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TouchIT: Understanding Design in a Physical-Digital World 1st Edition Alan Dix full chapter instant download
TouchIT: Understanding Design in a Physical-Digital World 1st Edition Alan Dix full chapter instant download
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TouchIT
Great Clarendon Street, Oxford, OX2 6DP,
United Kingdom
Impression: 1
Data available
ISBN 978–0–19–871858–1
DOI: 10.1093/oso/9780198718581.001.0001
Links to third party websites are provided by Oxford in good faith and for
information only. Oxford disclaims any responsibility for the materials contained in
any third party website referenced in this work.
Contents
Part I | Introduction
1. Elements of Our Hybrid Existence
1.1 Why Study Physicality
1.2 Components of the Physical World
1.3 Kinds of Things: From Stones to Silicon
1.4 The Natural Order
1.4.1 The artificial—works of our hands
1.5 Coming Together
1.5.1 Making things usable—Human–Computer
Interaction
1.5.2 Of designers, computer-embedded devices and
physicality
1.6 Different Ways to Touch
1.7 Learning about Physicality
4. Mind
4.1 Mind as a Physical Thing
4.2 Memory and Time
4.3 Just Numbers
4.4 Multiple Intelligences
4.5 The Brain as Interface
4.6 Creativity and Physicality
9. Hybrid Devices
9.1 Abstraction—Software as if Hardware Doesn’t Matter
9.2 The Limits of Hardware Abstraction
9.3 Specialization—Computer-embedded Devices
9.4 What Does It Do?
9.5 Mapping
9.6 Feedback
9.7 The Device Unplugged
9.7.1 Exposed state
9.7.2 Hidden state
9.7.3 Tangible transitions and tension states
9.7.4 Natural inverse
Part IV | Space
11. Physicality of Space
11.1 Void—Matrix or Myth
11.2 From Nothing—Points, Lines, and Circles
11.3 Flatness—The Shape of Space
11.4 Uniformity—Continuity and Fracture
11.5 Scale—Size Matters
11.6 Relativity and Locality
11.7 Time Too
11.8 Terra Firma
11.9 Patterns in the Landscape
16. Reproducibility
16.1 Moulds, Plans, and Mass Production
16.2 Singularity and Scarcity
16.3 The Irreproducible and Impermanent
16.4 Recording
16.5 Decontextualization
Bibliography
Image Credits
Index
1
Historically there has often been a dualistic view of mind and body,
with cognition and thought being seen as quite separate from
physical muscle and bone. Computation has a similar abstract feel, a
world of algorithms and pure reason.
However, humans and computers are embodied respectively in
flesh and silicon, and if we wish to communicate with any
computational device, we do so through that flesh and silicon,
through the physical world: tapping keys, pushing a mouse, or
stroking an iPhone screen. Not all these interactions involve fingers
and touch. Speech involves tongue and mouth creating pressure
waves through the air to vibrate the microphone in the computer.
Gesture recognition involves moving arms, photons, and optics. Even
direct brain interfaces use electrodes and wires. There is no
connection at the level of pure abstraction but always in the physical
world.
As more devices around us have digital aspects it becomes
essential that we understand the way physical and digital
interactions meet. Traditionally, the physical form of a product was
the domain of the industrial designer (sometimes also called product
designer), whereas the digital interaction belonged to the usability or
human–computer interaction specialist. Now, however, in products
from mobile phones to washing machines, the physical design and
the digital design must come together to create a single experience
for the user.
The physical world can be seen in many ways, for example through
biology, physics, or geography. To focus on those aspects that
influence the design of hybrid digital/physical devices, we are
organizing the central parts of this book around four main themes of
the physical world.
Ten different pieces of this pipe ten feet long were capped on
either end and submitted to a hydrostatic pressure test; the bursting
pressure average of the ten pieces was found to be 146 pounds to
the square inch, while some of the samples stood a pressure of over
180 pounds to the square inch. In actual practice the pipe used for
this purpose is never subjected to a pressure exceeding forty pounds
to the square inch.
Coil Rooms.—Fig. 24 shows the end view of the cooler with the
detail of the hangers on which the pipe rests. Fig. 25 shows the end
view of one bay with the pipe located and connected.
FIG. 24.—END VIEW OF COOLER; DETAIL OF PIPE HANGERS.