Men in Black, the Muppets, Wallace and Gromit, the Blues Brothers), and the associated theme songs, coupled with the creation of physical bodies for these characters (figure 6).

For the second part, the hands-on experience, all tasks where collaborative because there was only one prototype of the building set available. Participants were first asked to perform a small, specific task to familiarize them with the set, which started with composing and uploading a provided set of images and audio using the software. After these images and audio appeared on the physical blocks, participants were asked to build something that was related to these media. The media used in this example were a set of images related to Jamaica and reggae music; a set of images of London; a set of images of Paris; a set of soundscapes of cities, e.g. traffic and crowds talking; the sound of beach and waves; and a Bob Marley song (‘Three little birds’). It was estimated participants would either choose the Jamaica theme or one or both of the cities for their creation. After a short break in which the facilitator prepared the participants’ media, i.e. resized images and changed the bitrate of audio files for reliable functioning of the prototype, participants used a laptop to select media from what they brought into the sessions, again in a collaborative activity, and used the software to compose and upload images. Further there was the opportunity to create new content, e.g. audio narratives, or sourced online. Additional software that was available was the freeware Audacity (audacity.sourceforge.net/) and iTunes (apple.com/itunes/), and Microsoft Office Picture Editor, for which custom user manuals were created to support users who were not familiar with these applications. Apart from this digital exploration, participants were asked to upload the digital content to the physical devices, and create physical constructions using the building set and other available materials. It was anticipated that participants would switch between working with the digital media and physical building, and that they would try out multiple combinations of physical and digital creations. We were also interested in seeing how participants would negotiate between adapting the physical to the digital content or vice versa, which was why the digital and physical creation phases were introduced simultaneously and participants were free to determine which to do first and to switch.

In the final part, the group discussion, we aimed to gain some insights in the participants’ opinions on Materialise, as well as explore potential use, improvements and extensions, in order to derive ideas on how these answers may be applied to hybrid crafting in general. The discussion was centered on the following questions: 1 – What is the participants’ general opinion on the building set? 2 – What would they like to use this set for? What physical blocks are suitable or desired for this? What would they do with the result? 3 – What digital media would they like to use? In what way? Would they use it for static creations and with existing media or would they value dynamic, streaming media, such as Facebook feeds? 4 – What other building blocks can be thought of? For this question participants were given a sheet of paper with template sketches of blocks to design their own extensions 5 – What would they change or add to the software? What would be interesting digital extensions?

comment 13

See Comment 10 for consideration of the ‘iterative design method’ and its relationship with the research.

Data analysis focused on the research questions about hybrid crafting posed in the introduction of this paper and aimed to answer these questions specified to Materialise. The different phases of the workshop informed each research question as follows. Question 1 (How would you go about doing hybrid crafting with personal digital media?) was informed by the observations in the workshop, particularly about how participants went about selecting and using their personal media, and how physical constructions were built around personal media. We watched the video recordings of the workshops and we thematically categorized interesting observations that informed this question. Question 2 (Is hybrid crafting preferred to crafting in only physical or only digital realms?) was mainly informed by the group discussion on participants’ general opinions, possible use of the set, and which physical and digital components they would value. We thematically categorized answers and – although we are aware we cannot draw objective generalizations based on the findings for Materialise and the novelty of the set will have influenced participants’ opinions – we aimed to provide insights in the value of hybrid crafting. Question 3 (What are characteristics of hybrid crafting?) was informed by observations, particularly in the area of integrating physical and digital components, how these were selected and what the processes were of working with physical and digital materials, which were again thematically organized. And finally, question 4 (How can hybrid crafting be facilitated through the design of an interactive product or tool?) was informed by the design activity within the group discussion, as well as by a more general reflection on our findings regarding the four research questions. The Results section will be focussed around answering these research questions, and will, through further reflection, aim to reach a more general feel for hybrid crafting and derive guidelines for designing for hybrid crafting, in the Discussion.

4.2 Participants

In total 13 participants took part in the workshops (3 men, 10 women, ages ranging from 17 to 56; average age: 34), of which 3 were designers, 3 parents, 4 teenagers, and 3 crafters. See Table 1 for an overview of the participants. All the designers knew each other through work; two of the parents were also work colleagues; the teenagers were a group of friends; and two of the crafters had met each other before. Because a comparison of groups was not the aim of our study the results for these groups will be addressed together.

5. Workshop Results

The thirteen participants together brought in 121 images (ranging from 5 to 25 per person, 9 on average) and 45 audio files (ranging from 1 to 7 per person, 3.5 on average), and all participants brought at least one set of related media; either an audio file related to a photo or two related photos. The majority of the images were unedited photos, either downloaded from the internet, but mostly taken by participants themselves (e.g. of nature scenery, participants and their families and friends, and specific events such as a graduation), and only two images were self-created: an electronic self-portrait, and a photo of a participant and her partner that was edited into a black and white ‘pop art’ representation. Most participants indicated to have chosen images that were somehow representative of different aspects of their lives, such as photos of people, or of things they had made themselves, but there were also instances in which participants carefully constructed combinations of images and music, such as one participant’s example of her photo of the Berlin wall in 1989 coupled with the music from the movie ‘The lives of others’ set in Berlin around that time. Audio files were less personal and were more often downloaded from the internet to fit with images or to provide a diversity of examples, for example ambient sounds of crowds, cities and nature, voices and laughter (19 files), and music (16 files). However, there were also personal examples, such as a designer’s file of a radio interview with his grandfather, and a teenager’s recording of her talking to her father in a restaurant when she was a small child.

5.1 How did participants go about hybrid crafting with personal digital media using Materialise?

In the first task of the hands-on part of the workshop, in which one prototype of the set was available to the group of participants, a number of example themes and related media were given. In this task participants could focus on getting to know the prototype after deciding on which theme they were going to use. The second task however, in which they were asked to use their own personal digital media appeared to be “pushing creativity” much more. Participants selected media to use collaboratively by going through their files and telling each other what they had brought, how their files were connected, and the stories behind these files. Because media were so diverse, finding a common theme in their media proved challenging to participants. However, all groups managed to find a theme in which they could include media from different participants and build a physical construction around this, such as the ‘urban theme’ chosen by the designers, around which they built an “urban diorama” consisting of a “Banksy-inspired” graffiti piece, pillars, and piles of rubble, created in the prototype briefcase, which was meant to be “provocative, not beautiful!”; see figure 7.

Participants went through phases of exploration and experimentation with both digital media and physical building blocks, and in some cases the participants never indicated they were finished, continuing building until time restrictions required moving on. Participants appeared to enjoy exploring the possibilities with the prototype and brainstormed potential things to make, such as “Bob Marley’s 14 kids” or “a real-life model of Bob Marley”, and one designer sped off to his office to bring in his Lego model of a VW-van and asked if he could use it as part of the creation. Other participants became fascinated with exploring how they could make constructions move by using the attracting and repelling powers of the magnets; see figure 8. Also digital media were changed often, even after having downloaded it to the active blocks, and participants talked about what they could make with certain combinations of media files. However, in most cases the actual physical building took place after participants had decided on a theme and had decided the media that should feed into that theme. In the final phase before building, participants eventually selected relatively few files to upload to the blocks, 1-5 images per block, and one or two audio files; and the audio files were generally linked to one or two images, while about half of the images were linked to another image or an audio file. In several groups, the construction was not considered complete without sound: while the designers kept playing the Bob Marley song ‘Three Little Birds’ while building, one teenager commented, after finishing their beach scene: “We’ve lost the sound”; after activating the sound of waves to go with their construction, in unison: “awwww.”

Apart from sharing stories behind their media and finding a common theme, other social dynamics could be observed. In each group one participant took responsibility for managing the laptop, often after asking the others if this was okay. This role changed after the first part of the workshop, often encouraged by the person who did it before who wanted to give someone else the opportunity, e.g.: “Does anyone else want to do the mouse? I don’t want to be the mouse dictator.” Apart from feeling ‘in charge’ of the laptop, participants often also each felt in charge of an active block because in most groups there were three participants and three active blocks. This can be illustrated by the following exchange between a designer and the person controlling the laptop: “Don’t I get any pictures?” – “Oh, you want a picture? What do you want?” – “A Jamaican one!” In all groups it was common for participants to build elements separately, which were then combined completely into a joined composition or merely put next to each other; see figure 9.

Looking at what was built it was interesting to see that in both hands-on tasks of the workshop most physical creations were concrete representations of scenes or objects related to the images and audio, such the palm trees, the bird from the ‘Three little birds’ song, the model of Bob Marley, the waves, the toilet, and the model of the college. While the designers’ “urban diorama” (figure 7) was less concrete than these examples, the only truly abstract representation was created by the parents around the Berlin wall theme, and included the “windmill of change” and a “balance thing” to indicate the skewed balance of the situation, accompanied by music from the movie ‘The lives of others’ (see figure 9b). This abstract representation was mostly initiated by one participant, and also repurposed elements from the parents’ earlier experiments with creating moving parts. The teenagers decided on a college theme, having all just finished college, and used images of friends that reminded them of their college time and the Britney Spears’ song ‘I’m not a girl, not yet a woman’. Their physical construction around this consisted of a scale model of their college; see figure 10. After the construction was finished they played the song and one teenager commented to the others: “This is about you guys,” and another girl teased one of the others: “Are you getting sad now?” The current set-up of the set thus mostly triggered thinking about concrete physical representations. It is likely this was influenced by the limited time the participants had to come up with something to build and the collaborative character of the workshop – we anticipate abstract creations may require more reflection and thought for which there was limited room.

5.2 Is hybrid crafting with Materialise preferred to crafting in only physical or only digital realms?

In the group discussion after the hands-on part of the workshop, the participants highlighted two areas of the building set that they considered interesting and novel: the linking of media files, (dis)playing them at the same time, and the separate, wireless uploading of media, on the one hand; and the building of physical constructions around digital media files, on the other hand.

Particularly this last point sets Materialise apart from either using only digital or only physical materials or tools. Participants envisioned creating something that could be used as an enhanced music playlist by linking images to music, which was particularly attractive to the teenagers, who wanted to link their images to their favourite music – both when going through their photos and when playing their music. Further, participants envisioned using it for personal reminiscence; as a thematic media display; sharing media with others in more natural photo sharing situations, using physical means; or using it as a remote awareness system, both outside the home and across different rooms in the home. Another suggestion was to have one block per family member, and the blocks, and physical constructions around them were considered more interesting than digital photo frames as media sharing and displaying devices, because of their interactive qualities. Looking at the possibilities of linking dynamic, interactive information to the physical blocks, the teenagers liked the idea of Tweets showing up if they were related to images or photos, using hash tag information, and the idea of having a Facebook photo on the one block and the comments about that photo on another block. All in all, while much enthusiasm was displayed building the physical constructions around personal media, and participants saw value in having digital media files linked and displayed in interactive ways, they also indicated to struggle envisioning how they would use a set like Materialise in everyday life.

5.3 What are characteristics of hybrid crafting with Materialise?

For the hands-on hybrid crafting experience with Materialise in the workshops we had anticipated participants would switch between phases of physical and digital building and iterate several times. Although this happened to some extent, iterations in the process of making mostly took place within the digital phase whereas the physical building came second and was a more linear process. In most cases participants finished the selection and composition of digital media before starting to build something physically. This was in part caused by the instruction for the first task, in which participants were asked to select media first and then build something related; it is likely participants extended the same procedure to the second task, in which they were free to choose their own procedure. However, we also observed that while participants did upload different media to the blocks, in most cases they did not start building until they had a good idea of what they wanted to make. On the other hand, when left without instruction, such as during the initial demonstration and even during the breaks, the participants explored the physical building much more and came up with creative objects, such as the creation of a tea pot. This seems to indicate that participants felt freer to explore when they did not have to stick to a theme in their media and build something around this, which was coupled with more thought and planning.

Despite this we observed that it was easier to start the crafting process from digital media and build something around these media, rather than start by building something physical and choosing the digital media to go with this. This appeared to be at least in part caused by the fact that the digital media already provided concrete handles to start from, such as an event or object displayed in an image, while the physical building blocks left the possibilities for creation open, and as such were more difficult to use as a starting point. On a related note, participants did not create or look for any new media online, which could have helped them if they had chosen something to build physically first and select media after, which may well have been caused by time limitations and the expectation that they were required to use the media they had brought in. Given more time and freedom to explore – which was difficult to achieve to full extent in these workshops – we estimate participants would iterate more between modes of digital and physical making and explore more in both phases; proceeding to trying out different physical constructions, and starting from these, rather than only talking about them.

Further, obviously this building set provided participants with a predetermined set of blocks they could use, rather than providing the unlimited possibilities of a raw material, such as wood or clay. This was the case for both physical materials, and digital materials (using existing media files). However, while participants did not search or create digital media to fit their needs, they proved to be very creative in overcoming some of the physical limitations, such as using the bended connection strips to provide connection points where they required them. Extra magnets were further provided, which were used often by participants to fortify connections, make parts move, or connect the metal connection strips to each other. In fact, for some participants these extra magnets, which were small cubes and spheres, were the most interesting parts to play around and experiment with. Finally, some of the provided materials were used in novel, creative ways, such as the use of pins, intended for the pin board, for a representation of barbed wire, the use of chalks in the urban diorama as pieces of rubble, and the use of the scissors to hang over the pieces of rubble as a sort of car claw in the urban diorama.

Participants finally tried to negotiate the dynamic possibilities of the digital with the static physical constructions. While in the first task the slideshow function was used often to scroll through different images in one of the example themes, e.g. Jamaica, within a creation, in the second task in most cases one file was chosen for each block to be displayed statically, or played, and which was used to build something around. This difference was mainly caused by the lack of more images that clearly fit a certain theme within the participants’ own media, because media of different participants were so diverse. For this, it could again be beneficial if participants have more time to find or create more media that fit a certain theme, or can work individually. Despite this challenge, all final creations in the second task consisted of images as well as audio. In some cases the audio was directly linked to the creation (e.g. in the case of the parents, teenagers, and designers) and in other cases it was more of a background sound (in the case of the crafters who use the sound of laughter with their nature scene because they just liked that sound).

All in all, it could be said the characteristics of hybrid crafting with Materialise, as found in the workshops are: 1 – iterations in crafting mostly take place with digital media, while the physical materials invite more exploration when left without a specific task; 2 – physical materials are used around digital media and support those, rather than the other way around; 3 – physical materials are used creatively and ‘bent’ to serve the participants’ needs while digital materials are taken more ‘as-is’; and 4 – dynamic possibilities of the digital are used to a limited extent when coupled with the static physical counterpart.

5.4 How does the design of Materialise facilitate hybrid crafting?

In facilitating the inclusion of both digital and physical materials, and providing digital and physical tools to craft, Materialise facilitates hybrid crafting as defined in the introduction of this paper.

