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- “NEVER-TO-WORK-AGAIN” CLASS?
It is now widely believed that within 15-20 years about 1/2 of the western workforce will lose their jobs to AI and automation. This means that 1/2 of the working population could end up being thrown on a permanent scrappy. But even if this was resolved with a generous welfare system, voices abound that such mass-displacement of traditional jobs could seriously weaken the society. A permanent loss of employment could lead to a perpetual sense of hopelessness amongst the new “never-to-work-again” class. Isolation, mental issues, alcohol, drug abuse - this could be the price we pay for bringing AI into our lives. Perhaps the little better news is that the pain of having to adjust to the brave new world of AI will in time force us to look deeper into our very existence, as individuals and as a society. It will force us to ask ourselves questions that we seldom bothered to face: What is the meaning of us being here at all? What is our purpose if there is no daily struggle to survive? Or could it be the prospect of limitless freedom that we find so terrifying? Can we comprehend a life worth living, free of perpetual existential crisis? A life that is meaningful and purposeful without a hint of the daily grind that most of us now seem to despise? It may not be too big an assumption if one were to say that a very different society will eventually emerge, very different to the one that you and I know. The modern society, the way it runs its daily business is a bit like the massively overloaded cargo ship on the above picture, battling against nature to stay afloat. And its heavy load may be the very thing that will make it capsize. All that wealth onboard, yet all pointless it would seam if Nature were to seal its fate, as it has done to us so many times during our relatively short existence as human spices, utterly oblivious to our existence. The consequences to our kind could be catastrophic if we don't address the social and political ramifications of powerful, yet little-understood disruptive technologies, such as AI and the looming bonfire of traditional jobs it will bring about. And don't forget Nature's infinite power to ruin our best-conceived plans.
- USER EXPERIENCE (UX) IN INTERACTIVE MEDIA DESIGN
USABILITY AND UX, ARE THEY THE SAME? IF THEY ARE NOT, WHAT'S DIFFERENT? In an article published in UXdesign.com UX design author Michael Cummings, makes a clear distinction between the two. He states that UX design puts the “emphasis on the human side of human-computer interaction, and its affective results, rather than on the mere usability, the human performance aspect of computer interface design, which traditionally relates to the field of ergonomics.” UX is one of the main concerns of user-centred web design. These two areas are indeed related. Oxford Dictionary defines it as “the overall experience of a person using a product such as a website or computer application, especially in terms of how easy or pleasing it is to use: if a website degrades the user experience too much, people will simply stay away.” UX AND ITS ROOTS - BRIEF HISTORICAL OVERVIEW Pabini Gabriel-Petit, Principal Consultant at Strategic UX at Silicon Valley, and founder, publisher, and Editor in Chief of UXmatters, In its Nov 2005 issue she writes: “When Don Norman came to Apple, in 1993, as Vice President of Research and head of the Advanced Technology Group (ATG), he brought with him the new term user experience design. UX design takes a holistic, multidisciplinary approach to the design of user interfaces for digital products. Depending on the product, UX can integrate interaction design, industrial design, information architecture, visual interface design, instructional design, and user-centred design, ensuring coherence and consistency across all of these design dimensions. UX design defines a product’s form, behaviour, and content.” Macintosh, the first ever mass-market computer featuring Graphical User Interface (GUI) was launched in 1984. It transported computer users from command line to mouse operated cursor and clickable computer screen items, or icons, as they became popularly known. It is important to note that in the late 80s, and even in early 90s a number of prominent tech commentators and Academics continued to be sceptical about GUI, now a critical component of UX. It is easy to see the connection between the tectonic changes that GUI brought to computing, and especially to contemporary mobile devices. It is a matter of historical fact that GUI was originally dreamed up and developed by Xerox Palo Alto Research Institute (PARC). But it was Steve Jobs who recognised its enormous potential in the rapidly growing market of personal computing. Louis Anslow's article in Timeline.com explores the way in which experts and analysts have responded to Macintosh, as well as other platforms featuring GUI. It states that the tech media reports seemed less than favourable, expressing doubt whether Icon/Mouse driven interfaces could ever successfully compete with command line. In 1990, six years after the Macintosh launch, the NYTimes in an article titled “The Computers That Mimic a Desk,” featured a mocking illustration of a man in a suit on a very high chair sitting at a rather bizarre