- Apr 2018
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your future success depends on developing a new kind of expertise: the ability to leverage your proprietary knowledge strategically and to make useful connections between seemingly unrelated knowledge assets or tap fallow, undeveloped knowledge.
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Your competitors will have access to the same kinds of data and general industry knowledge that you do.
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It’s a vote of confidence in the company’s capacity to protect enough tacit knowledge to stay ahead of the competition.
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will make more money if more people build on the platform he has provided
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The ease of knowledge sharing is directly proportional to the degree of knowledge codification
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speeding up codification will increase the value of knowledge
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hbr.org hbr.org
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Companies that figure out how to manage this complexity will enjoy a powerful competitive advantage in finding and selecting innovations.
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designobserver.com designobserver.com
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In the short term, digital design will move beyond screens to physical surfaces and augmented or artificial environments, and designers will occupy more positions where they are directing or consulting on larger and more complex systems of experience. Design is already less visual and more collaborative, and will continue along that trend. It’s not enough, though, to look five or ten years in the future. Will there be a Machine-Learning designer in 2050? Maybe. But in forty years, it’s just as likely that jobs will no longer exist, or at least not in a way that we would recognize them.
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info.moravia.com info.moravia.com
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Japanese people tend to require more information before reaching a purchasing decision. So for printed brochures, it is standard practice for Japanese companies to create one text-heavy version for the Japanese domestic market, and another “rest of the world” version that gets localized into multiple languages for markets worldwide. Often the Japanese domestic version goes into more detail and mentions this or that technology as part of a product’s appeal. The non-Japan version focuses more on user benefits, oftentimes not even mentioning the technology that makes those benefits possible. Western thinking is, consumers want to acquire an experience, not a technology. Japanese thinking is, those promises feel more real when somehow linked to technology.
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www.sarahmei.com www.sarahmei.com
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The takeaway from the article: Choose document-oriented database only when the data can be treated as a self-contained document
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martinfowler.com martinfowler.com
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The baseline here is detecting technical issues (counting errors, service availability, etc) but it's also worth monitoring business issues (such as detecting a drop in orders).
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- Mar 2018
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product.voxmedia.com product.voxmedia.com
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nice way to establish colour palette based on content
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skmetz.home.mindspring.com skmetz.home.mindspring.comSlide 591
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compilers.cs.ucla.edu compilers.cs.ucla.edu
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Visitor design pattern
访问者设计模式
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- Feb 2018
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maestriadesarrollo.com maestriadesarrollo.com
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La noción de diseño difuso se refiere al hecho de que todo el mundo está dotado con la capacidad de diseñar, mientras que la de diseño experto se refiere al conocimiento profesional del diseño. Entre las dos distinciones se abre un espacio para repensar ‘el diseño en un mundo interconectado’. En el modelo de Manzini este espacio funciona como un recurso heurístico que permite visualizar modos de diseño, desde los ‘activistas culturales’ comprometidos con el diseño difuso y la construcción de sentido hasta las formas de intervención tecnológica centradas en la solución de problemas bajo el liderazgo de expertos (
Cfg Leinonen.
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el mundo está experimentando una gran transición; el diseño puede contribuir a fomentar una cultura de localismo cosmopolita que vincule, efectivamente, lo local y lo global a través de infraestructuras resilientes que acerquen la producción y el consumo con base en sistemas distribuidos; (c) las acciones de la gente para cambiar sus condiciones de vida cotidianas se llevan a cabo, cada vez más, a través de organizaciones colaborativas; los expertos en diseño, como piezas importantes en este redescubrimiento de la colaboración, ayudan a crear las condiciones para el cambio social;
Véase Trabajar y Crear en Abierto Desde el Sur (abisur).
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www.adweek.com www.adweek.com
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Production and post-production is, by many accounts, the most profitable element of the entire agency equation, and holding companies aim to boost those totals
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www.adweek.com www.adweek.com
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as clients' marketing budgets decrease and agency profit margins feel the squeeze.
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One boss allegedly followed a round of layoffs by warning employees that all production work needed to remain in-house if they wanted to keep their jobs, in part because production is the agency's only profitable department.
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All major agency holding companies have launched their own production and postproduction units in recent years as part of what one agency veteran called "a revenue grab." In some cases, they have publicized this information, but the new divisions largely operate under the radar despite employing hundreds of people. "This isn't a threat to high-end production companies," said one source who has worked in that industry for years, "But it will wipe out the whole middle range of independent companies."
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- Jan 2018
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www.glosole.org www.glosole.org
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Some students have been conditioned by experience in other online courses to expect to be able to read and study quietly by themselves for a few weeks, post a minimum number of discussion board posts in a single day, and complete an exam or writing assignment at the end of a unit or module. The chunky model, with its frequent required interaction, may disappoint students who want to be able to proceed more independently. For that reason, we encourage students to refl ect and comment on the process as we go along. We make design visible by asking students to engage and respond to the course content and design in real time. Inevitably, some students will express resistance, arguing that they enrolled in an online course specifi cally to be able to “work on my own schedule.” So it is important to take those concerns seriously and encourage students to express them. In a writing course, we argue that students can measurably benefi t from breaking major writing projects into a series of steps that can be completed in short units of time.
This is precisely the course that I have built in the re-design project, abandoning the idea of read - discuss - write an essay every four weeks. The Eli timelines are the key to how chunking and frequent feedback works.
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www.laurenbcollister.com www.laurenbcollister.com
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Bythiswemeanthatthereisalwaysadistinctiontobedrawnbetweenwhattechnologiesaresupposed(ordesigned)todoandwhatpeopleactuallydowiththem.Inotherwords,whatevertheintentionsandgoalsofthedesignersandinventorsofdifferentcommunicationtechnologies,‘ordinary’peopleinevitablymaketheirowndecisionsaboutwhethertheywanttousethetechnology,and,moreimportantly,howtheywanttouseitbasedontheirownneedsandvalues.
The gap between designers and 'ordinary' people (users) has lessened a lot since 2004, with jobs such as UX designers specifically designated for surveying users to make the application more user-friendly when it gets to market.
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- Dec 2017
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www.dropbox.com www.dropbox.com
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utomatic interaction analysi
This is interesting. How to use CSCL environment to detect fading and how fading should occur. Maybe there is a way of measuring learners' skills and based on such assessment, adjust scaffolding accordingly. This could be done again by measuring learners' emotions, motivations, self reports and quizzes.
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If emotions and motivations are so central to learning design, perhaps we could implement a way to measure learners' emotions during the learning process via computer. For example, we could use webcam to measure their facial expression and adapt learning according. If we detect that the students is frustrated, we could provide more support, etc.