However, the workshops served to illustrate how the design of Materialise, in a way, defines the process of hybrid crafting, and how the building set, or any other design for hybrid crafting, may be adjusted to facilitate hybrid crafting better. These, and other themes, will be further addressed in the Discussion, in which we explore further how hybrid crafting may be designed for.

First, we can address the dynamic functions that allowed to link media, and activate a slideshow. As mentioned in the previous section, the negotiation of the dynamic possibilities of the digital and the static physical construction meant that a hybrid creation mostly included static display of an image on each block, and choosing one audio file to have associated with these images. This made the linking of images and audio files less relevant, and it can be argued that because the physical element is static there will always be a limited number of media files associated with any one creation. However, as was seen in the first task, participants did use the linking of files and used the slideshow function to synchronize (dis)playing related media at the same time in the same physical creation, as long as there was enough media related to a theme available. We envision more use of the linking and slideshow functionality if there is enough related media available, as will be the case in people’s own home media archives, e.g. images of the same event, and as such the linking and slideshow functions provide valuable dynamic qualities on the digital side.

However, because the physical creations are static the question arises to what extent the physical construction can truly be suitable to complement changing, dynamic digital media in meaningful ways. To support the integration of physical and digital in meaningful hybrid creations, we propose the physical must be made less static than is currently the case for Materialise.

Physical building blocks or compositions should be able to change and evolve dynamically, or be changed by simple user input – rather than rebuilding the whole composition. A simple example could be to include other physical building blocks that can change appearance synchronized with the changing media, such as one participant’s idea of an ambient light block, or have blocks with moving parts – as participants tried to create themselves in the workshops.

Second, when discussing the use of the building set with the participants, it was discovered that there is a tension between the playfulness and exploration of the building set, and the desire to craft something lasting around one or more specific media files as expressed by some participants. While certain elements of the set, such as the Lego, allowed for quick assembling and disassembling, possibilities for creating something that can be left on display, and which also has an enduring appearance, were limited. When designing for hybrid crafting, it is therefore important to provide means for playfulness and exploration in the building process, but also means for creating lasting constructions, for example by providing different materials to cover up the building blocks, e.g. cloth, wood, or leather, when a final creation is made. Providing more means for such final creations can further strengthen the link between the digital media and physical construction if materials or compositions are chosen that fit closely with the media that is (dis)played more permanently.

Finally, we observed that rather than having an integrated hybrid creation process, in Materialise digital and physical phases of the creation process are quite separate. The digital phase happens entirely on the computer through the selection of media, experimenting with the composition, and uploading media, while the physical creation happens entirely away from the computer. While the result is hybrid and physical and digital elements are involved in the crafting process, the issues addressed above led us to believe that the current building set could benefit from closer integration of physical and digital elements at the time of creation, which may, in fact, be the most important requirement for hybrid crafting. One element of closer integration is the digital representations of the physical building blocks in the software that allowed participants to already start exploring their composition on the computer. However, although participants said these representations were useful to imagine what their creation would be like, they did not use the possibilities of rotating and positioning the blocks on the computer to explore the composition. We believe this was partly caused by the active building blocks being the only blocks available as digital representations, which made the focus shift to the uploading of media rather than exploring the composition. By making digital representations of the other physical blocks available as well, exploring the complete composition would be more encouraged. Moreover, however, the physical and digital phases of creation should be closer coupled by making interaction with digital materials similar to interaction with physical materials and across the same platforms: on the computer (through the use of digital representations of physical blocks), and away from the computer, by making digital media files as readily available as the physical building blocks. We envision expanding the interactivity of the physical building blocks to support the use of digital media files in the physical exploration phase. This can be done for example by including media control buttons on separate building blocks, but also by providing media editing functions through physical interaction with the blocks, or changing the blocks or their composition, e.g. cropping media by breaking pieces off a block, resizing media by folding or unfolding flexible blocks, or copying media from one block to another by connecting them. In this way physical crafting becomes much closer coupled with digital media, which will benefit the hybrid exploration of physical and digital materials.

6. Discussion

In this Discussion we will use our findings from trying out hands-on crafting with the building set Materialise to reflect on the characteristics of hybrid crafting, and, moreover, aim to provide guidelines for designing to support and facilitate hybrid crafting practices. When looking at how people go about hybrid crafting with their personal digital media, we have found that it can be quite challenging for people to envision how they could use their digital media in crafting practices, or how they would use Materialise in everyday life. This may be an unavoidable result of presenting participants with new ways to do things that were not possible before – in this case using their digital media as building blocks in conjunction with physical building blocks. In fact, by asking participants not only to craft – which may be challenging in itself – but also to do this in a limited time, in a group, and with a completely new platform, our workshops were quite challenging for the participants. However, Materialise nonetheless provided them with enough starting points and support to work with, and after initial exploration and getting to know the set, most participants got the hang of it and seemed to enjoy it. This strengthens our beliefs that Materialise provides a good ‘starter kit’ which can get people to think in the direction of hybrid crafting and explore the possibilities. Further, we witnessed the rise of practices that are similar to purely physical – more traditional – crafting practices, such as the fact that participants kept going when creations already seemed finished, the exploration and experimentation with physical and digital materials, and the fact that they only started building the final physical creation after having an idea of what to make, which strengthened our beliefs that our form of hybrid crafting through Materialise can indeed be considered a craft, albeit perhaps a starters’ one.

Aside from the challenges arising from presenting a new platform, the difficulties participants had in envisioning the everyday use of such a platform may also indicate that further support should be provided in the form of examples, or concrete use contexts, in which a hybrid crafting practice may be desired. This also came forward in our findings that participants had trouble envisioning how they would fit the prototype in their everyday lives, although in the group discussions new ideas arose and were met with enthusiasm for potential use of the set.

Although it is difficult to draw objective conclusions regarding the question if hybrid crafting is preferred to physical or digital crafting, we saw potential in designing for hybrid crafting for specific use scenarios. We envision that a hybrid crafting practice – be it with a building set such as Materialise or with other tools that can be designed – can be used in a reflective activity in which, apart from looking through digital media and actively engaging with these media, selecting them, making them, adjusting them, a physical making process takes place, further engaging the user and potentially increasing the engagement to the media and the creation [e.g. 3,4,5]. One participant, for example, imagined making something themed around his grandfather of whom he had brought some images and an audio recording. Potential contexts and uses in which hybrid crafting can be valuable can for example be personal reflection and ‘doing something more’ with personal digital media, enhancing music playlists, embedding interactive content such as Facebook more into the physical environment of the home, personalized gifts, co-present digital media sharing and story-telling, or remote awareness systems.

As such, hybrid crafting practices can be individual as well as group activities. We organized group sessions in our workshops, which may seem at first sight to contradict current craft practice, which is often an individual activity. As such, the collaborative character will have influenced what was built with the set in the workshops and how it was used, for example there was further less room for individual reflective crafting processes and creations around themes of personal significance for one person. In our workshop, one of the designers commented that the collaborative aspect made it challenging to find a common theme within the media from different people: because you have to work with what you have, it becomes much more random and neutral and you cannot go in depth around a specific theme. However, most participants saw the collaboration as a positive aspect and they envisioned using the building set as a family activity or with friends, e.g. as a new means for media sharing. These different practices highlight the importance of leaving the possibilities open for collaborative as well as individual creation, which may be an important characteristic of hybrid crafting, in this age in which making becomes more and more social [2].

Looking at the characteristics of hybrid crafting, as we found them in our workshops, and how we envision them to be ideally, we can conclude that most evolve around a thorough integration of physical digital in both crafting process and crafting result. First, exploration, experimentation, and iteration should be encouraged both with physical and digital materials – it should be easy to switch between building with physical and digital materials, and ideally the ways of working with physical and digital materials should be similar. We saw that while the physical triggered plenty of exploration when participants were left without instruction, they seemed to think more before building ‘final creations’. We envision physical making iterations alongside digital iterations can trigger new ideas, and new creative connections can be found when making practices become more integrated. Similarly, we saw that participants tended to start from the digital media and create their physical representations around these. This, as mentioned, was influenced in part by the set-up of the workshops, but it may reflect an important difference in crafting with physical and digital materials. For digital crafting the starting point, or base material, will in our definition of hybrid crafting most often be digital media files, such as images or audio, rather than bits and bytes, while for physical crafting a starting point can be any base material, such as wood, paper or clay. Even looking at the Materialise set, physical building blocks could be used to many ends, despite having predetermined sizes and shapes, as was illustrated by our participants experimenting, while digital media files often contain concrete representations, which makes it seemingly difficult to use them to novel ends. So, apart from providing a more concrete material – giving more concrete handles to start from – digital media are also less flexible to start from than physical materials, and less open for different interpretations, and thus more difficult to fit into creations later. Although it can be challenging to find creative new angles to the content of digital media, we believe overcoming these challenges may increase the ‘craftiness’ of including digital materials. Both physical and digital materials can thus provide their own interesting starting points and we believe that hybrid crafting thus provides an interesting combination of crafting challenges and possibilities; an integration of concreteness and openness that can lead to new ways of thinking about crafting and novel creative expression.

We observed that participants were creative in ‘bending’ the physical building blocks to fit their building needs, and bring in new materials where this could aid the crafting process. They did not do so with digital means, e.g. look for digital content online or edit existing media. Apart from a limited time in the workshops, this was also caused by the limited skills most people have with digital crafting tools, e.g. image and audio editing tools, and the limited extent to which media can be edited in the first place; by far most of the media our participants brought to the sessions were unedited. To further support the use of physical and digital means as starting points, and allowing for multiple interpretations and open-ended building opportunities, the possibilities for easy editing, manipulating, and sourcing new materials should be similar for both physical and digital materials. These open-ended possibilities can not only be achieved by providing enough versatile physical parts, such as the extra magnets, but also for example by providing tangible means for editing digital media – such as cropping media by breaking pieces off a block, or resizing media by folding or unfolding flexible blocks – or facilitating more abstract digital media searches based on theme, color, or composition.

Further, we observed a tension between the static physical and dynamic digital. Although this provided challenges in the current prototype and set-up, we believe it is exactly this combination of dynamic and static that provides such exciting possibilities for hybrid crafting, as long as this combination is carefully designed for. Physical creations can easily be displayed in the home in ways results of digital crafting cannot [63], and digital media used in these creations can draw attention to a piece, or make it possible to evolve over time, for example as new media becomes available or as someone’s interests change; increasing the likelihood a creation will be meaningful over a longer time. However, as media change, a static physical creation may not be suitable anymore. As addressed in the results section, we envision supporting this by making the physical less static, for example by allowing physical blocks or physical creations to evolve over time, change shape or color or introduce movement. Another option could be to facilitate and encourage the creation of physical compositions that relate to digital media on more abstract or meta levels – as was done only to a limited extent in the workshops – in which case physical compositions and digital media may still complement each other if the media content changes.

Finally, participants pointed out tensions between the playfulness of the building set and its explorative nature, and the possibilities for building something that lasts – which may be an aim for hybrid creations that can become cherished. Upon further reflection on these findings, our design, and the observation that it was quite easy to start crafting with Materialise, we see Materialise as a starter kit for hybrid crafting, which focusses on introducing this new form of crafting to people, and lets them explore what they would like to do with it. Similar, perhaps, to how in more traditional craft the beginners’ medium of clay may introduce the concepts of 3D sculpture to starting crafters, while more advanced crafters may move on to wood or stone sculpture. We envision the design of other hybrid crafting tools or platforms that support more advanced hybrid crafters, e.g. providing more complex functionality, allowing for the development of hybrid crafting skills, and also providing means to create more elaborate, lasting pieces. The playfulness of the current set is thus a characteristic of its aim to encourage exploration and discovery of what can be done with hybrid crafting for the beginner, while other hybrid craft platforms, or extensions of the set, may support the creation of more lasting structures. Interesting design opportunities are still to be addressed in how we may support the more experienced hybrid crafter, as this new form of crafting moves forward.

Summarizing the points addressed above and reiterating some of the points made in Section 4.4 we can now formulate a list of guidelines for the design of interactive products or tools that aim to support hybrid crafting:

1 – Envision a concrete use context or application area of the hybrid crafting practice you want to support and make sure it is clear to the user what need or desire the design may fulfil – for example media sharing, personalised gifts, or individual reflection – while the possibilities for hybrid crafting within this area should still be flexible and open-ended.

2 – Think about whether the intended purpose is an individual or collaborative activity and make sure the design is suitable, or if both may be applicable, make sure there are possibilities for both collaborative as well as individual creation.

3 – Facilitate for the use of physical as well as digital materials as starting points for hybrid crafting by making both physical and digital possibilities open-ended, and by designing means for easy editing, manipulation, and sourcing of new materials in both physical and digital realms to fit the needs of developing creations.

4 – Integrate physical and digital making phases and platforms to allow for iteration, exploration and experimentation in both physical and digital, and across these realms, for example by making digital media as readily available in the form of physical building blocks as physical materials, and making the interaction with physical and digital media more similar by using Tangible Interaction mechanisms.

5 – Utilize the characteristics of physical – static and visible in the everyday environment – and digital – dynamic and often hidden – to reach hybrid integrations that may be displayed in everyday environments, and be meaningful for a long time, by designing the physical elements to be more dynamic or be centred on abstract or meta themes.

6 – Consider the proficiency of the hybrid crafters you are designing for, and design mechanisms for either supporting beginners – e.g. enabling explorative platforms and creations – or more advanced crafters – e.g. enabling creations that can be ‘made to last’. In addition, think about how your design may support the skill development of hybrid crafters as they move from beginners to experienced crafters.

Comment 14

This list of guidelines for the design of interactive products or tools, that aim to support hybrid crafting, must be considered at this stage, as preliminary or hypothesised or some-such. They are the product of reflection and so can be considered at best conceptualised, rather than operationalised, tested or generalised (and so not validated)

7. Conclusions

In this paper we address how we explored notions of ‘hybrid crafting’ – everyday creative practices of using combinations of physical and digital materials, techniques or tools, to make interactive physical-digital creations – in order to inform the design of novel products or systems that may facilitate or support these novel approaches to crafting. Our exploration focused on the design and use of ‘Materialise’, a physical-digital building set which was used in four hands-on creative workshops in which we aimed to gain insights into how people go about doing hybrid crafting with their personal media, whether these hybrid forms of crafting are desirable, what the characteristics of hybrid crafting are, and how we may design for these practices. We reflected on our findings and formulated six concrete guidelines for the design of products or systems that aim to facilitate or support hybrid crafting. We propose that hybrid crafting designs need, as a craft context, a concrete use context or application area, and an idea of social dynamics around this context. In addition, looking at the craft process, it needs to be possible to use both physical and digital materials as the starting point, and phases of physical and digital making need to be as closely coupled and similar as possible. Finally, addressing the craft result, the design should enable the exploitation of the benefits of physical and digital in the integration and display of hybrid craft, and it should fit the different needs for creations beginners or experienced crafters may have. Using these guidelines, we want to open up the design space to novel designs that support hybrid crafting practices, novel ways of crafting which provide exciting new challenges and opportunities for creative expression.

