I, too, agree with Christopher's great example there. You can design
experiences - anyone who has set up a romantic evening or gesture has
done this. The fact that this is sometime fodder for things to go
terribly wrong (choose your sitcom) shows that it's not always
perfect, but often the designer's projected, imagined experience
aligns 'enough' with the recipient's experience. The skill of an
interaction/experience designer is making that match as close as
possible surely?

The art and design differences aren't helpful to bring in here with
regards to interaction design. Artists working with interactivity are
designing, whether they don't like to use the term on not. Not
understanding this aspect has led to a lot of awful interactive
artworks. The artists that do understand it have created some
brilliant works. They design and prototype and test and modify their
work until the elicit the experiences they want - it's no different
from what a designer sets out to do. The desired responses are
somewhat different though (for example, confusion might be what the
artists wants rather than it being accidental).

It's important to separate out the psychological interaction that we
have with anything we encounter on a semiotic level from interaction
design. Otherwise you end up with a definition that "everything is
interactive", which is a self-referential black hole. It is clear
that something else is going on when you physically interact with
something and that this is different from, say, just viewing a
painting on the wall.

That physical interaction - which might be just a mouse movement or
click, but might be a full body gesture - is the defining component
to interactive media and interaction design. It plugs into the way
with think about the world in terms of physical metaphors - c.f.
Lakoff and Johnson.

(I have whole chapters on this in my PhD (nearly finished) that I
hope to put online soon where I go into it in more detail.)


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Posted from the new ixda.org
http://www.ixda.org/discuss?post=40695


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