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- Nov 2017
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www.cte.cornell.edu www.cte.cornell.edu
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This means developing a flexible learning environment in which information is presented in multiple ways, students engage in learning in a variety of ways, and students are provided options when demonstrating their learning.
These are also best practices in teaching and learning, which says something about human cognition and motivation generally and how we think about people who need "accommodations." In other words, maybe we all need "accommodations" that serve our need for autonomy, mastery, and purpose.
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pubs.opengroup.org pubs.opengroup.org
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Coherence
With Desiging
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Details
With Designing
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Designing
Desgin With Coherence and Details
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mfeldstein.com mfeldstein.com
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The selection committee declares that whatever LMS the university chooses next must work exactly like Blackboard and exactly like Moodle while having all the features of Canvas. Oh, and it must be "innovative" and "next-generation" too, because we're sick of LMSs that all look and work the same.
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halfanhour.blogspot.com halfanhour.blogspot.com
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they depended mostly on pre-recorded videos for content (following the Khan Academy) model. This was content that was intended to be 'learned' by students.
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www.learningsolutionsmag.com www.learningsolutionsmag.com
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if the children are from more than one class, the app is programmed with rules that determine which curriculum appears on the iPad.
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courses.openulmus.org courses.openulmus.org
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carefully crafted learning outcomes
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wrapping.marthaburtis.net wrapping.marthaburtis.net
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how to balance supporting a system as complex as Domain of One’s Own without dictating how people use it
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www.seanmichaelmorris.com www.seanmichaelmorris.com
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Essential reading.
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- Oct 2017
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dhum74000.commons.gc.cuny.edu dhum74000.commons.gc.cuny.edu
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definition of field: The field of instructional design and technology encompasses the analysis of learning and performance problems, and the design, development, implementa- tion, evaluation and management of instructional and non-instructional processes and resources intended to improve learning and performance in a variety of set- tings, particularly educational institutions and the workplace. Professionals in the field of instructional design and technology often use systematic instruc- tional design procedures and employ a variety of instructional media to accomplish their goals. More- over, in recent years, they have paid increasing atten- tion to non-instructional solutions to some performance problems. Research and theory related to each of the aforementioned areas is also an important part of the field. (Reiser, in p
Definition of instructional design by Reiser
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- Sep 2017
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journals.sagepub.com journals.sagepub.com
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Richardson argues that “open design” in the maker movement encourages diversity and collective participation in the production process. Being “pre-hacked” provides an alternative way to think about participation in technological produc-tion. The maker movement tenuously embraces open design, even if they have less success in considering how these practices might scale.
Esto me recuerda los cargadores de celular, que se pierden todo el tiempo y cómo no se pueden abrir o reparar, por diseño.
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www.insidehighered.com www.insidehighered.com
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The Liminal Role of Instructional Designers
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- Aug 2017
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www.smashingmagazine.com www.smashingmagazine.com
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Design Talent or Design Skill?
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www.graphicdesignblog.co.uk www.graphicdesignblog.co.uk
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Can Design be Taught or Do you Need Talent?
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blog.archive.org blog.archive.org
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distill.pub distill.pub
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Research debt is the accumulation of missing interpretive labor. It’s extremely natural for young ideas to go through a stage of debt, like early prototypes in engineering. The problem is that we often stop at that point. Young ideas aren’t ending points for us to put in a paper and abandon. When we let things stop there the debt piles up. It becomes harder to understand and build on each other’s work and the field fragments.
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- Jul 2017
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www.knowledgepresentation.org www.knowledgepresentation.org
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For design this is a crucial factor, and a profound change. The designer of such ‘pages’ / sites is no longer the ‘author’ of an authoritative text, but is a provider of material arranged in relation to the assumed characteristics of the imagined audience. The power of the designer is to assemble materials which can become ‘information’ for the visitor, in arrangements which might correspond to the interests of the visitor. For the visitor however “Information is material which is selected by individuals to be transformed by them into knowledge to solve a problem in their life world” (Boeck, 2002)
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eyeondesign.aiga.org eyeondesign.aiga.org
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But further than that, at a fundamental level, graphic design works as a kind of user interface; we organize information visually to allow people to navigate through and understand the world. As graphic designers we channel interactions through a primarily visual funnel, stripping out everything that can’t be accommodated in the medium. But as sensors, processing power and machine intelligence become more portable, ubiquitous, and increasingly part of the designer’s lexicon, we will one day find that our user interfaces are no longer primarily visual, but more sonic, haptic, and multi-sensory. With that comes a brand new palette of output at our disposal. Allow me to take this to a more extreme conclusion: We’re beginning to interface with our devices in more conversational terms as natural-language-processing algorithms improve, and in more gestural terms with improvements in computer vision and virtual reality. When coupled with renewed interest in anticipatory design, a massive signal appears pointing to a future in which graphic designers are barely required at all. But by taking a designer’s mindset to problem-framing and solving, we have skills that position us well to help shape the deployment and development of this new artificial intelligence in design; helping to develop new tools, new interfaces, and new interactions that shape future worlds in unimaginably profound ways.
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The next design trend is one that eliminates all choices Written by Anne Quito Obsession Design June 18, 2015
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www.smashingmagazine.com www.smashingmagazine.com
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Application developers will also likely win in all this. While the APIs and the data available will be pretty standardized, the manner in which it’s displayed will become a battleground of creativity. Innovation here will be key, doing something different and better than what everyone else is doing is the only way an app will stand out.
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If there’s a definite winner in this possible future Internet, it is the content creators. If the only thing that sets one company or organization apart from their competition, then those who can create high-quality content will be in high demand. The thousands of dollars that a company used to be spent on website design will be funneled into website content instead.
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Multimedia content will also still have a strong market. Those who can produce high-quality videos and even web-based apps (for things like Chrome OS) will have a strong business for years to come.
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uxmag.com uxmag.com
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And all these touchpoints need to be designed, planned, and managed. This is a job that will continue to exist, regardless of the channel. We will still need cohesive experiences and valuable content across smart climatizers, virtual reality devices, electronic contact lenses, and whatever we invent in the decades to come.
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hyperallergic.com hyperallergic.com
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The Cooper Hewitt, Smithsonian Design Museum’s The Jazz Age: American Style in the 1920s is billed as the “first major museum exhibition to focus on American taste in design during the exhilarating years of the 1920s.”
Would love to see this!