8. Acknowledgements

This work was supported by Microsoft Research through its PhD Scholarship Programme. We further thank the participants in the workshops; Jocelyn Spence for her help with the facilitation of the workshops, our colleagues at Microsoft Research Cambridge for their valuable feedback on the design work and their help with the development of the toolkit; Peter Golsteijn for his help with the development of the toolkit and the user software; and our colleagues at the University of Surrey, and Eindhoven University of Technology.

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5. HCI Engineering Research Exemplar 150 150 John

5. HCI Engineering Research Exemplar

The HCI/E(U) approach is based on a Conception for HCI/E and associated Frameworks for HCI research, comprising – Discipline; Design Problem; Design Knowledge; Design Practices (as set out above) and Design Research Exemplar – as set out below. The latter encapsulates all the HCI/E components.

The design research exemplar specifies a complete HCI/E design research cycle, which, once implemented, constitutes a case-study of an engineering approach to HCI.

The diagram, which follows, presents the HCI/E(U) design research exemplar for HCI/E.

Key: EP – Empirical Practice EK – Empirical Knowledge as: design guidelines; models and methods

SFP – Specific Formal Practice GFP – General Formal Practice

SFK Specific Formal Knowledge as: Specific Design Principle (Declarative and Methodological)

GFK – General Formal Knowledge as: General Design Principle (Declarative and methodological)

The HCI/E design research exemplar is described below by level, starting at the lowest level:

Level 1: User Requirements are transformed into an Interactive System by means of implicit design research, implicit design knowledge and implicit design practices of implement and test. The knowledge and practices at this level are not explicit and so are not addressed here. Hence, they do not appear in the diagram. If the design, however, is ‘for performance’ the knowledge and practices might be considered ‘Craft Engineering or some-such’.

As an illustration, User Requirements for e-shopping might be transformed into an Interactive e-shopping System to the satisfaction of the client. The knowledge and practices would comprise the experience and best practice of the interactive system designers. The research would comprise the enhancement of their design experience.

Level 2: Design Problems are explicitly, but empirically, derived from and validated, against User Requirements. Design Problems must, at least in principle, be soluble. User Requirements, however, may be impossible to be satisfied by an Interactive System. Likewise, Design Solutions are explicitly, but empirically, derived from and validated against the Interactive System. Design Research explicitly, but empirically, acquires and validates Design Knowledge. The latter supports the explicit, but empirical, Design Practices of Specification and Implementation and Test of Design Solutions from Design problems and from Design Solutions to Design Problems.

As an illustration, the e-shopping ‘check-out’ Design Problem of the slow and inaccurate billing of goods (ineffective performance) might be solved by a virtual shopping cart, which cumulates the costs of ordered goods (effective performance). The empirical Design Knowledge supporting the Design Practices might be expressed as: heuristics; guidelines etc.

Level 3: Specific Principle Design Problems are explicitly, but empirically, derived from and validated against Design Problems. Likewise, Specific Principle Design Solutions are explicitly, but empirically, derived from and validated against Design Solutions. Specific Principle Design Research explicitly, but empirically, acquires and validates Specific Principles. The latter support the explicit, formal Design Practices of Derivation and Verification of Specific Principle Design Solutions from Specific Principle Design Problems and from Specific Principle Design Solutions to Specific Principle Design Problems. That is to say, specify, then implement.

As an illustration, the e-shopping check-out ‘goods costs against client financial budget’ Specific Principle Design Problem of the slow and inaccurate client assessment of ordered goods’ costs against their financial budget (ineffective performance) might be solved by a virtual shopping cart, which deducts the financial costs of ordered goods against a client-specified financial budget (effective performance). The Specific Principle Formal Design Knowledge supporting the Specific Principle Formal Design Practices would be expressed as a Formal Specific Principle.

Level 4: General Principle Design Problems are formally derived from and validated against Specific Principle Design Problems. Likewise, General Principle Design Solutions are formally derived from and validated against Specific Principle Design Solutions. General Principle Design Research , formally acquires and formally validates General Principles. The latter support the formal Design Practices of Derivation and Verification of general Principle Design Solutions from General Principle Design Problems and from General Principle Design Solutions to General Principle Design Problems. That is to say, specify, then implement.

As an illustration, the e-shopping check-out ‘goods costs against client resources (that is, budget, calory’ Specific Principle Design Problem of the slow and inaccurate client assessment of ordered goods’ costs against their budget (ineffective performance) might be solved by a virtual shopping cart, which deducts the costs of ordered goods against a client-specified budget (effective performance). The Specific Principle Formal Design Knowledge supporting the Specific Principle Formal Design Practices would be expressed as a Formal Specific Principle.

As an illustration, the e-shopping check-out ‘goods costs against client financial and calorie budget’ General Principle Design Problem of the slow and inaccurate client assessment of ordered goods’ costs against their financial and calorie budget (ineffective performance) might be solved by a virtual shopping cart, which deducts the financial and calorie costs of ordered goods against a client-specified financial and calorie budget (effective performance). The General Principle Formal Design Knowledge supporting the general Principle Formal Design Practices would be expressed as a Formal General Principle.

Design Research Exemplar Illustrations

Towards Engineering principles for Human-Computer Interaction

Engineering Design Principles: Validating Successful HCI Design Knowledge to Support its Re-use

Innovation Framework 150 150 John

Innovation Framework

 

Initial Framework

The initial framework for an innovation approach to HCI follows. The key concepts appear in bold(Read More…..)

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The framework for a discipline of HCI as innovation has a general problem with a particular scope. Research acquires and validates knowledge, which supports practices, solving the general problem.

Key concepts are defined below (with additional clarification in brackets).

Framework: a basic supporting structure (basic – fundamental; supporting – facilitating/making possible; structure – organisation).

Discipline: an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

HCI: human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Innovation: novel (novel – new ideas/methods/devices etc)

General Problem: innovation design (innovation – novelty; design – specification/implementation).

Particular Scope: innovative human-computer interactions to do something as desired (innovative – novel; human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task; desired: wanted/needed/experienced/felt/valued).

Research: acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – patents/expert advice/experience/examples).

Knowledge: supports practices (supports – facilitates/makes possible; practices – trial-and-error/implement and test).

Practices: supported by knowledge (supported – facilitated; knowledge – patents/expert advice/experience/examples).

Solution: resolution of a problem (resolution – answer/address; problem – question/doubt).

General Problem: innovation design (innovation – novelty; design – specification/implementation).

 

Final Framework

The final framework for an innovation approach to HCI follows. It comprises the initial framework (see earlier) and, in addition, key concept definitions (but not clarifications).

The framework (as a basic support structure) is for a discipline (as an academic field of study and branch of knowledge) of HCI (as human-computer interaction) as innovation (as novel).

The framework has a general problem (as innovation design) with a particular scope (as innovative human computer interactions to do something as desired). Research ( as acquisition and validation) acquires (as study and practice) and validates (as confirms) knowledge (as patents, experts advice, experience and examples). This knowledge supports (facilitates) practices (as trial and error and implement and test), which solve(as resolve) the general design problem of innovation design.

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This framework for a discipline of HCI as innovation is more complete, coherent and fit-for-purpose than the description afforded by the innovation approach to HCI (see earlier). The framework thus better supports thinking about and doing innovation HCI. As the framework is explicit, it can be shared by all interested researchers. Once shared, it enables researchers to build on each other’s work. This sharing and building is further supported by a re-expression of the framework, as a design research exemplar. The latter specifies the complete design research cycle, which once implemented constitutes a case-study of an of an innovation approach to HCI. The diagram, which follows, presents the innovation design research exemplar. The empty boxes are not required for the design research exemplar of HCI as Innovation; but are required elsewhere for the design research exemplar of HCI as Engineering. They have been included here for completeness.

 

                              Design Research Exemplar – HCI as Innovation

Screen shot 2016-01-26 at 16.50.43

Key: Innovation Knowledge – patents, experts advice, experience and examples.
EP – Empirical Practice EK – Empirical Knowledge

Framework Extension

The Innovation Framework is here expressed at the highest level of description. However, to conduct Innovation design research and  acquire/validate Innovation knowledge etc, as suggested by the exemplar diagram above, lower levels of description are required.

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Examples of such levels are presented here –  first a short version and then a long version. Researchers, of course, might have their own lower level descriptions or subscribe to some more generally recognised levels. Such descriptions are acceptable, as long as they fit with the higher level descriptions of the framework and are complete; coherent and fit-for-purpose. In the absence of alternative levels of description, researchers might try the short version first .

These levels go, for example from ‘human’ to ‘user’  and from ‘computer’ to ‘interactive system’. The lowest level, of course, needs to reference the innovation itself, in terms of the application, for example, for a business GUI innovation interactive system, secretary and electronic mailing facility. Researchers are encouraged to select from the framework extensions as required and to add the lowest level description, relevant to their research. The lowest level is used here to illustrate the extended innovation framework.

 

Extension - Short Version

Following the Innovation Design Research exemplar diagram above, researchers need to specify: Specific Innovation Problems (as they relate to User Requirements); Innovation Research; Innovation Knowledge; and Specific Innovation Solutions (as thy relate to Interactive Systems).

These specifications require the extended Innovation framework to include: the Application; the Interactive System; and Performance, relating the former to the latter. Innovation design requires the Interactive System to do something (the Application) as desired (Performance). Innovation Research acquires and validates Innovation Knowledge to support Innovation Design Practices.

The Innovation Framework Extension, thus includes: Application; Interactive System; and Performance.

1 Innovation Applications

1.1 Objects

Innovation applications (the  ‘ something’, which the interactive system does) can be described in terms of objects. Objects may be both abstract and physical and are characterised by their attributes. Abstract attributes are those of information and knowledge. Physical attributes are those of energy and matter.

For example, an innovation GUI e-mail application (such as for correspondence) can be described for design research purposes in terms of objects; their abstract attributes, supporting  the communication of messages; their physical attributes supporting the GUI visual/verbal representation of displayed information by means of language. Innovation objects are specified as part of design and can be researched as such.

1.2 Attributes and Levels

The attributes of an innovation application object emerge at different levels of description.  For example, characters and their configuration on a GUI page are physical attributes of the object ‘e-mail,’ which emerge at one level. The message of the e-mail is an abstract attribute, which emerges at a higher level of description.

1.3 Relations between Attributes

Attributes of innovation application objects are related in two ways. First, attributes are related at different levels of complexity. Second, attributes are related within levels of description. Such relations are specified as part of Innovation design.

1.4 Attribute States and Affordance

The attributes of innovation application objects can be described as having states. Further, those states may change. For example, the content and characters (attributes) of an innovative GUI e-mail (object) may change state: the content with respect to meaning and grammar; its characters with respect to size and font. Objects exhibit an affordance for transformation, associated with their attributes’ potential for state change.

1.5  Applications and the Requirement for Attribute State Changes

An innovation application may be described in terms of affordances. Accordingly, an object may be associated with a number of applications. The GUI object ‘book’ may be associated with the application of typesetting (state changes of its layout attributes) and with the application of authorship (state changes of its textual content). In principle, an application may have any level of generality, for example, the writing of GUI personal e-mails and the writing of business e-mails.

Organisations have applications and require the realisation of the affordance of their associated objects. For example, ‘completing a survey’ and ‘writing to a friend’, each have a GUI e-mail as their transform, where the e-mails are objects, whose attributes (their content, format and status, for example) have an intended state. Further editing of those e-mails would produce additional state changes, and therein, new transforms.   Requiring radically new affordances might constitute a Specific Innovation Problem and lead to a new innovation,   which embodies a Specific Innovation Solution.

1.6 Application Goals

The requirement for the transformation of innovation application objects is expressed in the form of goals. A product goal specifies a required transform – the realisation of the affordance of an object.  A product goal supposes necessary state changes of many attributes. The requirement of each attribute state change can be expressed as an application task goal, derived from the product goal.

So, for example, the product goal demanding transformation of a GUI e-mail, making its message more courteous, would be expressed by task goals, possibly requiring state changes of semantic attributes of the propositional structure of the text and of syntactic attributes of the grammatical structure. Hence, a product goal can be re-expressed as an application task goal structure, a hierarchical structure expressing the relations between task goals, for example, their sequences. The latter might constitute part of an innovative design.

1.7 Innovation Application as: Doing Something as Desired

The transformation of an object, associated with a product goal,  involves many attribute state changes – both within and across levels of complexity. Consequently, there may be alternative transforms, which satisfy a product goal – GUI e-mails with different styles.  The concept of ‘doing something as desired’ describes the variance of an actual transform with that specified by a product goal.

1.8  Innovation Application and the User

One description of the innovation application then, is of objects, characterised by their attributes, and exhibiting an affordance, arising from the potential changes of state of those attributes. By specifying product goals, users express their requirement for transforms – objects with specific attribute states. Transforms are produced by ‘doing something, as desired’.

From product goals is derived a structure of related task goals, which can be assigned, by design practice, either to the user or to the interactive computer (or both) within an associated interactive system. Task goals assigned to the user by the design are those, intended to motivate the user’s behaviours. The actual state changes (and therein transforms), which those behaviours produce, may or may not be those specified by task and product goals, a difference expressed by the concept ‘as desired’, characterised in terms of: wanted/needed/experienced/felt/valued.

2.Innovation Interactive Computers

2.1 Interactive Systems

An interactive system can be described  as a behavioural system, distinguished by a boundary enclosing all human and interactive computer behaviours, whose purpose is to achieve and satisfy a common goal. For example, the behaviours of a secretary and GUI electronic e-mail application, whose purpose is to conduct correspondence, constitute an interactive system. Critically, it is only by identifying the common goal, that the boundary of the interactive system can be established and so designed and researched.

Interactive systems transform objects by producing state changes in the abstract and physical attributes of those objects (see 1.1). The secretary and GUI e-mail application may transform the object ‘correspondence’ by changing both the attributes of its meaning and the attributes of its layout.

The behaviours of the human and the interactive computer are described as behavioural sub-systems of the interactive system – sub-systems, which interact. The human behavioural sub-system is more specifically termed the user. Behaviour may be loosely understood as ‘what the human does’, in contrast with ‘what is done’ (i.e. attribute state changes of application objects).

Although expressible at many levels of description, the user must at least be described at a level, commensurate with the level of description of the transformation of application objects. For example, a secretary interacting with an GUI electronic mail application is a user, whose behaviours include receiving and replying to messages.