looking giant desk-like screen. In June of the same year, at a time when GUI was well established on a number of different platforms of the day, Marcia Peoples Halio, a member of the English Department at the University of Delaware, released a critical paper titled “Student Writing: Can the Machine Maim the Message.” In this paper she suggested that the quality of students work done on a Macintosh with a graphical interface was inferior to the work that students completed using the command line. Halio’s academic colleagues, however, disagreed with her findings. In an article in the journal Computers and Composition, they argued that the “article is so seriously flawed by methodological and interpretive errors that it would probably have been dismissed had it appeared in a journal directed to an audience of professional writing teachers. Publication in Academic Computing has given it wide circulation, however, not only among faculty members involved with writing instruction, but also among administrators responsible for purchasing equipment for their campuses. Its potential [negative] impact is therefore considerable.” Chris Goyens, a prominent tech author argued at the time that: “What began as the Macintosh revolution, using a “mouse” to pinpoint and call up editorial options which were represented by icons — pictures of file folders, electric calculators, painter’s palette and trash cans — now has spread.” Goyens dubbed the phenomenon “icon-mania” and called GUIs a “mixed blessing.” The system was not much of a gain, he argued, and with word processing it made hardly any difference at all. Despite the many influential doubters of the day, the Steve Jobs’ vision of graphical interface on personal computers prevailed. The touchscreen technology as we know it today, now ubiquitous user interface component was affirmed by the emergence of the iPhone. BRIEF OVERVIEW OF HUMAN BEHAVIOUR AND ITS ROLE IN UX THINKING In simplest terms, successful UX design is a product of understanding instinctive human behaviour in a variety of scenarios. Danish behavioural design expert Sille Krukow argues that human behaviour broadly falls into two categories: Automatic - such as reading the emotion on human faces Reflective - such as working out mathematical equations Studies, as well as personal experience show that the latter requires far greater effort. Humans are naturally predisposed to saving as much energy as possible, which is why we try to avoid reflective thinking for too long, as it is heavy on our metabolic resources. An important aspect of determining human behaviour is to acknowledge and accept human flaws, such as limited attention span. Consequently, UX designers must take into account the insights of human behaviour in order to find the best design solutions that can effectively communicate the intended narrative. A broad guideline to successful UX design would therefore be about aiming for a reduced complexity interface and content, neither of which should be too taxing from users’ point of view. In the UI context in order to facilitate intuitive behaviour or automatic non-reflective behaviour a UX designer should consider, amongst many other things: REPLACING WORDS WITH VISUAL SYMBOLS. REPHRASING TECHNICAL JARGON INTO COMPREHENSIBLE LANGUAGE Sille Krukow argues that the task of doing the weekly shopping, for an example, may seem simple, but in reality it is not so. The amount of decisions that a shopper has to make is considerable. By the time the shopper has filled up the trolley and reached the checkout, the task of decision-making has caused their blood sugar levels to drop significantly, which is why supermarkets make sure to place sweets at prime spots around checkouts. Ethical implications aside, from shoppers’ perspective a choice of sweets at the checkout would ensure a positive finish to a demanding shopping event. Our instincts and flaws reflect in everything we do - how we spend our money, how we interact with products, how we interact with websites, with traffic signs, or an app. Humans in general have good intentions, and deep down know what is the best thing to do, but our instincts all too often get in the way. Humans tend to respond much better to positive instructions rather than what we are requested or ordered NOT to do. UX design is about working with human flaws and instincts, i.e. not assume that the end user is willing to be too reflective for too long. This would suggest that when designing for UX it is wise to consider human instincts. Our pack mentality for instance would be one of them. It is one of our strongest and most rudimentary instincts. Our need to conform means that we instinctively mirror the behaviour of those around us, as we tend to do what we see other people do. This instinct is so profound that it can cancel out our own good intentions, or what we believe to be a right thing to do, such as an antisocial habit of littering, or other forms of human behaviour. Above images illustrate a good example of how Sille Krukow’s design addresses beach-littering issue. Instead of giving authoritative orders such as “NO LITTERING” or moralising on how littering is irresponsible and selfish, she instead gives positive instructions using primary colour coding and clear graphics with easy to see and maintain recycling points.