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graphicdesign.stackexchange.com graphicdesign.stackexchange.com
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Every designer should have and be comfortable with these tools: Pencil and/or pen Sketch pad Everything after that is a matter of preference or specialization. I've been in this business for 15 years now and I have not met a single designer, art director, or creative director that does their best without first sketching it out. You can jump right into the computer but it's never as free as early concepts should be. As for the other items listed here ... Remember that digital makes up the majority of the market these days. Print isn't dead, but it isn't the only option for professional design. In fact, it's an afterthought much of the time. Pantone? That's for those print junkies. X-acto? Nice, but mostly just for print. Light table, tape, tracing paper, ink erasers!? You guys are as bad as me. That's all for us fussy history buffs. I hardly pull that stuff out any more. My art supplies are more like a museum than a tool kit. They come in handy every few months but that's only when I'm doubling as an illustrator. Or just playing around. I could probably save my clients some money and go buy royalty free icons next time ;)
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99u.adobe.com 99u.adobe.com
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Digital art will rival the real thing. “Will a 3D-printed sculpture have the same value as a sculpture made by someone 50 years ago with their hands? People sometimes see digital art as a lesser form of art. Oh, that is done by computer, not hand! Then people think it should be cheaper. I worry that consumers will see 3D art as something cheap — not the real thing. But once you can print a masterpiece from an artist and have it as your own, people will think differently. I am pretty sure that if Michelangelo had a computer, he would have used it.”
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3D printing will continue to grow in importance. “As creatives, it’s our duty to incorporate 3D printing into our work. When you have the possibility to make your work tangible, that gives it more richness. I hope 3D printing allows people to fully customize their lives. One day if we need shoes or more silverware, we can just print them in our home. I think this will be true for all of our household basics. We’re going to have more creatives in the world because things that have traditionally been done on an industrial scale will be able to be done by anyone with 3D printing.”
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You’ll have to broaden your skill set. “You can have a great design, but if you can’t communicate the story behind it, it will be the downfall of the greatest designers. It’s important to learn the ‘soft skills’ which are learning how to speak publicly to grab attention, keep attention, and clearly articulate your ideas. You should learn to negotiate your prices, as well as know how to read a room and when you should disappear. The other side is the psychology of the business upfront, the questions of: Why am I building this? Why is it important? Or what impact am I going to have on the world? It’s important to answer before you design. Having the business and designer mindset is important.”
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Specialization + communication = a career win. “Instead of trying to become a jack-of-all-trades, young designers should be trained in one specific design discipline, communication design, product design, interior design, fashion design, or digital media design. The design student should develop an understanding of how the respective design discipline interfaces with technology and business. Students should work in projects together with students from other design disciplines and preferably also with students from engineering and business. This is training for young designers and a time to nurture communication skills.”
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Visual VR is just the start. “There really is a lot of opportunities and means for expression inside VR. For example, Axon VR is developing full body virtual reality, both the software and hardware. The apparatus is somewhat imposing, and the leap to a first-person experience is astounding when you add visual, sound, and the sense of touch. The visual power of the experiences has sky-rocketed as a result. When you put that in the hands of creative people, there’s a real opportunity for the experiences that come out of it to be completely, utterly fantastic.”
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Storytelling will have no clear narrative arc. “The amount of investment/heat around virtual and augmented reality will be the next big challenge for creative professionals, and understanding the self-navigating narrative like that is not a part of most creative disciplines. Traditionally, we’ve always told linear stories. I think the biggest nut to crack will be how creatives design story games that the users can tell themselves.”
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Experience design will become increasingly important. “Retail shopping is not solely about the transactional experience any more. It’s about going into a store, feeling the vibe of that brand and getting that bigger lifestyle out of it. Right now that’s very much an urban, high-end experience, so how do we do that in a more populous way? We are looking a lot at the mall K11 in Hong Kong, and how they have incorporated so many different things in their experience, from having art everywhere to farms that are growing mushrooms that you can pick and have incorporated into your meal to programs for kids. And it’s all very-well curated, so there are always new exhibitions and programs.”
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Crooked career paths will be the norm. “More and more I am seeing people who haven’t followed the traditional career path. When hiring, I look for the narrative that stitches the person’s career together: Why did they make the decisions that they did? What was the trajectory that they found themselves on? I don’t really care that much anymore if you went to a pedigree design school or started at a prestigious company. What I care about is that you learned and grew and there was an intent behind what you were building towards.”
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The line between design and business will continue to blur. “The more a designer understands how the business works, the more valuable they will be to employers. Designers who understand a company’s value proposition and mission can help them thrive and grow. They just need to learn the language that someone who is running a company actually speaks. When they can articulate exactly what they bring to the table, executives will realize that they didn’t just hire a designer — they also hired a strategist!”
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www.fastcompany.com www.fastcompany.com
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According to a recent study by online job matching service TheLadders, the fastest growing jobs are in user experience design, iOS and Android development, and business intelligence–some of which didn’t exist before 2007.The study, which gathered key word search data from among its 6 million members, also found that middle management jobs are being phased out. Among the top 10% of growing jobs, less than 2% of titles contain the word “manager” or “director,” which points to a trend that you can still be a professional in a high-paying position, but the end game isn’t a gold plaque with a management title tacked to your name.Mark Newman, CEO of digital interviewing service HireVue, says the company is witnessing similar trends as it helps place people with companies such as Hilton, GE, Chipotle, and others. “Overall, HireVue is seeing that jobs of the future are design and data scientist jobs,” he says.
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drive.google.com drive.google.com
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We focus on a particular topic (e.g., racial prejudice), use a particular resource (e.g., To Kill a Mockingbird), and choose specific instructional methods (e.g., Socratic seminar to discuss the book and cooperative groups to analyze stereotypical images in films and on television) to cause learning to meet a given standard (e.g., the student will understand the nature of prejudice, and the difference between generalizations and stereotypes).
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inst-fs-iad-prod.inscloudgate.net inst-fs-iad-prod.inscloudgate.net
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Furthermore, the format of the test causes many educators to erroneously believe that the state test or provincial exam only assesses low-level knowledge and skill. This, too, is false. Indeed, the data from released national tests show conclusively that the students have the most difficulty with those items that require understanding and transfer, not recall or recognition.
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he Three Stages of Backward DesignThe UbD framework offers a three-stage backward design process for curriculum planning, and includes a template and set of design tools that embody the process. A key concept in UbD framework is align-ment (i.e., all three stages must clearly align not only to standards, but also to one another). In other words, the Stage 1 con-tent and understanding must be what is assessed in Stage 2 and taught in Stage 3.
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99u.com 99u.com
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Do Designers Need to Go to College?
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- Jun 2017
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www.eyemagazine.com www.eyemagazine.com
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JLW: Did these electronic or highly technical things come naturally to you? Or is it a case of working with the right collaborator? PS: It’s always a case of working with the right collaborator. I don’t like equipment. I don’t even take pictures.