2.2 Humans as a System of Mental and Physical Behaviours

The behaviours, constituting an interactive system, are both physical and abstract. Abstract behaviours are generally the acquisition, storage, and transformation of information. They represent and process information, at least concerning: application objects and their attributes, attribute relations and attribute states and the transformations, required by goals. Physical behaviours are related to, and express, abstract behaviours.

Accordingly, the user is described as a system of both mental (abstract) and overt (physical) behaviours. They are related within an assumed hierarchy of behaviour types (and their control), wherein mental behaviours generally determine, and are expressed by, overt behaviours. Mental behaviours may transform (abstract) application objects, represented in cognition or express, through overt behaviour, plans for transforming application objects.

For example, a travel company secretary has the product goal, required to maintain the circulation of an electronic newsletter to customers. The secretary interacts with the computer by means of the innovative GUI interface (whose behaviours include the transmission of information about the newsletter). Hence, the secretary acquires a representation of the current circulation by collating the information displayed by the GUI screen  and assessing it by comparison with the conditions, specified by the product goal. The secretary reasons about the attribute state changes, necessary to eliminate any discrepancy between current and desired conditions of the process, that is, the set of related changes, which will produce and circulate the newsletter, ‘as desired’. That decision is expressed in the set of instructions issued to the interactive computer through overt behaviour – selecting innovative GUI menu options, for example.

2.3 Human-Computer Interaction

Although user and interactive computer behaviours may be described as separable sub-systems of the interactive system, these sub-systems extert a ‘mutual influence’ or interaction. Their configuration principally determines the interactive system and innovation design and research.

Interaction is described as: the mutual influence of the user (i.e. behaviours) and the interactive computer (i.e behaviours), associated within an interactive system. For example, the behaviours of a secretary interact with the behaviours of a GUI e-mail application. The secretary’s behaviours influence the behaviours of the interactive computer (access the dictionary function), while the behaviours of the interactive computer influence the selection behaviour of the operator (among possible correct spellings). The design of their interaction – the secretary’s selection of the dictionary function, the computer’s presentation of possible spelling corrections – determines the interactive system, comprising the secretary and interactive computer behaviours in their planning and control of correspondence. The interaction may be the object of innovation design and so design research.

The assignment of task goals by design then, to either the  user or the interactive computer, delimits the former and therein specifies the design of the interaction. For example, replacement of a mis-spelled word, required in a document is a product goal, which can be expressed as a task goal structure of necessary and related attribute state changes. In particular, the text field for the correctly spelled word demands an attribute state change in the text spacing of the document. Specifying that state change may be a task goal assigned to the user, as in interaction with the behaviours of early text editor designs or it may be a task goal assigned to the interactive computer, as in interaction with the innovation GUI ‘wrap-round’ behaviours. Design research would be expected to have been involved in such innovations. The assignment of the task goal of specification constitutes the design of the interaction of the user and interactive computer behaviours in each case, which in turn may become the object of research.

2.4 Human Resource Costs

‘Doing something as desired’ by means of an interactive system always incurs resource costs. Given the separability of the user and the interactive computer behaviours, certain resource costs are associated with the user and distinguished as behavioural user costs.

Behavioural user costs are the resource costs, incurred by the user (i.e by the implementation of behaviours) to effect an application. They are both physical and mental. Physical costs are those of physical behaviours, for example, the costs of making keystrokes and of attending to a GUI screen display; they may be expressed for innovation design purposes as physical workload. Mental behavioural costs are the costs of mental behaviours, for example, the costs of knowing, reasoning, and deciding; they may be expressed for innovation design purposes  as mental workload. Mental behavioural costs are ultimately manifest as physical behavioural costs.

3. Performance of the Innovation Interactive Computer System and the User.

‘To do something as desired’ derives from the relationship of an interactive system with its application. It assimilates both how well the application is performed by the interactive system and the costs incurred by it. These are the primary constituents of ‘doing something as desired’ i.e. performance. They can be further differentiated, for example, as wanted/needed/experienced/felt/valued. Desired performance is the object of innovation design.

Behaviours determine performance. How well an application is  performed by an interactive system is described as the actual transformation of application objects with regard to the transformation, demanded by product goals. The costs of carrying out an application are described as the resource costs, incurred by the interactive system and are separately attributed to the user and the interactive computer.

‘Doing something as desired’ by means of an interactive system may be described as absolute or as relative, as in a comparison to be matched or improved upon. Accordingly, criteria expressing ‘as desired’ may either specify categorical gross resource costs and how well an application is performed or they may specify critical instances of those factors to be matched or improved upon. They are the object of design and so of design research.

The common measures of human ‘performance’ – errors and time, are related in this notion of performance. Errors are behaviours, which increase resource costs, incurred in producing a given transform or which reduce the goodness of the transform or both. The duration of user behaviours may (very generally) be associated with increases in behavioural user costs.

 

 

Extension - Long Version

Following the Innovation Design Research exemplar diagram above, researchers need to specify: Specific Innovation Problems (as they relate to User Requirements); Innovation Research; Innovation Knowledge; and Specific Innovation Solutions (as thy relate to Interactive Systems).

These specifications require the extended Innovation framework to include: the Application; the Interactive System; and Performance, relating the former to the latter. Innovation design requires the Interactive System to do something (the Application) as desired (Performance). Innovation Research acquires and validates Innovation Knowledge to support Innovation Design Practice.

The Innovation Framework Extension, thus includes: Application; Interactive System; and Performance.

1 Innovation Applications

1.1 Objects

Innovation applications (the ‘something’ the interactive system ‘does’) can be described as objects. Such applications occur in the need of organisations for interactive systems. Objects may be both abstract and physical and are characterised by their attributes. Abstract attributes are those of information and knowledge. Physical attributes are those of energy and matter.

For example, an innovation GUI e-mail application for correspondence can be described, for design research purposes, in terms of objects; their abstract attributes, supporting the communication of messages; their physical attributes supporting the GUI visual/verbal representation of displayed information by means of language.

1.2 Attributes and Levels

The attributes of an innovation application object emerge at different levels of description. For example, characters and their configuration on a GUI page are physical attributes of the object ‘e-mail,’ which emerge at one level. The message of the e-mail is an abstract attribute, which emerges at a higher level of description.

1.3 Relations between Attributes

Attributes of innovation application objects are related in two ways. First, attributes are related at different levels of complexity. Second, attributes are related within levels of description.

1.4 Attribute States and Affordance

The attributes of innovation application objects can bedescribed as having states. Further, those states may change. For example, the content and characters (attributes) of a GUI e-mail (object) may change state: the content with respect to meaning and grammar; its characters with respect to size and font. Objects exhibit an affordance for transformation, associated with their attributes’ potential for state change.

1.5 Applications and the Requirement for Attribute State Changes

An innovation application may be described in terms of novel affordances. Accordingly, an object may be associated with a number of applications. The GUI object ‘book’ may be associated with the application of typesetting (state changes of its layout attributes) and with the application of authorship (state changes of its textual content). Such changes may constitute (part of) an innovation. In principle, an application may have any level of generality, for example, the writing of GUI personal e-mails and the writing of business e-mails.

Organisations have applications, which require the realisation of the affordance of their associated objects. For example, ‘completing a survey’ and ‘writing to a friend’, each have a GUI e-mail as their transform, where the e-mails are objects, whose attributes (their content, format and status, for example) have an intended state. Further editing of those e-mails  produces additional state changes and therein, new transforms.

1.6 Application Goals

Organisations express the requirement for the transformation of innovation application objects in terms  of goals. A product goal specifies a required transform – the realisation of the affordance of an object. A product goal generally supposes necessary state changes of many attributes. The requirement of each attribute state change can be expressed as an application task goal, derived from the product goal. So, for example, the product goal demanding transformation of a GUI e-mail, making its message more courteous, would be expressed by task goals, possibly requiring state changes of semantic attributes of the propositional structure of the text and of syntactic attributes of the grammatical structure. Hence, a product goal can be re-expressed as an application task goal structure, a hierarchical structure, expressing the relations between task goals, for example, their sequences. Again, novel changes might constitute (part of) an innovation.

1.7 Innovation Application as: Doing Something as Desired

The transformation of an object, associated with a product goal, involves many attribute state changes – both within and across levels of complexity. Consequently, there may be alternative transforms, which satisfy the same product goal – GUI e-mails with different styles, for example, where different transforms exhibit different compromises between attribute state changes of the application object. There may also be transforms, which fail to meet the product goal. The concept of ‘doing something as desired’ describes the variance of an actual transform with that specified by a product goal. It enables all possible outcomes of an application to be equated and evaluated. Such transforms may become the object of innovation design and so research.

1.8 Innovation Application and the User

Description of the innovation application then, is of objects, characterised by their attributes, and exhibiting an affordance, arising from the potential changes of state of those attributes. By specifying product goals, organisations express their requirement for transforms – objects with specific attribute states. Transforms are produced by ‘doing something, as desired’, which occurs only by means of objects, affording transformation and innovative interactive systems, capable of producing a transformation. Novel production may be (part of) an innovation.

From product goals is derived a structure of related task goals, which can be assigned either to the user or to the interactive computer (or both) within the design of an associated interactive system. The task goals assigned to the user are those, which motivate the user’s behaviours. The actual state changes (and therein transforms), which those behaviours produce, may or may not be those specified by task and product goals, a difference expressed by the concept ‘as desired’, characterised in terms of: wanted/needed/experienced/felt/valued.

2.Innovation Interactive Computers and the Human

2.1 Interactive Systems

Users are able to conceptualise goals and their corresponding behaviours are said to be intentional (or purposeful). Interactive computers are designed to achieve goals and their corresponding behaviours are said to be intended (or purposive). An interactive system can be described as a behavioural system, distinguished by a boundary enclosing all user and interactive computer behaviours, whose purpose is to achieve and satisfy a common goal. For example, the behaviours of a secretary and GUI electronic e-mail application, whose purpose is to manage correspondence, constitute an interactive system. Critically, it is only by identifying the common goal, that the boundary of an interactive system can be established and so designed and researched.

Interactive systems transform objects by producing state changes in the abstract and physical attributes of those objects (see 1.1). The secretary and GUI e-mail application may transform the object ‘correspondence’ by changing both the attributes of its meaning and the attributes of its layout. More generally, an interactive system may transform an object through state changes, produced in related attributes.

The behaviours of the user and the interactive computer are described as behavioural sub-systems of the interactive system – sub-systems, which interact. The human behavioural sub-system is more specifically termed the user. Behaviour may be loosely understood as ‘what the user does’, in contrast with ‘what is done’ (that is, attribute state changes of application objects). More precisely the user is described as:

a system of distinct and related user behaviours, identifiable as the sequence of states of a user interacting with a computer to do something as desired and corresponding with a purposeful (intentional) transformation of application objects.

Although expressible at many levels of description, the user must at least be described for design research purposes at a level, commensurate with the level of description of the transformation of innovation application objects. For example, a secretary interacting with a GUI electronic mail application is a user, whose behaviours include receiving and replying to messages.

2.2 Humans as a System of Mental and Physical Behaviours

The behaviours, constituting an interactive system, are both physical and abstract. Abstract behaviours are generally the acquisition, storage, and transformation of information. They represent and process information, at least concerning: application objects and their attributes, attribute relations and attribute states and the transformations, required by goals. Physical behaviours are related to, and express, abstract behaviours.

Accordingly, the user is described as a system of both mental (abstract) and overt (physical) behaviours, which extend a mutual influence – they are related. In particular, they are related within an assumed hierarchy of behaviour types (and their control), wherein mental behaviours generally determine and are expressed by, overt behaviours. Mental behaviours may transform (abstract) application objects, represented in cognition or express, through overt behaviour, plans for transforming application objects.

For example, a travel company secretary has the product goal, required to maintain the circulation of an electronic newsletter to customers. The secretary interacts with the computer by means of the innovative GUI interface (whose behaviours include the transmission of information about the newsletter). Hence, the secretary acquires a representation of the current circulation by collating the information displayed by the GUI screen and assessing it by comparison with the conditions, specified by the product goal. The secretary’s acquisition, collation, assessment and circulation of the newsletter are each distinct mental behaviours, described as representing and processing information. The secretary reasons about the attribute state changes, necessary to eliminate any discrepancy between current and desired conditions of the process, that is, the set of related changes, which will produce and circulate the newsletter, ‘as desired’. That decision is expressed in the set of instructions issued to the interactive computer through overt behaviour – selecting GUI menu options, for example. The selection and the menu options are both part of the design process.

The user is described as having cognitive, conative and affective aspects. The cognitive aspects are those of knowing, reasoning and remembering; the conative aspects are those of acting, trying and persevering; and the affective aspects are those of being patient, caring and assuring. Both mental and overt user behaviours are described as having these three aspects, all of which may contribute to ‘doing something, as desired wanted/needed/experienced/felt/valued.

2.3 Human-Computer Interaction

Although user and interactive computer behaviours may be described as separable sub-systems of the interactive system, these sub-systems exert a ‘mutual influence’, that is to say they interact. Their configuration principally determines the interactive system and so its design and the associated research into that and other possible (innovative) designs.

Interaction is described as: the mutual influence of the user (i.e. behaviours) and the interactive computer (i.e behaviours), associated within an interactive system.

Interaction of the user and the interactive computer behaviours is the fundamental determinant of the interactive system, rather than their individual behaviours per se. For example, the behaviours of a secretary interact with the behaviours of a GUI e-mail application. The secretary’s behaviours influence the behaviours of the interactive computer (selection of the dictionary function), while the behaviours of the interactive computer influence the selection behaviour of the operator (provision of possible correct spellings). The configuration of their interaction – the secretary’s selection of the dictionary function, the computer’s presentation of possible spelling corrections – determines the interactive system, comprising the secretary and interactive computer behaviours in their planning and control of correspondence. The interaction is the object of innovation design and so of design research.

The assignment of task goals then, to either the user or the interactive computer, delimits the former and therein specifies the design of the interaction. For example, replacement of a mis-spelled word, required in a document is a product goal, which can be expressed as a task goal structure of necessary and related attribute state changes. In particular, the text field for the correctly spelled word demands an attribute state change in the text spacing of the document. Specifying that state change may be a task goal assigned to the user, as in interaction with the behaviours of early text editor designs or it may be a task goal assigned to the interactive computer, as in interaction with the innovation GUI ‘wrap-round’ behaviours. The assignment of the task goal of specification constitutes the design of the interaction of the user and interactive computer behaviours in each case, which in turn may become the object of innovation research.

2.4 Human On-line and Off-line Behaviours

User behaviours may comprise both on-line and off-line behaviours: on-line behaviours are associated with the interactive computer’s representation of the application; off-line behaviours are associated with non-computer representations of the application.

