We have developed a series of spatial hypertext systems that support early stages of linear-information authoring, such as paper writing and movie editing. They are designed based on the ART (Amplifying Representational Talkback) principle, which emphasizes the importance of visual interaction and the power of external representations. The systems use spatial hypertext not as a medium for representing final artifacts but as a means of interacting with linear information during an authoring process. This paper first describes the role and the effect of the spatial hypertext representation plays in support of early stages of authoring linear information, and explains the ART interaction model for the approach. The ART#001 system, which supports early stages of writing, is described in detail and the other three ART systems are used to illustrate the essential aspects of our approach. The paper concludes with a discussion on the semiotic interpretation of spatial hypertext as a representation, and on the innovative use of spatial hypertext as an instrument to compose information, rather than as an information medium.

this paper we offer a new approach based on respect for the user. We all have senses and a body with which we can respond to what our environment affords (Gibson, 1979). Why, then, does interaction design not use these bodily skills more often and make electronic interaction more tangible? And, as humans are emotional beings, why not make interaction a more fun and beautiful experience? This paper focuses on those neglected aspects of human-product interaction: perceptual-motor and emotional skills. First we give the new background against which the designer operates. Then we give a number of examples from our own and our students research work. As we go along we make clear why this new approach calls for new methods and what these methods are. The point we wish to make is that to get to new innovative products, the interaction problem should be dealt with on the level of creating a context for experience allowing for rich aesthetics of interaction

In this paper we propose a 3-step method for designing emotionally rich interactions, illustrated by the design of an alarm clock. By emotionally rich interaction we understand interaction that heavily relies on emotion expressed through action. The method addresses three questions: What are the relevant emotional aspects for a context for experience? How can a product recognise and express these aspects? How should the product adapt its behaviour to the user on the basis of this information? The essence of our approach is that a product not only elicits emotionally expressive actions, but that the feedback is inextricably linked to these actions. The feedback should be inherent to the design, and not gratuitously added.

A theoretical framework for assessing the attractiveness of websites based on Adaptive Decision Making theory is introduced. The framework was developed into a questionnaire and used to evaluate three websites which shared the same brand and topic but differed in aesthetic design. The DSchool site was favoured overall and was best for aesthetics and usability. The subjective ratings of the sites were in conflict with the subject-reported comments on usability problems. Subjects were given two scenarios for their preference. They changed their preference from the DSchool to the HCI Group’s site for the more serious (PhD study) scenario; however, design background students remained loyal to the DSchool. The implications of framing and halo effects on users’ judgement of aesthetics are discussed.

In many environments the landscape of space and artefacts is evolving and changing with the tasks at hand. Integrating digital media and computation in these environments has to take into account that users will configure space, functions and tools according to the situation, organizing use in unexpected ways. In this article we present and discuss how the issue of configurability is dealt with in a series of field trials with design students. The aim of these trials was to construct for architecture and interaction design students a mixed media environment for inspirational learning. We give examples from two rounds of field trials. In the first round emphasize was given to introduce components integrating dynamic digital media into the design studio practice of the students. One of the important findings from this first round was that integration becomes particularly useful when it facilitates the creation of composite representations called mixed objects blending digital and non-digital media in one design artifact. We did however also find that configurability has to be supported at different levels (infrastructures, artefacts, functions) and across physical and digital realm. From the second round of field trials examples are presented of component assemblies that provide a tangible formatting of the mixed media environment suitable for design work and two different approaches to end-user configuration of these component

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This paper demonstrates that in order to understand and design for interactions in complex work environments, a variety of representational artefacts must be developed and employed. A study was undertaken to explore the design of better interaction technologies to support patient record keeping in a dental surgery. The domain chosen is a challenging real context that exhibits problems that could potentially be solved by ubiquitous computing and multi-modal interaction technologies. Both transient and durable representations were used to develop design understandings. We describe the representations, the kinds of insights developed from the representations and the way that the multiple representations interact and carry forward in the design process.

Introducing playfulness to applications and services has great potential to improve user experience, as it can be both an effective instrument for the design and a significant addition to current formal user interfaces. Playfulness increases users ’ motivation to use the product, and learn new features and technologies of the device. Thereby it opens additional capabilities for designers and developers to introduce new functionality. On basis of a literature review, this paper provides an overview of user interface characteristics that can affect playfulness. We present a set of user interface components with playful interaction possibilities and define a general methodology for analyzing playfulness in user interfaces. Game industry has a tremendous long-term experience in creating attractive interfaces with the best balance of fun and functionality. This paper shows possibilities how it can be effectively generalized to non-playful applications through playful attributes.