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I find that with 3D work it’s the opposite of graphic design for print. The computer has revolutionised this kind of work – the way you can see work before it is built. The jobs come out almost identical to my Photoshop rendering, and usually something is selected in the first or second round. These things, they’re a whole different speed. They take a very long time to realise. There’s a lot of expense involved, trying out materials – they go on forever. I’ve been working on the High Line [a New York park built on the 1930s elevated railway] for a million years [since 2000].
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I told you I’m not a craftsperson. Anything I do where I think I make a breakthrough, in five minutes someone’s going to come along and do it better than I did it. JLW: So you keep moving … PS: Well I have to because I’m never going to develop the craft well enough. That’s been true for me my whole life.
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My view is that to grow as a designer you have to allow yourself to be who you are irrespective of the technology, but let the technology inform you in ways that it can. When you look at periods you find designers whose body of work is completely connected to one technological form and then it stops there. I see it in some of my ex-students – it’s quite a sad thing. Students who learned to work on the computer in the late 1980s and 90s who are now approaching 40 are having a hard time working because the younger kids who are right out of school are not only cheaper but they can adapt to the technology much faster and much more easily, so they’re actually better at the gig. It leaves a whole generation cold in relation to advancement.
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The thing I do – which is why I became less interested in style and more interested in finding a way to do it – is to create expressionist typography. Words have meaning and typography has feeling. When you put them together it’s a spectacular combination. I think the reason I responded so negatively to Helvetica way back when was that it neutralises feeling. A Modernist would argue that that’s terrific because then the words speak and you’re not influencing the content by creating disorder with them. It’s almost like an understood, generic form … that you can say OK take the words as they are because they’re laid out very clearly in Helvetica. All other styles imbue the words with a shade or meaning, which changes them, which is where I think all the fun is!
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First I had a design teacher who gave us Basel basics: move a black square around a white page, make a white on white piece – things that involved seeing and craft, but I was very sloppy, so for me that form of exercise was terrible. Y’know, the notion of lining things up and making things function, and then later designing a business card or putting typography on a grid was virtually impossible to achieve and depressing for me. I felt I was cleaning up my room in some kind of ordered system where the goal of life is to be neat. I remember seeing Kathy McCoy talk about it from her perspective and she had said that the biggest compliment you could give to something was that it was ‘clean’. C’mon, there’s gotta be more than that… That can’t be it! What about expression, what about emotion, what about feeling? You had to be engaged with it in some way. If you could be neat, it seemed that you could achieve it. And that didn’t seem right to me about a form of expression and communication. If anybody can achieve it, why bother to do it, why don’t we all do it ourselves?
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openedgroup.org openedgroup.org
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Designing with OER (DOER) Fellows
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journals.sagepub.com journals.sagepub.com
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For instance, a set of stairs does not just afford climbing, but based on the angle of construction, may facilitate an easy climb, pose challenges to climbing, or be unclimbable entirely
Ah so an object may have a property that gives clues to people to do something, but do it so poorly that it may appear that the object doesn't have the affordance
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www.fastcodesign.com www.fastcodesign.com
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graphic design has more opportunity for impact than ever, as institutional liveries now live not just on signs and letterhead, but in apps and physical installations that span landscapes, and typefaces can breathe and grow in response to their environments
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inst-fs-iad-prod.inscloudgate.net inst-fs-iad-prod.inscloudgate.net
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I use backwards de-sign to develop our lesson plans: What do we want our students to write, and why? What skills are required, and how do students acquire those skills (Wiggins and McTighe 34)?
McTighe's UbD advice to "think big, start small, and go for an early win" is helpful here (and whenever trying new approaches to teaching): https://youtu.be/d8F1SnWaIfE?t=3m40s
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www.interaction-design.org www.interaction-design.org
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Technologists are not noted for learning from the errors of the past. They look forward, not behind, so they repeat the same problems over and over again.”
History of computational thinking.
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firstround.com firstround.com
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Six Steps to Superior Product Prototyping: Lessons from an Apple and Oculus Engineer
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- May 2017
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“An individual building, the style in which it is going to be designed and built, is not that important. The important thing, really, is the community. How does it affect life?” I.M. Pei
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Thiết kế website
Service design website for every one
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bholtlandmedia.nl bholtlandmedia.nl
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Hoe kan een digitale applicatie ervoor zorgen dat bekkenfysiotherapeuten meer controle hebben over de oefeningen die ze de patienten meegeven en daarbij minder tijd kwijt zijn aan het beschrijven van de oefening.
Wil de fysiotherapeut meer controle krijgen over de oefeningen, of meer inzicht krijgen in hoeverre de oefeningen gedaan worden? Wat is de belangrijkste challenge? Inzicht krijgen in het verloop van oefeningen, of tijdswinst voor het beschrijven van oefeningen? Maak een keuze.. Maakt het uit voor de applicatie dat je specifiek noemt dat het om een bekkenfysiotherapeut gaat? Of geldt je challenge voor elke vorm van fysiotherapie?
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- Apr 2017
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brunch.co.kr brunch.co.kr
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backchannel.com backchannel.com
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My plea to designers and software engineers: Ignore the fads and go back to the typographic principles of print — keep your type black, and vary weight and font instead of grayness.
vary weight, not grey
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It wasn’t hard to isolate the biggest obstacle to legible text: contrast, the difference between the foreground and background colors on a page. In 2008, the Web Accessibility Initiative, a group that works to produce guidelines for web developers, introduced a widely accepted ratio for creating easy-to-read webpages.To translate contrast, it uses a numerical model. If the text and background of a website are the same color, the ratio is 1:1. For black text on white background (or vice versa), the ratio is 21:1. The Initiative set 4.5:1 as the minimum ratio for clear type, while recommending a contrast of at least 7:1, to aid readers with impaired vision. The recommendation was designed as a suggested minimum contrast to designate the boundaries of legibility. Still, designers tend to treat it as as a starting point.
WAI minimum text contrast ratio 7:1.
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web.hypothes.is web.hypothes.is
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Now I can read updates in that private channel, I can receive desktop notifications, and I can also push notifications to Slack on my mobile devices.
How can I tweak what info gets displayed in the Slack Channel? For example, I wish to display the author. Is there a way to control this?
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- Mar 2017
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en.wikipedia.org en.wikipedia.org
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The central idea of DbC is a metaphor on how elements of a software system collaborate with each other on the basis of mutual obligations and benefits.
Offer, acceptance, mutual consideration: CONTRACT!