As an illustration of the distinction, consider the example of an interactive system, consisting of the behaviours of a secretary and a a GUI e-mail application. They are required to produce a paper-based copy of a dictated letter, stored on audio tape. The product goal of the interactive system here requires the transformation of the physical representation of the letter from one medium to another, that is, from tape to paper. From the product goal derives the task goals, relating to required attribute state changes of the letter. Certain of those task goals will be assigned to the secretary. The secretary’s off-line behaviours include listening to and assimilating the dictated letter, so acquiring a representation of the application object. By contrast, the secretary’s on-line behaviours include specifying the represention by the interactive computer of the transposed content of the letter in a desired visual/verbal format of stored physical symbols.

On-line and off-line user behaviours are a particular case of the ‘internal’ interactions between a user’s behaviours as, for example, when the secretary’s keying interacts with memorisations of successive segments of the dictated letter.

2.5 Structures and the Human

Description of the user as a system of behaviours needs to be extended, for the purposes of design and design research, to the structures supporting that behaviour.

Whereas user behaviours may be loosely understood as ‘what the human does’, the structures supporting them can be understood as ‘the support for the human to be able to do what they do’. There is a one-to-many mapping between a user’s structures and the behaviours they might support: thus, the same structures may support many different behaviours.

In co-extensively enabling behaviours at each level of description, structures must exist at commensurate levels. The user structural architecture is both physical and mental, providing the capability for a user’s overt and mental behaviours. It provides a represention of application information as symbols (physical and abstract) and concepts, and the processes available for the transformation of those representations. It provides an abstract structure for expressing information as mental behaviour. It provides a physical structure for expressing information as physical behaviour.

Physical user structure is neural, bio-mechanical and physiological. Mental structure consists of representational schemes and processes. Corresponding with the behaviours it supports and enables, user structure has cognitive, conative and affective aspects. The cognitive aspects of user structures include information and knowledge – that is, symbolic and conceptual representations – of the application, of the interactive computer and of the user themselves, and it includes the ability to reason. The conative aspects of user structures motivate the implementation of behaviour and its perseverence in pursuing task goals. The affective aspects of user structures include the personality and temperament, which respond to and support behaviour. All three aspects may contribute to ‘ doing something, as desired wanted/needed/experienced/felt/valued’.

To illustrate this description of mental structure, consider the example of the structures supporting a secretary’s behaviours in an office. Physical structure supports perception of the GUI e-mail display and executing actions to an electronic e-mail application. Mental structures support the acquisition, memorisation and transformation of information about how correspondence is conducted. The knowledge, which the operator has of the application and of the interactive computer, supports the collation, assessment and reasoning about the actions required.

The limits of user structures determine the limits of the behaviours they might support. Such structural limits include those of: intellectual ability; knowledge of the application and the interactive computer; memory and attentional capacities; patience; perseverence; dexterity; and visual acuity etc. The structural limits on behaviour may become particularly apparent, when one part of the structure (a channel capacity, perhaps) is required to support concurrent behaviours, perhaps simultaneous visual attending and reasoning behaviours. The user then, is ‘resource-limited’ by the co-extensive user structures.

The behavioural limits of the user, determined by structure, are not only difficult to define with any kind of completeness, they may also be variable, because that structure may change, and in a number of ways. A user may have self-determined changes in response to the application – as expressed in learning phenomena, acquiring new knowledge of the application, of the interactive computer, and indeed of themselves, to better support behaviour. Also, user structures degrade with the expenditure of resources by behaviour, as demonstrated by the phenomena of mental and physical fatigue. User structures may also change in response to motivating or de-motivating influences of the organisation, which maintains the interactive system.

It must be emphasised that the structure supporting the user is independent of the structure supporting the interactive computer behaviours. Neither structure can make any incursion into the other and neither can directly support the behaviours of the other. (Indeed this separability of structures is a pre-condition for expressing the interactive system as two interacting behavioural sub-systems). Although the structures may change in response to each other, they are not, unlike the behaviours they support, interactive; they are not included within the interactive system. The combination of structures of both user and interactive computer, supporting their interacting behaviours is described as the user interface .

2.6 Human Resource Costs

‘Doing something as desired’ by means of an interactive system always incurs resource costs. Given the separability of the user and the interactive computer behaviours, certain resource costs are associated directly with the user and distinguished as structural user costs and behavioural user costs.

Structural user costs are the costs of the user structures. Such costs are incurred in developing and maintaining user skills and knowledge. More specifically, structural user costs are incurred in training and educating users, so developing in them the structures, which will enable the behaviours necessary for an application . Training and educating may augment or modify existing structures, provide the user with entirely novel structures, or perhaps even reduce existing structures. Structural user costs will be incurred in each case and will frequently be borne by the organisation. An example of structural user costs might be the costs of training a secretary to use an innovative GUI interface in the particular style of layout, required for an organisation’s correspondence with its clients and in the operation of the interactive computer by which that layout style can be created.

Structural user costs may be differentiated as cognitive, conative and affective structural costs. Cognitive structural costs express the costs of developing the knowledge and reasoning abilities of users and their ability for formulating and expressing novel plans in their overt behaviour – as necessary for ‘doing something as desired’. Conative structural costs express the costs of developing the activity, stamina and persistence of users as necessary for an application. Affective structural costs express the costs of developing in users their patience, care and assurance as necessary for an application.

Behavioural user costs are the resource costs, incurred by the user (i.e by the implementation of their of behaviours) in recruiting user structures to effect an application. They are both physical and mental resource costs. Physical behavioural costs are the costs of physical behaviours, for example, the costs of making keystrokes on a keyboard and of attending to a GUI screen display; they may be expressed without differentiation as physical workload. Mental behavioural costs are the costs of mental behaviours, for example, the costs of knowing, reasoning, and deciding; they may be expressed without differentiation as mental workload. Mental behavioural costs are ultimately manifest as physical behavioural costs. Costs are an important aspect of the design of an interactive computer system.

When differentiated, mental and physical behavioural costs are described as the cognitive, conative and affective behavioural costs of the user. Cognitive behavioural costs relate to both the mental representing and processing of information and the demands made on the user’s extant knowledge, as well as the physical expression thereof in the formulation and expression of a novel plan. Conative behavioural costs relate to the repeated mental and physical actions and effort, required by the formulation and expression of the novel plan. Affective behavioural costs relate to the emotional aspects of the mental and physical behaviours, required in the formulation and expression of the novel plan. Behavioural user costs are evidenced in user fatigue, stress and frustration; they are costs borne directly by the user and so need to be taken into account in the design process.

3. Performance of the Innovation Interactive Computer System and the User.

‘To do something as desired’ derives from the relationship of an interactive system with its application. It assimilates both how well the application is performed by the interactive system and the costs incurred by it. These are the primary constituents of ‘doing something as desired’, that is performance. They can be further differentiated, for example, as wanted/needed/experienced/felt/valued.

A concordance is assumed between the behaviours of an interactive system and its performance: behaviours determine performance. How well an application is performed by an interactive system is described as the actual transformation of application objects with regard to the transformation, demanded by product goals. The costs of carrying out an application are described as the resource costs, incurred by the interactive system and are separately attributed to the user and the interactive computer. Specifically, the resource costs incurred by the user are differentiated as: structural user costs – the costs of establishing and maintaining the structures supporting behaviour; and behavioural user costs – the costs of the behaviour, recruiting structure to its own support. Structural and behavioural user costs are further differentiated as cognitive, conative and affective costs. Design requires attention to all types of resource costs – both those of the  user and of the interactive computer.

‘Doing something as desired’ by means of an interactive system may be described as absolute or as relative, as in a comparison to be matched or improved upon. Accordingly, criteria expressing ‘as desired’ may either specify categorical gross resource costs and how well an application is performed or they may specify critical instances of those factors to be matched or improved upon. They are the object of design and so of design research.

Discriminating the user’s performance within the performance of the interactive system would require the separate assimilation of user resource costs and their achievement of desired attribute state changes, demanded by their assigned task goals. Further assertions concerning the user arise from the description of interactive system performance. First, the description of performance is able to distinguish the goodness of the transforms from the resource costs of the interactive system, which produce them. This distinction is essential for design, as two interactive systems might be capable of producing the same transform, yet if one were to incur a greater resource cost than the other, it would be the lesser (in terms of performance) of the two systems.

Second, given the concordance of behaviour with ‘doing something as desired’, optimal user (and equally, interactive computer) behaviours may be described as those, which incur a (desired) minimum of resource costs in producing a given transform. Design of optimal user behaviour would minimise the resource costs, incurred in producing a transform of a given goodness. However, that optimality may only be categorically determined with regard to interactive system performance and the best performance of an interactive system may still be at variance with what is desired of it. To be more specific, it is not sufficient for user behaviours simply to be error-free. Although the elimination of errorful user behaviours may contribute to the best application possible of a given interactive system, that performance may still be less than ‘as desired’. Conversely, although user behaviours may be errorful, an interactive system may still support ‘doing something, as desired’.

Third, the common measures of human ‘performance’ – errors and time, are related in this conceptualisation of performance. Errors are behaviours, which increase resource costs, incurred in producing a given transform or which reduce the goodness of the transform or both. The duration of user behaviours may (very generally) be associated with increases in behavioural user costs.

Fourth, structural and behavioural user costs may be traded-off in the design of an application. More sophisticated user structures, supporting user behaviours, that is, the knowledge and skills of experienced and trained users, will incur high (structural) costs to develop, but enable more efficient behaviours – and therein, reduced behavioural costs.

Fifth, resource costs, incurred by the user and the interactive computer may be traded-off in the design of the performance of an application. A user can sustain a level of performance of the interactive system by optimising behaviours to compensate for the poorly designed behaviours of the interactive computer (and vice versa), that is, behavioural costs of the user and interactive computer are traded-off in the design process. This is of particular importance as the ability of users to adapt their behaviours to compensate for the poor design of interactive computer-based systems often obscures the fact that the systems are poorly designed.

Examples of Innovation Frameworks for HCI

Obrist et al. Temporal, Affective, and Embodied Characteristics of Taste Experiences: a Framework for Design

This paper identifies three main themes,  characterising the five basic taste qualities: sweet, sour, salt, bitter and umami. The themes are: temporality, affective reactions and embodiment. The themes are proposed as a framework for design.

Innovation Framework Illustration – Obrist et al. Temporal, Affective, and Embodied Characteristics of Taste Experiences: a Framework for Design

How well does the Obrist et al. paper meet the requirements for constituting an Innovation Framework for HCI? (Read More…..)

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Requirement 1: The framework (as a basic support structure) is for a discipline (as an academic field of study and branch of knowledge).

Obrist et al’s framework appears not to be explicitly related to any concept of discipline, for example science for the problem of understanding or engineering for the problem of design. (Comments 2 and 3)

 

Requirement 2: The framework is for HCI (as human-computer interaction) as innovation (as novel).

Obrist et al’s framework does not include the concept of novelty itself, although taste-enhanced technology is recognised as being itself novel. (Comment 4)

Requirement 3: The framework has a general problem (as innovation design) with a particular scope (as innovative human computer interactions to do something as desired).

Obrist et al’s framework includes both the general problems of understanding and design. However, the particular scope of the problems makes little or no reference to human-compiuter interactions doing something as desired. Neither general problem is related to any particular discipline – see also Requirement 1. (Comments 2 and 3)

Requirement 4: The framework supports research ( as acquisition and validation), which acquires (as study and practice) and validates (as confirms) knowledge (as patents, experts advice, experience and examples).

Obrist et al’s research acquires by study new human taste data (as knowledge) and organises it into themes (temporality, affective reactions and embodiment). There are no attempts at the validation of the resulting framework, either with respect to understanding or design – the two general problems addressed by the research. Further, the knowledge is only at a high level of description. (Comments 1, 2 and 3)

Requirement 5: The framework embodies knowledge, which supports (facilitates) practices (as trial and error and implement and test), which solve (as resolve) the general design problem of innovation design.

Obrist et al’s framework is not applied to design, as implement and test or indeed to any other design practice. There is little or no evidence of the framework’s contribution to solving the general design problem of innovation design. (Comments 2 and 4)

Conclusion: Obrist et al’s framework for innovation design can be considered only as preliminary. Further development is required concerning: discipline relations of the two general problems of understanding and design; its level of description (needs to be lower); the explicit inclusion of innovation as novelty; and the validation of its claims.

The frameworks proposed here could be useful in such developments.

Comparison of Key HCI Concepts across Frameworks

To facilitate comparison of key HCI concepts across frameworks, the concepts are presented next, grouped by framework category Discipline; HCI; Framework Type; General Problem; Particular Scope; Research; Knowledge; Practices and Solution.

Discipline, HCI, Framework Type

Discipline

Innovation – an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

Art – an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

Craft – an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

Applied – an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

Science – Discipline: an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

Engineering – an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

HCI

Innovation – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Art – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Craft – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Applied – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Science – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Engineering – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Framework Type

Innovation – Innovation: novel (novel – new ideas/methods/devices etc)

Art – Art: creative expression corresponding to some ideal or criteria (creative – imaginative, inventive); (expressive – showing by taking some form); ideal – visionary/perfect); criterion – standard).

Craft – Craft: best practice design (practice – design/evaluation; design – specification/implementation).

Applied – Applied: application of other discipline knowledge (application – addition to/prescription; discipline – academic field/branch of knowledge; knowledge – information/learning).

Science – understanding (explanation/prediction)

Engineering – design for performance (design – specification/implementation; performance – how well effected).

 

General Problem, Particular Scope

General Problem

Innovation – innovation design (innovation – novelty; design – specification/implementation).

Art – art design (art – ideal creative expression; design – specification/implementation).

Craft – craft design (craft – best practice; design – specification/implementation).

Applied – applied design (applied – added/prescribed; design – specification/implementation).

Science – understanding human-computer interactions (understand – explanation/prediction; human – individual/group; computer – interactive/embedded; interaction – active/passive)

Engineering – engineering design (engineering – design for performance; design – specification/implementation).

Particular Scope

Innovation – innovative human-computer interactions to do something as desired (innovative – novel; human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task; desired: wanted/needed/experienced/felt/valued).

Art – art human-computer interactions to do something as desired (art – creation/expression; human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task); desired: wanted/needed/experienced/felt/valued).

Craft – human-computer interactions to do something as desired, which satisfy user requirements in the form of an interactive system (human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task; desired: wanted/needed/experienced/felt/valued; user – human; requirements – needs; satisfied – met/addressed; interactive – active/passive; system – user-computer).

Applied – human-computer interactions to do something as desired, which satisfy user requirements in the form of an interactive system (human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task; desired: wanted/needed/experienced/felt/valued; user – human; requirements – needs; satisfied – met/addressed; interactive – active/passive; system – user-computer).

