Interactive Aesthetics (original) (raw)
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Research in Interactive Design
2007
transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms of licenses issued by the copyright. Enquiry concerning reproduction outside those terms should be sent to the publishers. The use of registered names, trademarks, etc, in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant laws and regulations and therefore free for general use.
Graphic design: can it be something more? Report on research in progress
Human beings constitute an embodied consciousness. Our sensory capacities function in a highly integrated manner; our experience of a visual image may in fact be tactile, auditory, or some other combination of the five senses. Our most memorable and meaningful experiences are those that impress multiple sensory modes: touch, sound, smell, taste, as well as vision. The process of transforming these essentially private sensory experiences into forms that can be shared with others is the essence of communication. Therefore truly effective communication requires careful attention to the 'felt' qualities of an experience; both the physically and emotionally perceived.
2011: A Can of Worms: Has Visual Communication a Position of Influence on Aesthetics of Interaction?
Design Principles and Practices., 2011
Interaction Design is a young discipline that grew out of an overlap of other science and design disciplines, its remit was the design of interactive products, services and systems for human behaviour. Visual Communication and its output of graphic design once had an early influence on Interaction Design, but this has since been devalued by the influence from more functionalist disciplines, leading to two myths about Visual Communication: it just does the ‘aesthetic bit’ on the interface, and that aesthetics has no real use or function beyond ‘beauty’. But aesthetics cannot be reduced and measured as a functionalist equation of ‘means-end’. By understanding aesthetics from a Pragmatist philosophical position, the aesthetics of interaction can be explored from a situated and culturally connected embodiment of an interactive experience. From this position aesthetics is viewed as emergent from the interactive experience through three factors: a socio-cultural context, a personal embodiment and finally a means-to-many-ends instrumentality. It is a cultural phenomenon and not an engineering problem that can be explored quantifiably. This makes this a phenomenological study, and closer to Visual Communication. The rhetorical nature of Visual Communication affords a change in human behaviour, evoking a cognitive and emotional response, making its remit about framing decision-making from use of image and text. Experience, emotion, and interpretation can only use qualitative methods to explore an aesthetic experience. This raises a more vexing question: what other design disciplines also share or rather claim a phenomenological position on aesthetics? This paper will set out to explore these amorphous boundaries to decide if Visual Communication still has an actual support position of influence on Interaction Design.
The communicative dimension of graphic design elements - Such as infographics
Brazilian Journal of Science, 2023
The purpose of the current study is to address a research question about the role that visual design elements have in communication. The data were collected based on their technical relevance, which highlights the general description of the field of research that includes graphics, infographics in the field of communication, and elements of visual design Review of the relevant literature and concepts: To begin with, we must consider the communication aspects of the design in order to produce truly successful visual design elements. The communicative dimension of graphic design elements such as infographics are invaluable in conveying information in a clear and engaging way. Two opened the way for the expansion of the use of visual elements in the manufacture of the media message. This study discusses the communicative dimensions of visual design elements, in general, and infographics in particular, as infographic is part of information visualization. This study discusses the communicative dimensions of visual design elements, in general, and infographics in particular, as Infographic is part of information visualization, in addition to that it is a research field related to communication as it focuses on patterns and trends in abstract data sets, and the field of infographic design, and information visualization combines the concepts of computer science, data mining, cognitive sciences and graphic design, this is important in controlling and measuring the quality of communication because the ability to collect, store and manage data, despite the increasing pace of its updating, remains our ability On their understanding relatively constant. The size, shape, and color of visual design elements can also play a role in communication. According to the results obtained, it was determined that the use of graphs as a visual communication tool was effective in evaluation, understanding and continuity.
IEEE Transactions on Professional Communication, 2002
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Graphic design of interactive interfaces
THE 9TH INTERNATIONAL CONFERENCE OF THE INDONESIAN CHEMICAL SOCIETY ICICS 2021: Toward a Meaningful Society
In the epoch of digital media, graphic design has become an important part in the process of creating interactive platforms for work and entertainment. To a great extent, design defines the way in which the user will communicate in the virtual environment. If the visual hierarchy in the texts, shapes and colours is not implemented, then dealing even with the most up-to-date software may become challenging. The modern human is overwhelmed with information and he instinctively seeks for the most direct way to reach his goal. Each graphic element that is not in its designated place is a reason to disrupt the fluent dealing with the interface and results accordingly in bad usability. It is noticed that many developers of such type of platforms perceive interactive and print design as overlapping areas. Although their origin, principles and components are common, the differences between them in terms of technical and user elements are considerable, which influences also the creative process. The purpose of the current article is to define the areas of differences between print and interactive design. Systematizing them will be useful for optimizing the graphic design for interactive interfaces, achieving intuitive navigation, user comfort and accessibility for the content.
From Basic Design for Communication Design: A Theoretical Framework
DRS LEARNxDESIGN 2021, 2021
In this paper we discuss the two changes that basic design education faced: one is the teaching need of transformation from visual to multisensory and synaesthetic communication; the other is the use of virtual environments to teach design. As an answer to the trend of constructivist learning, also in order to fulfil the need for multisensory training, the discussion of an innovative learning environment for basic design education has become essential. The problems remain, as virtual technology has limitations regarding visualizing abstract concepts. This research aims to build an immersive virtual environment to teach basic design, along with the value of subjective immersive experience for design learning in general. The study presented in this paper proposes a theoretical framework, starting with the redefinition of the concepts of "immersion" and "presence" from a cognitive perspective (Scuri, 2017). The main research method is based on two groups of case studies; through literature review and secondary research, this work categorizes the factors of presence into a three-dimensional framework, also defining the four typologies of immersion and two in-class educational models. The paper presents the results of the research at the first phase, aimed at bridging the gap between design learning and virtual spaces. Through the framework addressed, we are able to frame an actual design tool with the help of online platforms and tools.
Communications Project of Designing with Multimedia Interactive Tools
eCAADe proceedings, 1995
We at a new step of software where the development of applications is done not using instructions, but composing applications. The software object oriented which allows the integration between applications is the solution for the designer to produce the own software. It is possible to use integrated applications with a limited knowledge of algorithms and programming languages. That allows the not specialized users to use specialized multimedia tools. The consequences of this opportunity can result very important not only for the designer but above all the actors involved in the decision making process. It is hard to evaluate the social weight of hypertexts and hypermedia in the field of social participation to the decision making. However their efficiency in the communication problem it is clear, we can preview that in the next future the use of hypermedia will be more extensive in the field of decision making, which involve public interests. Some hypertexts developed in the CAAD Laboratory of the Third University are briefly described.
NEW FORMS OF COMMUNICATION BETWEEN PEOPLE, DESIGN OBJECTS AND ENVIRONMENT
We all are witnesses of the constant evolution of society, culture and technology. The way we perceive surrounding environment and interact with objects has also undergone a radical shift during the past years. To respond to the changes, designers are struggling to find new expressive language and translate technological breakthroughs to an understandable level in order to create balance between technology and people. A new paradigm focusing on meaning, emotion and interaction has emerged. The role of contemporary designers is also changing -they become scriptwriters that formulate a definite set of possible use but leave to the consumer to improvise, personalize and explore the possible levels of communication. The main objective of this paper is to elaborate on the types of communication that objects and environments establish with people (emotional, sensual, and intellectual). To support and complement the theoretical survey, different examples are considered.