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brunch.co.kr brunch.co.kr
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brunch.co.kr brunch.co.kr
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facebook.github.io facebook.github.io
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Now that you have your component hierarchy, it's time to implement your app. The easiest way is to build a version that takes your data model and renders the UI but has no interactivity. It's best to decouple these processes because building a static version requires a lot of typing and no thinking, and adding interactivity requires a lot of thinking and not a lot of typing.
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You can build top-down or bottom-up. That is, you can either start with building the components higher up in the hierarchy (i.e. starting with FilterableProductTable) or with the ones lower in it (ProductRow). In simpler examples, it's usually easier to go top-down, and on larger projects, it's easier to go bottom-up and write tests as you build.
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To build a static version of your app that renders your data model, you'll want to build components that reuse other components and pass data using props. props are a way of passing data from parent to child. If you're familiar with the concept of state, don't use state at all to build this static version. State is reserved only for interactivity, that is, data that changes over time.
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Since you're often displaying a JSON data model to a user, you'll find that if your model was built correctly, your UI (and therefore your component structure) will map nicely. That's because UI and data models tend to adhere to the same information architecture, which means the work of separating your UI into components is often trivial. Just break it up into components that represent exactly one piece of your data model.
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via3.hypothes.is via3.hypothes.is
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Star Legacy by the Vanderbilt LearningTechnology Center, 4-Mat by McCarthy,instructional episodes by Andre, multipleapproaches to understanding by Gardner,collaborative problem solving by Nelson,constructivist learning environments byJonassen, and learning by doing by Schank.
Something to investigate...
especially "multiple approaches to understanding by Gardner"
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tutorialzine.com tutorialzine.com
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truth is, there isn’t a better system – both flexbox and the CSS grid are good at different things and should be used together, not as alternatives to one another.
This is a great post to keep as a reference.
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Now we have a new contender for the best-system-to-build-html-layouts trophy (trophy title is a work in progress). It is the mighty CSS Grid, and by the end of this month, it will be available natively in Firefox 52 and Chrome 57, with other browsers (hopefully) following soon.
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www.edutopia.org www.edutopia.org
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project-based learning (PBL), game-based learning (GBL), Understanding by Design (UbD), or authentic literacy, find an effective model to institute in your classroom
Project based learning Game based learning Understanding by design
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- Feb 2017
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www.eab.com www.eab.com
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Campus Design Toolkit
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www.usabilidoido.com.br www.usabilidoido.com.br
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When dealing with technology, there are two dominant discourses that permeate research and practice: determinism and non-determinism. For the former discourse, ethics is only an issue for the designers of technology, because they determine what users should do; for the latter, ethics is only an issue for users, because they ultimately define what to do with technology. Both
So determinism makes the designer responsible/hold accountable assuming they "determine" what users "should" do,
while non-determinism absolves the designer leaving the burden of responsibility of the consequence of interactions, on the user. So non determinism assums that the embedded characteristics don't work on the user, or that he is able to resist their encouragement or discouragement. That he can shape the aspects of those certain characteristics than the other way around, thereby ultimately defining what to do with the technology.
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nteraction designers try to impose structures upon human action by shaping coercive environments where people are punished if they do things the “wrong way” and by hiding or not providing options for changing artifact adaptations. Interaction design mediates human agency and power, but if it does not provide choices for action, there is no room for ethics: people act based on conditions, not on considerations of what should be done.
Point on reward & punishment feedback is a really good point, darkpatterns comes to mind.
If IxD does not provide choices for action, there is no room for ethics: People act based on conditions, not on considerations of what should be done
This reactive behaviour is what UX practioners of gamification feel proud to do. It's disgusting to see them feel proud doing it, how come they feel no remorse doing it?. I too will have to do it in the near future, but I won't fucking have a glitter in my eye and a wide smile across my face doing it.
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We argue that artifacts support human behavior by providing adaptations, but these adaptations can expand or restrict human actions.
Those adaptations are also framed under the guise of fulfilling the prime objective of fulfilling the business needs, i.e to compete for market share, increase profit margins or simply, "Will this make "them" give "us" more money?. This objective is constrained to view humans in the identity of consumer. It is through this identity we derive the canvas of needs which our bosses and their bosses let us create adaptations.
Many designers are limited to designing a set of adaptations in their artifacts by what markets signals as profitable. Those who are fortunate enough to work in non-profits or worker coops may have more freedom to resist the unethical demands of the market forces.
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jlouisramblings.blogspot.com jlouisramblings.blogspot.com
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www.interaction-design.org www.interaction-design.org
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The Building Blocks of Visual Design
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29 principles for making great font combinations
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www.linkedin.com www.linkedin.com
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Is the Learning Industry Dead?
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- Jan 2017
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instructure-uploads.s3.amazonaws.com instructure-uploads.s3.amazonaws.com
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In this article, it mentioned that the word “participatory” might be self-explained, but the word “design” is a bit ambiguous. In other field of design, “what” is much emphasized whereas in participatory design(PD) that “how” is what it’s focusing on. That is to say, the practice of design in PD to be addressed while in Human Computer Interaction(HCI) for example focus on resultant product or service.
This triggers me to reflect on my past work experience in user experience(UX) design and service design. I’ve optimized a trading software through wireframing and usability testing and participated in another service design project to address the issue of the wayfinding system of a hospital in Taiwan. For the former one, UX design simply looks for concrete outcome of UX designer such as a interface that has higher usability and is more enjoyable. It will be great if the design process to be as simple as possible. At the same time, we don’t reflect much on the process and how we interact with each other. That is to say, the outcome is the only thing we care about.
However, in the latter one, it involves different stakeholders to design, which by definition is a participatory design, including patients, doctors, medical professionals, managers, and volunteers to join the workshop. It emphasizes on how these stakeholders interact with each other, hoping the practice of design will be brought into their context and have greater impact besides the certain tangible outcome we’ve made - a way finding system with clear identification system to make the space more accessible. I didn’t realize the difference between these two approaches until I read the material. It’s truly inspiring!
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Instructional Designers in Higher Education
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blog.prototypr.io blog.prototypr.io
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To design a system means to orchestrate the interplay of its elements.
Well said.
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- Dec 2016
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mfeldstein.com mfeldstein.com
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This is not easy. Well-designed educational technology has often lacked a learning sciences base, and many research-based education products have lacked a compelling user-centered design. How can world-class user experience (UX) design— grounded in a fail-fast culture—and educational research— grounded in rigor—peacefully coexist?
In this Pearson sounds more like an edtech company than a content publisher. I wonder at what point will Pearson release a full LMS product that competes directly with BB, D2L, etc?
The tension in that last line on the cultural environments of technology vs academia is an important -and real-tension.