Science – human-computer interactions to do something as desired (human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task; desired: wanted/needed/experienced/felt/valued.

Engineering – human-computer interactions to perform tasks effectively as desired (human – individual/group; computer – interactive/embedded; interactions – active/passive; perform – effect/carry out; tasks – actions; desired – wanted/needed/experienced/felt/valued).

 

Research, Knowledge, Practices, Solution

Research

Innovation – acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – patents/expert advice/experience/examples).

Art – acquires and validates knowledge (acquires – creates by study/practice; validates – confirms; knowledge – experience/expert advice/other artefacts.

Craft – acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – heuristics/methods/expert advice/successful designs/case-studies).

Applied – acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – heuristics/methods/expert advice/successful designs/case-studies).

Science – acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – theories/models/laws/data/hypotheses/analytical and empirical methods and tools; practices – explanation/prediction).

Engineering – acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – design guidelines/models and methods/principles – specific/ general and declarative/methodological).

Knowledge

Innovation – supports practices (supports – facilitates/makes possible; practices – trial-and-error/implement and test).

Art – supports practices (supports – facilitates/makes possible; practices – trial and error/implement and test).

Craft – supports practices (supports – facilitates/makes possible; practices – trial-and-error/implement and test).

Applied – supports practices (supports – facilitates/makes possible; practices – trial-and-error/apply and test).

Science – supports practices (supports – facilitates/makes possible; practices – explanation/prediction).

Engineering – supports practices (supports – facilitates/makes possible; practices – diagnose design problems/prescribe design solutions).

Practices

Innovation – supported by knowledge (supported – facilitated; knowledge – patents/expert advice/experience/examples).

Art – supported by knowledge (supported – facilitated/made possible; knowledge – experience/expert advice/other artefacts).

Craft – supported by knowledge (supported – facilitated; knowledge – heuristics/methods/expert advice/successful designs/case-studies).

Applied – supported by knowledge (supported – facilitated; knowledge – guidelines; heuristics/methods/expert advice/successful designs/case-studies).

Science – supported by knowledge (supported – facilitated; knowledge – theories/models/laws/data/hypotheses/analytical and empirical methods and tools ).

Engineering – supported by knowledge (supported – facilitated; knowledge – design guidelines/models and methods/principles – specific/ general and declarative/methodological).

Solution

Innovation – resolution of a problem (resolution – answer/address; problem – question/doubt).

Art – resolution of the general problem (resolution – answer/address; problem – question/doubt).

Craft – resolution of a problem (resolution – answer/address; problem – question/doubt).

Applied – resolution of a problem (resolution – answer/address; problem – question/doubt).

Science – resolution of a problem (resolution – answer/address; problem – question/doubt).

Engineering – resolution of a problem (resolution – answer/address; problem – question/doubt).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Art Framework Illustration: Edmonds – The Art of Interaction 150 150 John

Art Framework Illustration: Edmonds – The Art of Interaction

Initial Framework

The initial framework for an art approach to HCI follows. The key concepts appear in bold.

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The framework for a discipline of HCI as art has a general problem with a particular scope. Research acquires and validates knowledge, which supports practices, solving the general problem.

Key concepts are defined below (with additional clarification in brackets).

Framework: a basic supporting structure (basic – fundamental; supporting – facilitating/making possible; structure – organisation).

Discipline: an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

HCI: human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Art: creative expression corresponding to some ideal or criteria (creative – imaginative, inventive); (expressive – showing by taking some form); ideal – visionary/perfect); criterion – standard).

General Problem: art design (art – ideal creative expression; design – specification/implementation).

Particular Scope: art human-computer interactions to do something as desired (art – creation/expression; human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task); desired: wanted/needed/experienced/felt/valued).

Research: acquires and validates knowledge (acquires – creates by study/practice; validates – confirms; knowledge – experience/expert advice/other artefacts.

– Knowledge: supports practices (supports – facilitates/makes possible; practices – trial and error/implement and test).

Practices: supported by knowledge (supported – facilitated/made possible; knowledge – experience/expert advice/other artefacts).

Solution: resolution of the general problem (resolution – answer/address; problem – question/doubt).

General Problem: art design (art – ideal creative expression; design – specification/implementation).

Final Framework

The final framework for an art approach to HCI follows. It comprises the initial framework (see earlier) plus, in addition, key concept definitions (but not clarifications).

The framework (as a basic support structure) is for a discipline (as an academic field of study and branch of knowledge) of HCI (as human-computer interaction) as art (as an ideal creative expression).

The framework has a general problem (as art design) with a particular scope (as art human computer interactions to do something as desired). Research ( as acquisition and validation) acquires (as study and practice) and validates (as confirms) knowledge (as experience, expert advice and other artefacts). This knowledge supports (facilitates) practices (as trial and error and implement and test), which solve(as resolve) the general design problem of art design.

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This framework for a discipline of HCI as art is more complete, coherent and fit-for-purpose than the description afforded by the art approach to HCI (see earlier). The framework thus better supports thinking about and doing art HCI. As the framework is explicit, it can be shared by all interested researchers. Once shared, it enables researchers to build on each other’s work. This sharing and building is further supported by a re-expression of the framework, as a design research exemplar. The latter specifies the complete design research cycle, which once implemented constitutes a case-study of an of an art approach to HCI. The diagram, which follows, presents the art design research exemplar. The empty boxes are not required for the design research exemplar of HCI as Art; but are required elsewhere for HCI, as Engineering. They are included here for completeness.

 

Screen shot 2016-01-26 at 16.29.23

Key: Art Knowledge – experience; expert advice; other artefacts. EP – Empirical Practice EK – Empirical Knowledge

                                        Design Research Exemplar – HCI as Art

 

Framework Extension

The Art Framework is here expressed at the highest level of description. However, to conduct Art design research and acquire/validate Art knowledge etc, as suggested by the exemplar diagram above, lower levels of description are required.

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Examples of such levels are presented here – first a short version and then a long version. Researchers, of course, might have their own lower level descriptions or subscribe to some more generally recognised levels. Such descriptions are acceptable, as long as they fit with the higher level descriptions of the framework and are complete; coherent and fit-for-purpose. In the absence of alternative levels of description, researchers might try the short version first .

These levels go, for example from ‘human’ to ‘user’ and from ‘computer’ to ‘interactive system’. The lowest level, of course, needs to reference the art itself, in terms of the application, for example, for an art interactive system, artist and digital painting Application. Researchers are encouraged to select from the framework extensions as required and to add the lowest level description, relevant to their research. The lowest level is used here to illustrate the extended art framework.

 

Art Framework Extension - Short Version

Following the Art Design Research exemplar diagram above, researchers need to specify: Specific Art Problems (as they relate to User Requirements); Art Research; Art Knowledge; and Specific Art Solutions (as thy relate to Interactive Systems).

These specifications require the extended Art framework to include: the Application; the Interactive System; and Performance, relating the former to the latter. Art design requires the Interactive System to do something (the Application) as desired (Performance). Art Research acquires and validates Art Knowledge to support Art Design Practices.

The Art Framework Extension, thus includes: Application; Interactive System; and Performance.

1 Art Applications

1.1 Objects

Art applications (the ‘ something’, which the interactive system does) can be described in terms of objects. Objects may be both abstract and physical and are characterised by their attributes. Abstract attributes are those of information and knowledge. Physical attributes are those of energy and matter.

For example, a digitised painting application (such as for abstract paintings) can be described for design research purposes in terms of objects; their abstract attributes, supporting the creation of abstract paintings; their physical attributes, supporting the visual representation of digitised information in the form of an abstract painting. Art objects are specified as part of art application design and can be researched as such.

1.2 Attributes and Levels

The attributes of an art application object emerge at different levels of description. For example, forms and their configuration on a screen are physical attributes of the object abstract painting, which emerge at one level. The expression of the painting is an abstract attribute, which emerges at a higher level of description.

1.3 Relations between Attributes

Attributes of art application objects are related in two ways. First, attributes are related at different levels of complexity. Second, attributes are related within levels of description. Such relations are specified as part of art application design.

1.4 Attribute States and Affordance

The attributes of art application objects can be described as having states. Further, those states may change. For example, the structure and content (attributes) of an art application abstract painting may change state: the structure with respect to content; its ‘strokes’ with respect to size and colour. Objects exhibit an affordance for transformation, associated with their attributes’ potential for state change.

1.5 Applications and the Requirement for Attribute State Changes

An art application may be described in terms of affordances. Accordingly, an object may be associated with a number of applications. The art object ‘abstract painting’ may be associated with the application of being realised in print (state changes of its layout attributes) and with the application of creator (state changes of its structure and content). In principle, an application may have any level of generality, for example, the painting of abstractions, of portraits, of scenery etc.

Artists have applications and require the realisation of the affordance of their associated objects. For example, ‘creating a sketch’ and ‘making a drawing’’, each have an art form as their transform, where the art forms are objects, whose attributes (their structure, content and expression, for example) have an intended state. Further changing those art forms would produce additional state changes, and therein, new transforms. Requiring new affordances might constitute a Specific Art  Problem and lead to a new work of art, which embodies a Specific Art Solution.

1.6 Application Goals

The requirement for the transformation of art application objects is expressed in the form of goals. A product goal specifies a required transform – the realisation of the affordance of an object. A product goal supposes necessary state changes of many attributes. The requirement of each attribute state change can be expressed as an application task goal, derived from the product goal.

So, for example, the product goal, demanding transformation of an abstract painting, making its expression more emotional, would be expressed by task goals, possibly requiring state changes of semantic attributes of the abstract structure of the painting and of stroke attributes of the  physical structure. Hence, a product goal can be re-expressed as an application task goal structure, a hierarchical structure expressing the relations between task goals, for example, their sequences. The latter might constitute part of an abstract painting application design.

1.7 Art Application as: Doing Something as Desired

The transformation of an object, associated with a product goal, involves many attribute state changes – both within and across levels of complexity. Consequently, there may be alternative transforms, which satisfy a product goal – abstract paintings with different styles. The concept of ‘doing something as desired’ describes the variance of an actual transform with that specified by a product goal.

1.8 Art Application and the User

One description of the art application then, is of objects, characterised by their attributes, and exhibiting an affordance, arising from the potential changes of state of those attributes. By specifying product goals, users express their requirement for transforms – objects with specific attribute states. Transforms are produced by ‘doing something, as desired’.

From product goals is derived a structure of related task goals, which can be assigned, by design practice, either to the user or to the interactive computer (or both) within an associated interactive system. Task goals assigned to the user by the design are those, intended to motivate the user’s behaviours. The actual state changes (and therein transforms), which those behaviours produce, may or may not be those specified by task and product goals, a difference expressed by the concept ‘as desired’, characterised in terms of: wanted/needed/experienced/felt/valued.

2. Art Interactive Computers

2.1 Interactive Systems

An interactive system can be described as a behavioural system, distinguished by a boundary enclosing all human and interactive computer behaviours, whose purpose is to achieve and satisfy a common goal. For example, the behaviours of a artist and digital painting application, whose purpose is to create abstract paintings, constitute an interactive system. Critically, it is only by identifying the common goal, that the boundary of the interactive system can be established and so designed and researched.

Interactive systems transform objects by producing state changes in the abstract and physical attributes of those objects (see 1.1). The artist and painting application may transform the object ‘abstract art’ by changing both the attributes of its expression and the attributes of its structure and content.

The behaviours of the human and the interactive computer are described as behavioural sub-systems of the interactive system – sub-systems, which interact. The human behavioural sub-system is more specifically termed the user. Behaviour may be loosely understood as ‘what the human does’, in contrast with ‘what is done’ (i.e. attribute state changes of application objects).

Although expressible at many levels of description, the user must at least be described at a level, commensurate with the level of description of the transformation of application objects. For example, a artist interacting with a painting application is a user, whose behaviours include creating and modifying abstract paintings.

2.2 Humans as a System of Mental and Physical Behaviours

The behaviours, constituting an interactive system, are both physical and abstract. Abstract behaviours are generally the acquisition, storage, and transformation of information. They represent and process information, at least concerning: application objects and their attributes, attribute relations and attribute states and the transformations, required by goals. Physical behaviours are related to, and express, abstract behaviours.

Accordingly, the user is described as a system of both mental (abstract) and overt (physical) behaviours. They are related within an assumed hierarchy of behaviour types (and their control), wherein mental behaviours generally determine, and are expressed by, overt behaviours. Mental behaviours may transform (abstract) application objects, represented in cognition or express, through overt behaviour, plans for transforming application objects.

For example, a commercial artist has the product goal, required to create an image for a publicity campaign. The artist interacts with the computer by means of the art application interface (whose behaviours include the transmission of information about the publicity image). Hence, the artist acquires a representation of the an initial sketch of the image by evaluating source material information displayed by the screen and assessing it by comparison with the conditions, specified by the product goal. The artist reasons about the attribute state changes, necessary to eliminate any discrepancy between current and desired conditions of the process, that is, the set of related changes, which will produce the publicity image, ‘as desired’. That decision is expressed in the set of instructions issued to the interactive computer through overt behaviour – selecting relevant menu options, such as – shape, colour, for example.

2.3 Human-Computer Interaction

Although user and interactive computer behaviours may be described as separable sub-systems of the interactive system, these sub-systems extert a ‘mutual influence’ or interaction. Their configuration principally determines the interactive system and art application design and research.

Interaction is described as: the mutual influence of the user (i.e. behaviours) and the interactive computer (i.e behaviours), associated within an interactive system. For example, the behaviours of an artist interact with the behaviours of a painting application. The artist’s behaviours influence the behaviours of the interactive computer (access the colour function), while the behaviours of the interactive computer influence the selection behaviour of the artist (display the range of colours). The design of their interaction – the artist’s selection of the colour function, the computer’s presentation of possible colours – determines the interactive system, comprising the artist and interactive computer behaviours in their planning and control of abstract painting. The interaction may be the object of art application design and so design research.

The assignment of task goals by design then, to either the user or the interactive computer, delimits the former and therein specifies the design of the interaction. For example, changing a shape, required by an abstract painting is a product goal, which can be expressed as a task goal structure of necessary and related attribute state changes. In particular, the field for the changed shape demands an attribute state change in the painting’s background. Specifying that state change may be a task goal assigned to the user, as in interaction with the behaviours of early art application designs or it may be a task goal assigned to the interactive computer, as in interaction with the ‘fill in’ behaviours of more recent applications. Design research would be expected to have been involved in the development of these more recent systems. The assignment of the task goal of specification constitutes the design of the interaction of the user and interactive computer behaviours in each case, which in turn may become the object of research.

2.4 Human Resource Costs

‘Doing something as desired’ by means of an interactive system always incurs resource costs. Given the separability of the user and the interactive computer behaviours, certain resource costs are associated with the user and distinguished as behavioural user costs.