- INFLUENTIAL INTERACTIVE MEDIA TECHNOLOGIES TIMELINE
- Design for Print | ZigMEDIA
DESIGN FOR PRINT Printed page doesn't need recharging. And it never breaks either. Just like most modern-day consumers and web junkies, we too love the speed and convenience that the digital age brings to our lives. Yet print continues to influence us, inform us and entertain us. Although the world has long moved online, the print continues to play an important role in the way companies communicate their culture, their brand and their products to their customers. CD COVER DESIGN PROMO MATERIAL CATALOGUE - BROCHURE DESIGN The captivating smell of print ink, the tactile magic of a brochure or a magazine, the turning of physical pages - it all adds to the positive experience of a brand as it brings that extra bit of edge helping to further promote customer loyalty.
- Branding | ZigMEDIA
BRANDING "Your brand is what people say about you when you’re not in the room." Jeff Bezos Client: Mikan Zlatkovich Jazz Pianist - San Diego, CA USA https://mikan.pro Client: Cameleon Night Club Sparti, Pelopenese, Greece Client: Istituto HFC Family Mediation - Rome, Italy https://istitutohfc.com Client: Hellas Homes Estate Agents - Kalamata, Greece https://hellashome.gr Client: Daniel J. Parc Jazz Singer - San Diego, CA USA https://danieljparc.com Client: Web Surgeons Design Agency - Birmingham, UK http://websurgeons.co.uk Client: Ustadh Umar Tai-Chi Academy - Wexford, Ireland https://ustadhumaracademy.com Client: Be Safe - GPS Tracking Systems Kalamata, Greece https://be-safe.gr Client: Trevor Lawrence Hip & Knee Clinic - Solihull, UK https://trevorlawrence.co.uk Client: PWS Rail Ltd. Infrastructure, Recruitment & Training London, UK Client: Creative Artizans Solihull, UK Client: Jerome Guitars Guitar Luthier Acocks Green, Birmingham, UK A good company logo is an essential part of clear brand communication. It is a shorthand illustration and a visual clue to the brand, its culture, its ethos and its uniqueness. A well-designed logo can transcend all national, cultural and language barriers. A logo representing a brand is meant to clearly and instantly inform the target audience about the company identity. Logos can be serious, funny, sharp, soft, aggressive, friendly, or a mix of any of these, whichever works best for your business.
- Web Development Agency | ZigMEDIA | Birmingham
WEB UX UI GRAPHICS PRINT BRAND ING DES IGN All our design work is about reaching out and championing dialogue, ever in search for elegant new ways to communicate your brand and your products to audiences you want to reach. Based in South Birmingham UK, is a design & web development agency offering project management, branding, content architecture, copywriting, web and UX UI design services. All our work is done to the highest aesthetics and functionality standards, friendly, hassle-free home of communication design solutions. ZigMEDIA branding graphics design for print web design ux ui prototyping contact Please see also samples of our ADVERTISING , TYPOGRAPHY , CATALOGUE/ BROCHURE design work. Design is to articulate and express, not to show off or impress. “ ” — John Tanedo Design is where science and art break even. “ ” — Robin Mathew A picture is worth a thousand words. An interface is worth a thousand pictures. “ ” — Ben Shneiderman