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- Nov 2016
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cognitivemedium.com cognitivemedium.com
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Every theorem of mathematics, every significant result of science, is a challenge to our imagination as interface designers. Can we find ways of expressing these principles in an interface? What new objects and new operations does a principle suggest? What a priori surprising relationship between those objects and operations are revealed by the principle? Can we find interfaces which vividly reveal those relationships, preferably in a way that is unique to the phenomenon being studied?
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Speech, writing, math notation, various kinds of graphs, and musical notation are all examples of cognitive technologies. They are tools that help us think, and they can become part of the way we think -- and change the way we think.
Computer interfaces can be cognitive technologies. To whatever degree an interface reflects a set of ideas or methods of working, mastering the interface provides mastery of those ideas or methods.
Experts often have ways of thinking that they rarely share with others, for various reasons. Sometimes they aren't fully aware of their thought processes. The thoughts may be difficult to convey in speech or print. The thoughts may seem sloppy compared to traditional formal explanations.
These thought processes often involve:
- minimal canonical examples - simple models
- heuristics for rapid reasoning about what might work
Nielsen considers turning such thought processes into (computer) interfaces. "Every theorem of mathematics, every significant result of science, is a challenge to our imagination as interface designers. Can we find ways of expressing these principles in an interface? What new objects and operations does a principle suggest?"
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tech.ed.gov tech.ed.gov
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learning enabled by technology
So often we are thinking the other way around: How can I find a parallel in technology that would give youth an experience in learning similar to what they get in the classroom? I actually this is a great way to begin to design learning experiences for student, and what we find is that we sometimes end up with even richer materials and wider/deeper connections with others when we move enable learning with technology. Still starting with what works without the tech makes sense often.
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- Oct 2016
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Local file Local file
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The design and the way courses are structured can be vital factors that are associated with students’ motiva-tion and positive/negative experiences of learning online.
course
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- Sep 2016
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clalliance.org clalliance.org
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design this class, I found I was seeking an experience of learning
Just highlighting and annotating the obvious, lest we forget. There is so much of design = pathway to objectives that I want to linger over, signal boost, Mia's fundamental point: design = the learning experience. A crucial distinction.
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www.thinkwithgoogle.com www.thinkwithgoogle.com
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addressing their tasks clearly, placing calls to action up front and center. Highlight your app’s key and new features in context at the appropriate place
Make clear from the start what can they do by putting in their face the means to achieve what the site offers.
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- Aug 2016
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media.netflix.com media.netflix.com
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this diversity was reflected in the winning images and how much they varied between different countries and cultures:
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but regional nuances can be powerful
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www.tandfonline.com.proxy.lib.sfu.ca www.tandfonline.com.proxy.lib.sfu.ca
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A review of Duanne & Raby's Speculative Everything: Design, Fiction, and Social Dreaming, by Cameron Tonkinwise.
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motherboard.vice.com motherboard.vice.com
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One major example of gender differences in VR is that women are far more susceptible to VR-induced nausea.
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motherboard.vice.com motherboard.vice.com
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“Starting from a place of 'I don’t have biases' is never helpful.” It’s not necessarily the gender of an engineer that matters, it’s that engineer’s ability to consider perspectives outside their own.
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99percentinvisible.org 99percentinvisible.org
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When design solutions address the symptoms of a problem (like sleeping outside in public) rather than the cause of the problem (like the myriad societal shortcomings that lead to homelessness), that problem is simply pushed down the street.
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there is always an aspect of coercion to design
The word "coercion" has historically been a negative word to me - to be coerced is to go against one's will. Many negative examples are presented here - what are positive examples of coercion in design? I lived in Portland, OR for many years and volunteered with the City Repair project whose mission is to "place make". Here are examples of PDX intersections "repairs": http://www.cityrepair.org/intersection-repair-examples/
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Today, we have since become so habituated to public lighting that our primary association with street lights is that they deter criminal activity and make us feel safe.
Is that really a false assumption? I'm totally on board with the overall argument here--big Mike Davis fan!--but feel this goes a step too far.
Austin's moon towers were supposedly a response to a late-nineteenth century serial killer), but have not prevented youth from gathering, indeed they have occasioned such gatherings:
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Designs that are unpleasant to some are put into place to make things more pleasant for others, and that latter category might just include you.
I'm really excited to see how we turn the argument of this essay toward the design of learning technologies and courses, specifically in how we might locate tacit power relations in seemingly innocuous (sometimes "unpleasant") interfaces...
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Perhaps they need not even be infrastructure in the traditional, utilitarian sense, but efforts to create lasting human works that can provide keystones of cultural continuity for centuries to come — works I believe capitalism has proven nearly incapable of building, or in some cases even maintaining.
This is the tie-in with Transition design!
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it’s this pattern of a work reacting to itself and its environment that gives it the spark of life.
I look forward to this new frame to my design work allowing one to capture this precious moment when a design pattern reacts to itself... or perhaps it is too elusive to in fact "capture"?
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If you find them as powerful as I do the context will eventually present itself.
I appreciate the invitation to read for emergence & discovery
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the way a sentence arises from grammatical templates/rules
Or the way a poem/argument emerges from the form of a sonnet.
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work on architecture,
Seems like architecture will be a valuable metaphor for our conversation about instructional design.
Interestingly, Alan Levine opens a recent blog on Domain of One's Own with a nice architectural metaphor for that great project:
Like a small stubborn, unique, old fashioned house surrounded by modern monolithic mega modern glass and steel structures, the Domain of Ones Own project started at the University of Mary Washington stands out as one hope amongst Educational Technology’s adoration of mega scale, management, analytics, automation, and tall tall towers of data, data, data.
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onlineteachingmanifesto.wordpress.com onlineteachingmanifesto.wordpress.com
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Automation need not impoverish education: we welcome our new robot colleagues.
Audrey Watters had something different to say about this idea of automation at last year's DPL Institute.
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Face-time is over-valued.
I'm not sure we need to say this to defend the value of digital pedagogy. I'd rather view it all as more of a continuum than a differently valenced dichotomy depending on your POV.
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hybridpedagogy.org hybridpedagogy.org
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Designing for discovery is tricky business
Indeed, it's almost an oxymoron.
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Having just finished a year working at an educational technology company, I’ve also seen from that side how learners become quantities on a spreadsheet, numbers on an infographic. I worry that researching learners and learning is not the same as knowing learners and learning
Especially coming out of the (shared) biographical context here, I'm interested in further discussing this idea...
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redpincushion.us redpincushion.us
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we talked about the importance of adopting practices that keep complexity in our educational processes,
This reminds me of one of my favorite quotes, from Patricia Williams's The Alchemy of Race and Rights:
That life is complicated is a fact of great analytic importance.