Behavioural user costs are the resource costs, incurred by the user (i.e by the implementation of behaviours) to effect an application. They are both physical and mental. Physical costs are those of physical behaviours, for example, the costs of making stylus strokes  and of attending to a screen display; they may be expressed for art application design purposes as physical workload. Mental behavioural costs are the costs of mental behaviours, for example, the costs of knowing, reasoning, and deciding; they may be expressed for art appliation design purposes as mental workload. Mental behavioural costs are ultimately manifest as physical behavioural costs.

3. Performance of the Art Interactive Computer System and the User.

‘To do something as desired’ derives from the relationship of an interactive system with its application. It assimilates both how well the application is performed by the interactive system and the costs incurred by it. These are the primary constituents of ‘doing something as desired’, that is performance. They can be further differentiated, for example, as wanted/needed/experienced/felt/valued. Desired performance is the object of art application design.

Behaviours determine performance. How well an application is performed by an interactive system is described as the actual transformation of application objects with regard to the transformation, demanded by product goals. The costs of carrying out an application are described as the resource costs, incurred by the interactive system and are separately attributed to the user and the interactive computer.

‘Doing something as desired’ by means of an interactive system may be described as absolute or as relative, as in a comparison to be matched or improved upon. Accordingly, criteria expressing ‘as desired’ may either specify categorical gross resource costs and how well an application is performed or they may specify critical instances of those factors to be matched or improved upon. They are the object of design and so of design research.

The common measures of human ‘performance’ – errors and time, are related in this notion of performance. Errors are behaviours, which increase resource costs, incurred in producing a given transform or which reduce the goodness of the transform or both. The duration of user behaviours may (very generally) be associated with increases in behavioural user costs.

Source material: Long and Dowell (1989) and Dowell and Long (1989).

 

Art Framework Extension - Long Version

Following the Art Design Research exemplar diagram above, researchers need to specify: Specific Art Problems (as they relate to User Requirements); Art Research; Art Knowledge; and Specific Art Solutions (as thy relate to Interactive Systems).

These specifications require the extended Art framework to include: the Application; the Interactive System; and Performance, relating the former to the latter. Art application design requires the Interactive System to do something (the Application) as desired (Performance). Art Research acquires and validates Art Knowledge to support Art Design Practice.

The Art Framework Extension, thus includes: Application; Interactive System; and Performance.

1 Art Applications

1.1 Objects

Art applications (the ‘something’ the interactive system ‘does’) can be described as objects. Such applications occur in the need of organisations for interactive systems. Objects may be both abstract and physical and are characterised by their attributes. Abstract attributes are those of information and knowledge. Physical attributes are those of energy and matter.

For example, a digitised painting application (such as for abstract paintings) can be described for design research purposes in terms of objects; their abstract attributes, supporting the creation of abstract paintings; their physical attributes, supporting the visual representation of digitised information in the form of an abstract painting. Art objects are specified as part of art application design and can be researched as such.

1.2 Attributes and Levels

The attributes of an art application object emerge at different levels of description.

For example, forms and their configuration on a screen are physical attributes of the object abstract painting, which emerge at one level. The expression of the painting is an abstract attribute, which emerges at a higher level of description.

Attributes of art application objects are related in two ways. First, attributes are related at different levels of complexity. Second, attributes are related within levels of description.

1.4 Attribute States and Affordance

The attributes of art application objects can bedescribed as having states. Further, those states may change. For example, the structure and content (attributes) of an art application abstract painting may change state: the structure with respect to content; its ‘strokes’ with respect to size and colour. Objects exhibit an affordance for transformation, associated with their attributes’ potential for state change.

1.5 Applications and the Requirement for Attribute State Changes

An art application may be described in terms of art affordances. Accordingly, an object may be associated with a number of applications. The art object ‘abstract painting’ may be associated with the application of being realised in print (state changes of its layout attributes) and with the application of creator (state changes of its structure and content). In principle, an application may have any level of generality, for example, the painting of abstractions, of portraits, of scenery etc.

Artists have applications and require the realisation of the affordance of their associated objects. For example, ‘creating a sketch’ and ‘making a drawing’’, each have an art form as their transform, where the art forms are objects, whose attributes (their structure, content and expression, for example) have an intended state. Further changing those art forms would produce additional state changes, and therein, new transforms. Requiring new affordances might constitute a Specific Art Problem and lead to a new work of art, which embodies a Specific Art Solution.

1.6 Application Goals

Organisations express the requirement for the transformation of art application objects in terms of goals. A product goal specifies a required transform – the realisation of the affordance of an object. A product goal generally supposes necessary state changes of many attributes. The requirement of each attribute state change can be expressed as an application task goal, derived from the product goal.

So, for example, the product goal, demanding transformation of an abstract painting, making its expression more emotional, would be expressed by task goals, possibly requiring state changes of semantic attributes of the abstract structure of the painting and of stroke attributes of the physical structure. Hence, a product goal can be re-expressed as an application task goal structure, a hierarchical structure expressing the relations between task goals, for example, their sequences. The latter might constitute part of an abstract painting application design.

1.7 Art Application as: Doing Something as Desired

The transformation of an object, associated with a product goal, involves many attribute state changes – both within and across levels of complexity. Consequently, there may be alternative transforms, which satisfy the same product goal – paintings with different styles, for example, where different transforms exhibit different compromises between attribute state changes of the application object. There may also be transforms, which fail to meet the product goal. The concept of ‘doing something as desired’ describes the variance of an actual transform with that specified by a product goal. It enables all possible outcomes of an application to be equated and evaluated. Such transforms may become the object of art application design and so research.

1.8 Art Application and the User

Description of the art application then, is of objects, characterised by their attributes, and exhibiting an affordance, arising from the potential changes of state of those attributes. By specifying product goals, organisations express their requirement for transforms – objects with specific attribute states. Transforms are produced by ‘doing something, as desired’, which occurs only by means of objects, affording transformation and art interactive systems, capable of producing a transformation. Novel production may be (part of) an art application.

From product goals is derived a structure of related task goals, which can be assigned either to the user or to the interactive computer (or both) within the design of an associated interactive system. The task goals assigned to the user are those, which motivate the user’s behaviours. The actual state changes (and therein transforms), which those behaviours produce, may or may not be those specified by task and product goals, a difference expressed by the concept ‘as desired’, characterised in terms of: wanted/needed/experienced/felt/valued.

2.Art Interactive Computers and the Human

2.1 Interactive Systems

Users are able to conceptualise goals and their corresponding behaviours are said to be intentional (or purposeful). Interactive computers are designed to achieve goals and their corresponding behaviours are said to be intended (or purposive). An interactive system can be described as a behavioural system, distinguished by a boundary enclosing all user and interactive computer behaviours, whose purpose is to achieve and satisfy a common goal.

For example, the behaviours of a artist and digital painting application, whose purpose is to create abstract paintings, constitute an interactive system. Critically, it is only by identifying the common goal, that the boundary of the interactive system can be established and so designed and researched.

Interactive systems transform objects by producing state changes in the abstract and physical attributes of those objects (see 1.1). The artist and painting application may transform the object ‘abstract art’ by changing both the attributes of its expression and the attributes of its structure and content.

The behaviours of the user and the interactive computer are described as behavioural sub-systems of the interactive system – sub-systems, which interact. The human behavioural sub-system is more specifically termed the user. Behaviour may be loosely understood as ‘what the user does’, in contrast with ‘what is done’ (that is, attribute state changes of application objects). More precisely the user is described as:

a system of distinct and related user behaviours, identifiable as the sequence of states of a user interacting with a computer to do something as desired and corresponding with a purposeful (intentional) transformation of application objects.

Although expressible at many levels of description, the user must at least be described for design research purposes at a level, commensurate with the level of description of the transformation of innovation application objects. For example, an artist interacting with a painting application is a user, whose behaviours include creating and modifying abstract paintings.

2.2 Humans as a System of Mental and Physical Behaviours

The behaviours, constituting an interactive system, are both physical and abstract. Abstract behaviours are generally the acquisition, storage, and transformation of information. They represent and process information, at least concerning: application objects and their attributes, attribute relations and attribute states and the transformations, required by goals. Physical behaviours are related to, and express, abstract behaviours.

Accordingly, the user is described as a system of both mental (abstract) and overt (physical) behaviours, which extend a mutual influence – they are related. In particular, they are related within an assumed hierarchy of behaviour types (and their control), wherein mental behaviours generally determine and are expressed by, overt behaviours. Mental behaviours may transform (abstract) application objects, represented in cognition or express, through overt behaviour, plans for transforming application objects.

For example, a commercial artist has the product goal, required to create an image for a publicity campaign. The artist interacts with the computer by means of the art application interface (whose behaviours include the transmission of information about the publicity image). Hence, the artist acquires a representation of the an initial sketch of the image by evaluating source material information displayed by the screen and assessing it by comparison with the conditions, specified by the product goal. The artist reasons about the attribute state changes, necessary to eliminate any discrepancy between current and desired conditions of the process, that is, the set of related changes, which will produce the publicity image, ‘as desired’. That decision is expressed in the set of instructions issued to the interactive computer through overt behaviour – selecting relevant menu options, such as – shape, colour, for example.

The user is described as having cognitive, conative and affective aspects. The cognitive aspects are those of knowing, reasoning and remembering; the conative aspects are those of acting, trying and persevering; and the affective aspects are those of being patient, caring and assuring. Both mental and overt user behaviours are described as having these three aspects, all of which may contribute to ‘doing something, as desired wanted/needed/experienced/felt/valued.

2.3 Human-Computer Interaction

Although user and interactive computer behaviours may be described as separable sub-systems of the interactive system, these sub-systems exert a ‘mutual influence’, that is to say they interact. Their configuration principally determines the interactive system and so its design and the associated research into that and other possible (art application) designs.

Interaction is described as: the mutual influence of the user (i.e. behaviours) and the interactive computer (i.e behaviours), associated within an interactive system. For example, the behaviours of an artist interact with the behaviours of a painting application. The artist’s behaviours influence the behaviours of the interactive computer (access the colour function), while the behaviours of the interactive computer influence the selection behaviour of the artist (display the range of colours). The design of their interaction – the artist’s selection of the colour function, the computer’s presentation of possible colours – determines the interactive system, comprising the artist and interactive computer behaviours in their planning and control of abstract painting. The interaction may be the object of art application design and so design research.

Interaction of the user and the interactive computer behaviours is the fundamental determinant of the interactive system, rather than their individual behaviours per se.

The assignment of task goals by design then, to either the user or the interactive computer, delimits the former and therein specifies the design of the interaction. For example, changing a shape, required by an abstract painting is a product goal, which can be expressed as a task goal structure of necessary and related attribute state changes. In particular, the field for the changed shape demands an attribute state change in the painting’s background. Specifying that state change may be a task goal assigned to the user, as in interaction with the behaviours of early art application designs or it may be a task goal assigned to the interactive computer, as in interaction with the ‘fill in’ behaviours of more recent applications. Design research would be expected to have been involved in the development of these more recent systems. The assignment of the task goal of specification constitutes the design of the interaction of the user and interactive computer behaviours in each case, which in turn may become the object of research.

2.4 Human On-line and Off-line Behaviours

User behaviours may comprise both on-line and off-line behaviours: on-line behaviours are associated with the interactive computer’s representation of the application; off-line behaviours are associated with non-computer representations of the application.

As an illustration of the distinction, consider the example of an interactive system, consisting of the behaviours of an artist and an art application. They are required to produce an enhanced image from a paper-based depiction. The product goal of the interactive system here requires the transformation of the physical representation of the image from one medium to another, that is, from paper to computer. From the product goal derives the task goals, relating to required attribute state changes of the image. Certain of those task goals will be assigned to the artist. The artist’s off-line behaviours include looking at and assimilating the  paper-based image, so acquiring a representation of the application object. By contrast, the artist’s on-line behaviours include specifying the represention by the interactive computer of the transposed content of the image in a desired visual format of stored physical symbols.

On-line and off-line user behaviours are a particular case of the ‘internal’ interactions between a user’s behaviours as, for example, when the artist’s stylus use interacts with memorisations of successive aspects of the paper-based image.

2.5 Structures and the Human

Description of the user as a system of behaviours needs to be extended, for the purposes of design and design research, to the structures supporting that behaviour.

Whereas user behaviours may be loosely understood as ‘what the human does’, the structures supporting them can be understood as ‘the support for the human to be able to do what they do’. There is a one-to-many mapping between a user’s structures and the behaviours they might support: thus, the same structures may support many different behaviours.

In co-extensively enabling behaviours at each level of description, structures must exist at commensurate levels. The user structural architecture is both physical and mental, providing the capability for a user’s overt and mental behaviours. It provides a represention of application information as symbols (physical and abstract) and concepts, and the processes available for the transformation of those representations. It provides an abstract structure for expressing information as mental behaviour. It provides a physical structure for expressing information as physical behaviour.

Physical user structure is neural, bio-mechanical and physiological. Mental structure consists of representational schemes and processes. Corresponding with the behaviours it supports and enables, user structure has cognitive, conative and affective aspects. The cognitive aspects of user structures include information and knowledge – that is, symbolic and conceptual representations – of the application, of the interactive computer and of the user themselves, and it includes the ability to reason. The conative aspects of user structures motivate the implementation of behaviour and its perseverence in pursuing task goals. The affective aspects of user structures include the personality and temperament, which respond to and support behaviour. All three aspects may contribute to ‘ doing something, as desired wanted/needed/experienced/felt/valued’.

To illustrate this description of mental structure, consider the example of the structures supporting an artist’s behaviours in a studio. Physical structure supports perception of a digitised painting’s current display and executing actions to an art application. Mental structures support the acquisition, memorisation and transformation of information about how images are changed. The knowledge, which the artist has of the application and of the interactive computer, supports the collation, assessment and reasoning about the actions required.

The limits of user structures determine the limits of the behaviours they might support. Such structural limits include those of: intellectual ability; knowledge of the application and the interactive computer; memory and attentional capacities; patience; perseverence; dexterity; and visual acuity etc. The structural limits on behaviour may become particularly apparent, when one part of the structure (a channel capacity, perhaps) is required to support concurrent behaviours, perhaps simultaneous visual attending and reasoning behaviours. The user then, is ‘resource-limited’ by the co-extensive user structures.

The behavioural limits of the user, determined by structure, are not only difficult to define with any kind of completeness, they may also be variable, because that structure may change, and in a number of ways. A user may have self-determined changes in response to the application – as expressed in learning phenomena, acquiring new knowledge of the application, of the interactive computer, and indeed of themselves, to better support behaviour. Also, user structures degrade with the expenditure of resources by behaviour, as demonstrated by the phenomena of mental and physical fatigue. User structures may also change in response to motivating or de-motivating influences of whoever owns and  maintains the interactive system.

