Denotation and connotation in the human-computer interface: The ‘Save as...’ command

This paper presents a semiotic technique as a means of exploring meaning and understanding in interface design and use. This is examined through a study of the interaction between the ‘file’ metaphor and ‘save as’ command metaphor. The behaviour of these (from a functional or computational basis) do not exactly match, or map onto, the meaning of the metaphor. We examine both the denotation of a term to the user, i.e. its literal meaning to that person, and the term’s connotations, i.e. any other meanings associated with the term. We suggest that the technique applied is useful in predicting future problems with understanding the use of metaphor at the interface and with designing appropriate signification for human-computer interaction. Variation in connotation was expected but a more fundamental difference in denotation was also uncovered. Moreover, the results clearly demonstrate that consistency in the denotation of a term is critical in achieving a good user understanding of the command

Screen-based musical instruments as semiotic machines

The ixi software project started in 2000 with the intention to explore new interactive patterns and virtual interfaces in computer music software. The aim of this paper is not to describe these programs, as they have been described elsewhere, but rather explicate the theoretical background that underlies the design of these screen-based instruments. After an analysis of the similarities and differences in the design of acoustic and screen-based instruments, the paper describes how the creation of an interface is essentially the creation of a semiotic system that affects and influences the musician and the composer. Finally the terminology of this semiotics is explained as an interaction model

Culture-based artefacts to inform ICT design: foundations and practice

Cultural aspects frame our perception of the world and direct the many different ways people interact with things in it. For this reason, these aspects should be considered when designing technology with the purpose to positively impact people in a community. In this paper, we revisit the foundations of culture aiming to bring this concept in dialogue with design. To inform design with cultural aspects, we model reality in three levels of formality: informal, formal, and technical, and subscribe to a systemic vision that considers the technical solution as part of a more complex social system in which people live and interact. In this paper, we instantiate this theoretical and methodological view by presenting two case studies of technology design in which culture-based artefacts were employed to inform the design process. We claim that as important as including issues related to culture in the ICT design agenda—from the conception to the development, evaluation, and adoption of a technology—is the need to support the design process with adequate artefacts that help identifying cultural aspects within communities and translating them into sociotechnical requirements. We argue that a culturally informed perspective on design can go beyond an informative analysis, and can be integrated with the theoretical and methodological framework used to support design, throughout the entire design process

Disciplining the body? Reflections on the cross disciplinary import of ‘embodied meaning’ into interaction design

The aim of this paper is above all critically to examine and clarify some of the negative implications that the idea of ‘embodied meaning’ has for the emergent field of interaction design research. Originally, the term ‘embodied meaning’ has been brought into HCI research from phenomenology and cognitive semantics in order to better understand how user’s experience of new technological systems relies to an increasing extent on full-body interaction. Embodied approaches to technology design could thus be found in Winograd & Flores (1986), Dourish (2001), Lund (2003), Klemmer, Hartman & Takayama (2006), Hornecker & Buur (2006), Hurtienne & Israel (2007) among others. However, fertile as this cross-disciplinary import may be, design research can generally be criticised for being ‘undisciplined’, because of its tendency merely to take over reductionist ideas of embodied meaning from those neighbouring disciplines without questioning the inherent limitations it thereby subscribe to. In this paper I focus on this reductionism and what it means for interaction design research. I start out by introducing the field of interaction design and two central research questions that it raises. This will serve as a prerequisite for understanding the overall intention of bringing the notion of ‘embodied meaning’ from cognitive semantics into design research. Narrowing my account down to the concepts of ‘image schemas’ and their ‘metaphorical extension’, I then explain in more detail what is reductionistic about the notion of embodied meaning. Having done so, I shed light on the consequences this reductionism might have for design research by examining a recently developed framework for intuitive user interaction along with two case examples. In so doing I sketch an alternative view of embodied meaning for interaction design research. Keywords: Interaction Design, Embodied Meaning, Tangible User Interaction, Design Theory, Cognitive Semiotics</p

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research

Performance and …

In titling our chapter 'Performance and...' our intention is not to privilege performance studies over theatre studies or drama but rather to call to attention the longstanding proposition that performance (studies) 'resists or rejects definition' (Schechner, Richard, 1998, 'What Is 'Performance Studies' Anyway?' in: P. Phelan and J. Lane (eds.), The Ends of Performance, NYU Press, p. 360) and as such highlight the potential it holds for interdisciplinary scholarship and the way in which the idea of performance has been conceived fluidly and expansively, both key concerns of all the volumes reviewed here. We are, we hope, at a point in the development of performance and theatre studies where there is an understanding, acceptance and exploration of the mutually constructive and beneficial interweaving of these two 'traditions' of scholarship within the broader field of drama. In the books we look at, both 'theatre' and 'performance' are brought to bear on the matters at hand almost interchangeably, with established text-based dramas taking their place alongside works in the performance art tradition to further arguments pertaining to a variety of disciplines. Such plurality of approach is a defining feature of the works we have chosen to discuss and binds them to a common purpose: the exploration of drama/theatre/performance in, with and between other disciplines and discourses in the pursuit of illuminating the world around us in more meaningful ways

Understanding Visualization: A formal approach using category theory and semiotics

This article combines the vocabulary of semiotics and category theory to provide a formal analysis of visualization. It shows how familiar processes of visualization fit the semiotic frameworks of both Saussure and Peirce, and extends these structures using the tools of category theory to provide a general framework for understanding visualization in practice, including: relationships between systems, data collected from those systems, renderings of those data in the form of representations, the reading of those representations to create visualizations, and the use of those visualizations to create knowledge and understanding of the system under inspection. The resulting framework is validated by demonstrating how familiar information visualization concepts (such as literalness, sensitivity, redundancy, ambiguity, generalizability, and chart junk) arise naturally from it and can be defined formally and precisely. This article generalizes previous work on the formal characterization of visualization by, inter alia, Ziemkiewicz and Kosara and allows us to formally distinguish properties of the visualization process that previous work does not