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That’s hard to do.
And a positively (and positive) anti-corporate logic. Witness the rhetoric of "solutions" so pervasive in at least Silicon Valley tech and edtech.
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we should make space for things that don’t fit into our tidy conceptions about education.
Here's perhaps an interesting take on this issue form someone working on the tech side of edtech, trying to build tech for teachers and students, and help them leverage that tech for teaching and learning:
As I say above, it's obviously hard to market this kind of "untidiness." When people are "shopping" for technology for the classroom, most don't want things that half work or might work or try it and let us know what works/doesn't. That only goes so far.
Don't get me wrong, the early adopters of both products I've worked on were just the kind of people who wanted to be part of that kind of experiment and by collaborating closely with them, I believe I've been able to direct product development in both projects towards a more authentic pedagogical value. But that process doesn't, at least I don't think it can, "scale"--a term I realize has it's own problematic ideology.
But I also get frustrated with this lack of tidiness because I want to offer a good product/service/experience to my educational users. I don't want to disrupt the teaching and learning process that should be the focus of everyone's energy in a classroom by my own tool's buginess. I don't want to suggest that a tool can be invisible, but I also don't want a tool to be the focus.
Despite my hesitancy about "untidiness"--no doubt further entrenched by my own anal retentiveness--I'm really interested in how edtech, or perhaps indie edtech, might actually incorporate this kind of philosophy. As long as centers for teaching and learning, and teachers and learners themselves, are on board, I don't see why it can't work.
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but you can’t actually “increase dancing”
I'd argue that YouTube has increased dancing, but I'm mostly just using that as an excuse to share this video:
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- Jul 2016
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straighttalk.hcltech.com straighttalk.hcltech.com
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it’s possible to create meaningful and useful new products, new services, and new experiences just by changing the user experience
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motherboard.vice.com motherboard.vice.com
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adget design is a pretty well-known boys’ club, a field where male engineers design products with other men in mind, rarely considering the way the needs, anatomy, or lived experience of women might change the way a product should work. It’s not uncommon to hear stories of how male engineers forgot to factor in the smaller size of women’s hands and wrists, or the way female fashion doesn’t always include a pocket.
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- Jun 2016
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www.opendemocracy.net www.opendemocracy.net
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Loving the butterfly!
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interactions.acm.org interactions.acm.org
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In a 1992 paper in Organizational Science titled “The Duality of Technology: Rethinking the Concept of Technology in Organizations,” Wanda Orlikowski applied the structuration theory of sociologist Anthony Giddens to technology use and reached a similar conclusion. Giddens argued that human agency is constrained by the structures around us—technology and sociocultural conventions—and that we in turn shape those structures. Software, malleable and capable of representing rules, is especially conducive to such analysis.
Love this paper!!!
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Local file Local file
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Most studies of extrinsic incentives and intrinsic motivation, including those men- tioned earlier, used as controls subjects who received no rewards or feedback, apparently on the assumption that un- der these conditions original levels of intrinsic motivation would be maintained.
make an interesting point that most studies assume that no-feedback is a status quo.
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The role of the availability of such information was studied in comparison with conditions of nonreceipt of any information and of receipt of normative evaluation.
Compared it to grades only and no-feedback.
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www.jstor.org www.jstor.org
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In summary, our main goal was to examine how students' achievement goals are related to changes in self-efficacy, preference to avoid challenge, and intrin sic value in the face of evaluation. Early in the semester, we assessed students' achievement goals, self-efficacy, desire to avoid challenge, and intrinsic value. We assessed students' self-efficacy, desire to avoid challenge, and intrinsic value again immediately after they received their grades on their first major exam or paper. This design allowed us to examine the role of goals in the change in mo tivational constructs associated with performance feedback. Our main hypothe ses were (a) a mastery goal will be associated with enhanced motivation around receipt of grades (i.e., increased efficacy and value and lower preference for chal lenge avoidance); (b) a performance-avoidance goal will be associated with di minished motivation around receipt of grades (i.e., decreased efficacy and value and increased preference for challenge avoidance); and (c) the effects of a per formance-approach goal on changes in motivation will be moderated by grades. When students encounter low grades, a performance-approach goal will be relat ed to diminished motivation. When students receive high grades, a performance approach goal will be unrelated to changes in motivation.
The method. Should see if I could replicate this.
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minireference.com minireference.com
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the only real problem remaining is the user experience that entices teachers to contribute content
Sounds a bit restrictive. Though there are hairy UX problems making it even more difficult for teachers to contribute content, many other issues are likely to remain, preventing contributions, even if the User Experience were optimal for every single potential contributor. In other words, it’s one thing to set “the problem to be solved” in a manageable way. It’s another to grasp the complexity of the situation.
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- May 2016
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radicalscholarship.wordpress.com radicalscholarship.wordpress.com
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Wiggins and McTighe’s solutions—backward design, sharing detailed rubrics with students, etc.—are certainly the right way to do teacher-centered, standards-driven education based on measurable outcomes.
I've been wondering for a long time about ID, UbD and the like as they fit in with open educational practices and open pedagogy. It seems like they're closed in a way, in that the the goals, the way they're defined and the means to getting there are all defined for the learner. But if we really want to help people grow and be all they can be, we have to cede control to the learners, so they can start to define their own goals, and find out how to set their own paths.
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- Apr 2016
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boingboing.net boingboing.net
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Hotel shower and lighting controls should be easy to find and easy to use. Why are they so often not?
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fortune.com fortune.com
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Everything is movable—including the walls
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“We designed every desk, chair, wall, workstation, and table so it can be moved by no more than two [hypothetical] people who are each five feet tall and weigh 80 pounds.”
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if a given layout isn’t working well for the people using it, they can change it quickly
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newlearningtimes.com newlearningtimes.com
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Color was used to show which posts were read or unread by the student.
Neat idea.
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docs.unrealengine.com docs.unrealengine.com
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Each class that derives from UObject has a singleton UClass created for it that contains all of the meta data about the class instance. UObject and UClass together are at the root of everything that a gameplay object does during its lifetime. The best way to think of the difference between a UClass and a UObject is that the UClass describes what an instance of a UObject will look like, what properties are available for serialization, networking, etc. Most gameplay development does not involve directly deriving from UObjects, but instead from AActor and UActorComponent. You do not need to know the details of how UClass/UObject works in order to write gameplay code, but it is good to know that these systems exist.