It must be emphasised that the structure supporting the user is independent of the structure supporting the interactive computer behaviours. Neither structure can make any incursion into the other and neither can directly support the behaviours of the other. (Indeed this separability of structures is a pre-condition for expressing the interactive system as two interacting behavioural sub-systems). Although the structures may change in response to each other, they are not, unlike the behaviours they support, interactive; they are not included within the interactive system. The combination of structures of both user and interactive computer, supporting their interacting behaviours is described as the user interface .

2.6 Human Resource Costs

‘Doing something as desired’ by means of an interactive system always incurs resource costs. Given the separability of the user and the interactive computer behaviours, certain resource costs are associated directly with the user and distinguished as structural user costs and behavioural user costs.

Structural user costs are the costs of the user structures. Such costs are incurred in developing and maintaining user skills and knowledge. More specifically, structural user costs are incurred in training and educating users, so developing in them the structures, which will enable the behaviours necessary for an application . Training and educating may augment or modify existing structures, provide the user with entirely novel structures, or perhaps even reduce existing structures. Structural user costs will be incurred in each case and will frequently be borne by the organisation. An example of structural user costs might be the costs of training an artist to use a painting interface in the particular style of expression, required for the creation of publicity images for a client and in the operation of the interactive computer by which that expression style can be created.

Structural user costs may be differentiated as cognitive, conative and affective structural costs. Cognitive structural costs express the costs of developing the knowledge and reasoning abilities of users and their ability for formulating and expressing novel plans in their overt behaviour – as necessary for ‘doing something as desired’. Conative structural costs express the costs of developing the activity, stamina and persistence of users as necessary for an application. Affective structural costs express the costs of developing in users their patience, care and assurance as necessary for an application.

Behavioural user costs are the resource costs, incurred by the user (i.e by the implementation of their of behaviours) in recruiting user structures to effect an application. They are both physical and mental resource costs. Physical behavioural costs are the costs of physical behaviours, for example, the costs of making stylus strokes and of attending to a digitised pinting’s screen display; they may be expressed without differentiation as physical workload. Mental behavioural costs are the costs of mental behaviours, for example, the costs of knowing, reasoning, and deciding; they may be expressed without differentiation as mental workload. Mental behavioural costs are ultimately manifest as physical behavioural costs. Costs are an important aspect of the design of an interactive computer system.

When differentiated, mental and physical behavioural costs are described as the cognitive, conative and affective behavioural costs of the user. Cognitive behavioural costs relate to both the mental representing and processing of information and the demands made on the user’s extant knowledge, as well as the physical expression thereof in the formulation and expression of a novel plan. Conative behavioural costs relate to the repeated mental and physical actions and effort, required by the formulation and expression of the novel plan. Affective behavioural costs relate to the emotional aspects of the mental and physical behaviours, required in the formulation and expression of the novel plan. Behavioural user costs are evidenced in user fatigue, stress and frustration; they are costs borne directly by the user and so need to be taken into account in the design process.

3. Performance of the Art Interactive Computer System and the User.

‘To do something as desired’ derives from the relationship of an interactive system with its application. It assimilates both how well the application is performed by the interactive system and the costs incurred by it. These are the primary constituents of ‘doing something as desired’, that is performance. They can be further differentiated, for example, as wanted/needed/experienced/felt/valued.

A concordance is assumed between the behaviours of an interactive system and its performance: behaviours determine performance. How well an application is performed by an interactive system is described as the actual transformation of application objects with regard to the transformation, demanded by product goals. The costs of carrying out an application are described as the resource costs, incurred by the interactive system and are separately attributed to the user and the interactive computer. Specifically, the resource costs incurred by the user are differentiated as: structural user costs – the costs of establishing and maintaining the structures supporting behaviour; and behavioural user costs – the costs of the behaviour, recruiting structure to its own support. Structural and behavioural user costs are further differentiated as cognitive, conative and affective costs. Design requires attention to all types of resource costs – both those of the user and of the interactive computer.

‘Doing something as desired’ by means of an interactive system may be described as absolute or as relative, as in a comparison to be matched or improved upon. Accordingly, criteria expressing ‘as desired’ may either specify categorical gross resource costs and how well an application is performed or they may specify critical instances of those factors to be matched or improved upon. They are the object of design and so of design research.

Discriminating the user’s performance within the performance of the interactive system would require the separate assimilation of user resource costs and their achievement of desired attribute state changes, demanded by their assigned task goals. Further assertions concerning the user arise from the description of interactive system performance. First, the description of performance is able to distinguish the goodness of the transforms from the resource costs of the interactive system, which produce them. This distinction is essential for design, as two interactive systems might be capable of producing the same transform, yet if one were to incur a greater resource cost than the other, it would be the lesser (in terms of performance) of the two systems.

Second, given the concordance of behaviour with ‘doing something as desired’, optimal user (and equally, interactive computer) behaviours may be described as those, which incur a (desired) minimum of resource costs in producing a given transform. Design of optimal user behaviour would minimise the resource costs, incurred in producing a transform of a given goodness. However, that optimality may only be categorically determined with regard to interactive system performance and the best performance of an interactive system may still be at variance with what is desired of it. To be more specific, it is not sufficient for user behaviours simply to be error-free. Although the elimination of errorful user behaviours may contribute to the best application possible of a given interactive system, that performance may still be less than ‘as desired’. Conversely, although user behaviours may be errorful, an interactive system may still support ‘doing something, as desired’.

Third, the common measures of human ‘performance’ – errors and time, are related in this conceptualisation of performance. Errors are behaviours, which increase resource costs, incurred in producing a given transform or which reduce the goodness of the transform or both. The duration of user behaviours may (very generally) be associated with increases in behavioural user costs.

Fourth, structural and behavioural user costs may be traded-off in the design of an application. More sophisticated user structures, supporting user behaviours, that is, the knowledge and skills of experienced and trained users, will incur high (structural) costs to develop, but enable more efficient behaviours – and therein, reduced behavioural costs.

Fifth, resource costs, incurred by the user and the interactive computer may be traded-off in the design of the performance of an application. A user can sustain a level of performance of the interactive system by optimising behaviours to compensate for the poorly designed behaviours of the interactive computer (and vice versa), that is, behavioural costs of the user and interactive computer are traded-off in the design process. This is of particular importance as the ability of users to adapt their behaviours to compensate for the poor design of interactive computer-based systems often obscures the fact that the systems are poorly designed.

Source material: Long and Dowell (1989) and Dowell and Long (1989)

Examples of Art Frameworks for HCI

Edmonds – The Art of Interaction

This paper suggests that interactive art has become much more common. Issues relating to Human-Computer Interaction are important to interactive art making. This paper reviews recent work that looks at these issues in the art context and brings together a collection of research results and art practice experiences that together help to illuminate this significant new and expanding area.

Edmonds – The Art of Interaction

How well does the Edmonds paper meet the requirements for constituting an Art Framework for HCI? (Read More…..)

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Requirement 1: The framework (as a basic support structure) is for a discipline (as an academic field of study and branch of knowledge).

Edmonds references two frameworks – those of Pleasure (Costello, 2007) and Engagement (Edmonds, this paper) (Comment 19). He also mentions design and understanding (Comment 2). However, neither framework appears to be explicitly supported or even related to any concept of discipline or field of study, for example science for the problem of understanding or engineering for the problem of design.

Requirement 2: The framework is for HCI (as human-computer interaction) as art (as an ideal creative expression).

For Edmonds, the ideal creative expression takes the form of the ‘aesthetics of art’. However, the latter is more general than the former. Further, little more is said about the latter, at least in this paper (Comment 1).

Requirement 3: The framework has a general problem (as art design) with a particular scope (as art human-computer interactions to do something as desired).

Edmonds’ framework references both design and understanding; but neither are developed as part of a general problem (Comments 2 and 19). The particular scope includes human-computer interactions with art – both in terms of the interactions themselves and the experience and engagement, which may result (Comment 19). Although mention is made of evaluation (Comment 16) and the criteria of Costello’s (2007) Pleasure Framework (Comment 19), no explicit reference is made to doing something as desired.

Requirement 4: Research ( as acquisition and validation) acquires (as study and practice) and validates (as confirms) knowledge (as experience, expert advice and other artefacts).

Edmonds paper reviews human-computer interactions as art. In so doing, he proposes  an Engagement model of modes and phases, which he relates to Costello’s (2007) Pleasure framework in the contexts of: perception; games/play; experience; and engagement. The relationship is hypothetical and so may count as the first stage of acquisition; but not as validation of knowledge in any form. The paper reports no new study or practice (Comments 17, 18 and 19).

Requirement 5: The framework embodies knowledge, which supports (facilitates) practices (as trial and error and implement and test), which solve (as resolve) the general design problem of art design.

Edmonds’ framework is not applied to design, as implement and test or indeed to any other design practice, although evaluation is mentioned (Comments 4 and 16). There is little or no evidence of the framework’s explicit contribution to solving the general design problem of design, although the review is constructive, as such (Comments 2 and 4).

Conclusion: Edmond’s framework(s) for art and art experience design can be considered only as preliminary. Further development is required concerning: discipline relations of the two general problems referenced (understanding and design); its level of description (needs to be higher and to link with the lower-lower descriptions referenced); more details, concerning the aesthetics of art; and the validation of its proposals.

The frameworks presented here could be useful in such developments.

 

 

Comparison of Key HCI Concepts across Frameworks

To facilitate comparison of key HCI concepts across frameworks, the concepts are presented next, grouped by framework category Discipline; HCI; Framework Type; General Problem; Particular Scope; Research; Knowledge; Practices and Solution.

 

Discipline

Discipline

Innovation – an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

Art – an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

Craft – an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

Applied – an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

Science – Discipline: an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

Engineering – an academic field of study/branch of knowledge (academic – scholarly; field of study – subject area; branch of knowledge – division of information/learning).

 

HCI

HCI

Innovation – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Art – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Craft – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Applied – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Science – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

Engineering – human-computer interaction (human – individual/group; computer – interactive/embedded; interaction – active/passive).

 

Framework Type

Framework Type

Innovation – Innovation: novel (novel – new ideas/methods/devices etc)

Art – Art: creative expression corresponding to some ideal or criteria (creative – imaginative, inventive); (expressive – showing by taking some form); ideal – visionary/perfect); criterion – standard).

Craft – Craft: best practice design (practice – design/evaluation; design – specification/implementation).

Applied – Applied: application of other discipline knowledge (application – addition to/prescription; discipline – academic field/branch of knowledge; knowledge – information/learning).

Science – understanding (explanation/prediction)

Engineering – design for performance (design – specification/implementation; performance – how well effected).

 

General Problem

General Problem

Innovation – innovation design (innovation – novelty; design – specification/implementation).

Art – art design (art – ideal creative expression; design – specification/implementation).

Craft – craft design (craft – best practice; design – specification/implementation).

Applied – applied design (applied – added/prescribed; design – specification/implementation).

Science – understanding human-computer interactions (understand – explanation/prediction; human – individual/group; computer – interactive/embedded; interaction – active/passive)

Engineering – engineering design (engineering – design for performance; design – specification/implementation).

 

Particular Scope

Particular Scope

Innovation – innovative human-computer interactions to do something as desired (innovative – novel; human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task; desired: wanted/needed/experienced/felt/valued).

Art – art human-computer interactions to do something as desired (art – creation/expression; human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task); desired: wanted/needed/experienced/felt/valued).

Craft – human-computer interactions to do something as desired, which satisfy user requirements in the form of an interactive system (human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task; desired: wanted/needed/experienced/felt/valued; user – human; requirements – needs; satisfied – met/addressed; interactive – active/passive; system – user-computer).

Applied – human-computer interactions to do something as desired, which satisfy user requirements in the form of an interactive system (human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task; desired: wanted/needed/experienced/felt/valued; user – human; requirements – needs; satisfied – met/addressed; interactive – active/passive; system – user-computer).

Science – human-computer interactions to do something as desired (human – individual/group; computer – interactive/embedded; interactions – active/passive; something – action/task; desired: wanted/needed/experienced/felt/valued.

Engineering – human-computer interactions to perform tasks effectively as desired (human – individual/group; computer – interactive/embedded; interactions – active/passive; perform – effect/carry out; tasks – actions; desired – wanted/needed/experienced/felt/valued).

 

Research

Research

Innovation – acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – patents/expert advice/experience/examples).

Art – acquires and validates knowledge (acquires – creates by study/practice; validates – confirms; knowledge – experience/expert advice/other artefacts.

Craft – acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – heuristics/methods/expert advice/successful designs/case-studies).

Applied – acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – heuristics/methods/expert advice/successful designs/case-studies).

Science – acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – theories/models/laws/data/hypotheses/analytical and empirical methods and tools; practices – explanation/prediction).

Engineering – acquires and validates knowledge to support practices (acquires – creates; validates – confirms; knowledge – design guidelines/models and methods/principles – specific/ general and declarative/methodological).

 

Knowledge

Knowledge

Innovation – supports practices (supports – facilitates/makes possible; practices – trial-and-error/implement and test).

Art – supports practices (supports – facilitates/makes possible; practices – trial and error/implement and test).

Craft – supports practices (supports – facilitates/makes possible; practices – trial-and-error/implement and test).

Applied – supports practices (supports – facilitates/makes possible; practices – trial-and-error/apply and test).

Science – supports practices (supports – facilitates/makes possible; practices – explanation/prediction).

Engineering – supports practices (supports – facilitates/makes possible; practices – diagnose design problems/prescribe design solutions).

 

Practices

Practices

Innovation – supported by knowledge (supported – facilitated; knowledge – patents/expert advice/experience/examples).

Art – supported by knowledge (supported – facilitated/made possible; knowledge – experience/expert advice/other artefacts).

Craft – supported by knowledge (supported – facilitated; knowledge – heuristics/methods/expert advice/successful designs/case-studies).

Applied – supported by knowledge (supported – facilitated; knowledge – guidelines; heuristics/methods/expert advice/successful designs/case-studies).

Science – supported by knowledge (supported – facilitated; knowledge – theories/models/laws/data/hypotheses/analytical and empirical methods and tools ).

Engineering – supported by knowledge (supported – facilitated; knowledge – design guidelines/models and methods/principles – specific/ general and declarative/methodological).

 

Solution

Solution

Innovation – resolution of a problem (resolution – answer/address; problem – question/doubt).

Art – resolution of the general problem (resolution – answer/address; problem – question/doubt).

Craft – resolution of a problem (resolution – answer/address; problem – question/doubt).

Applied – resolution of a problem (resolution – answer/address; problem – question/doubt).

Science – resolution of a problem (resolution – answer/address; problem – question/doubt).

Engineering – resolution of a problem (resolution – answer/address; problem – question/doubt).

 

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