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- Mar 2016
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docs.unrealengine.com docs.unrealengine.com
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Now that our designers can call our C++ code, let us explore one more powerful way to cross the C++/Blueprint boundary. This approach allows C++ code to call functions that are defined in Blueprints. We often use the approach to notify the designer of an event that they can respond to as they see fit.
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www.confectious.net www.confectious.net
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What kinds of objects and subjects do interaction design practices make, and how do those practices produce them?
The question could also be re-framed as what experiences of our lives do the objects of interaction design encapsulate?
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hybridpedagogy.org hybridpedagogy.org
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Great example of a forum which will cause burnout (for both student and professor). I like the idea for using Twitter as explained below. Students are probably already using the tool, it can be used as a back channel, and it has a more normal flow of conversation with potential guest speakers.
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- Feb 2016
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jods.mitpress.mit.edu jods.mitpress.mit.edu
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moves the center from the designer’s imagination of the system to the designer’s imagination of the user of the system
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Don Norman at Apple in 1993 (referenced by Peter Merholz[10]Peter Merholz. "Whither "User Experience"?". peterme.com. (1998): [http://www.peterme.com/index112498.html] ):“I invented the term [User Experience]
Apple invented the concept of "user experience." Makes sense.
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Modernist
As anti-user.
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twitter.com twitter.com
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Graham Chivers @deepgreendesign Let's enable all 2 flourish ~ Disruptive #Green Mechatronics #Design ~ #Freedom #Water #Food #Climate #HumanRights #Science #STEM #Math & amateur #Feminist Toronto, Canada, #iEarth1st grahamsgreendesign.com/blogs/
This is me on twitter :)
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www.grahamsgreendesign.com www.grahamsgreendesign.com
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Green Electronics Evolutis
Blogged about green electronics a few years ago. Canada starts investing in organic electronics announced.
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www.wpi.edu www.wpi.edu
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n Saul Carliner’s LessonsLearned from Museum Exhibit Design, exhibit design is broken into three main stages(2003). The “idea generator,” “exhibit designer, and “idea implementer,”leads each phase respectively (Carliner, 2003). The idea generator determines the main concepts or themes and chooses the content of the exhibit. Then, the exhibit designer takes the concept to prepare physical designs for the new gallery, creating display cases and deciding wall and floor coverings for the overall ambiance. Lastly, the idea implementer brings together everything to create the exhibit. The implementer collects any missing pieces for the gallery, ensures conservation of displayed pieces, and oversees all parts of the assembly(Carliner, 2003)
Types of museum visitors outlined: idea generators, exhibit designers, idea implementers. Next paragraph introduces that an aspect of exhibit design missing is 'audience targeting' - reaching out to a specific clientele intentionally with an exhibition's design.
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- Jan 2016
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www.natebowling.com www.natebowling.com
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If you ain't talking about the teacher in the classroom, I ain't listening. Teacher quality matters. Too many in the profession are quick to awfulize students in poverty to rationalize poor results. Better teaching inspires students and gets better results. Better teaching engages students and keeps them in classrooms, rather than the streets. Better teaching is the one thing we never really talk about. Better teaching is the only mechanism we have left.
What are some ways to significantly improve teaching in these communities? The teaching doesn't happen in a vacuum and we need a plan to counteract the systemic forces at work that maintain the status quo.
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Good Design
You know you have a good design when you show it to people and they say, “oh, yeah, of course,” like the solution was obvious.
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www.tolerance.org www.tolerance.org
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After some classroom experimentation, a more specific list of smart technology use criteria emerged
As we transform the "HOW" of what we do to support schools, encouraging safe fail experimentation will be important. The design process supports this and iteration consists of success and failure.
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www.gutenberg.org www.gutenberg.org
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I would like to see an accurate array of photographs of these tasty lunch options. What does a a "Princess Sandwich" even look like? Is a "Celery Sandwich" satisfying? I'd be pleased to see precise measurements of the ideal "Tea Biscuit" Sandwich.
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blog.tumult.com blog.tumult.com
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Your exported Hype document should be 1024 width × 648 height or smaller.
Somehow, eBooks aren’t part of responsive design? Even in ePUB3?
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- Dec 2015
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www.tandfonline.com www.tandfonline.com
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Mention on ecological requirements in natural planting by Loudon
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Comment on non native plants in english gardens
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Commentary on planting design with shrubs, according to height
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www.juddfoundation.org www.juddfoundation.org
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Complicated, incidentally, is the opposite of simple, not complex
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mishadoff.com mishadoff.com
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Clojure Design Patterns
Intro Episode 1. Command Episode 2. Strategy Episode 3. State Episode 4. Visitor Episode 5. Template Method Episode 6. Iterator Episode 7. Memento Episode 8. Prototype Episode 9. Mediator Episode 10. Observer Episode 11. Interpreter Episode 12. Flyweight Episode 13. Builder Episode 14. Facade Episode 15. Singleton Episode 16. Chain of Responsibility Episode 17. Composite Episode 18. Factory Method Episode 19. Abstract Factory Episode 20. Adapter Episode 21. Decorator Episode 22. Proxy Episode 23. Bridge
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www.dezeen.com www.dezeen.com
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Eames – outside of the world of design scholarship and commercial licenses – has become a word applied to alchemise junk shop remnants. A word whose prefix-polish transforms the value of the object to which it has been attached, a kind of culturally magic Brasso intended to bring out particular qualities in an object, even if those qualities aren't there in the first place.
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strangeharvest.com strangeharvest.com
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It isn’t designed, it’s an accumulation of actions
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mfeldstein.com mfeldstein.com
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course design is more important than the LMS
In all the platform news, we can talk about “learning management” in view of instructional and course design. But maybe it even goes further than design into a variety of practices which aren´t through-designed.
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gridlex.devlint.fr gridlex.devlint.frGridlex1
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Based on Flexbox (CSS Flexible Box Layout Module), Gridlex is a very simple css grid system to quickly create modern layouts and submodules.
easy grid system fo web sites and apps
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- Nov 2015
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blog.cloudfour.com blog.cloudfour.com
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Strong arguments for abandoning icon fonts in favor of SVG icons, with plenty of links to supporting material.<br> Tyler Sticka
Font Awesome is an SVG and CSS icon library designed for Bootstrap.
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Most apps had detailed stats to help improve performance. However, to a friend who is not a runner, that info is much less exciting. They would probably much rather see that it was equal to 5 donuts, and give you a thumbs up.
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When starting on a new design, I like to list the objectives. Picking the right goals is often more important and harder than making things look good
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www.lukew.com www.lukew.com
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Dramatic statistics about the negative impact of hiding key navigation options out of the main view in mobile apps.
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medium.com medium.com
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The onboarding flow can be designed in many other ways that might be more useful to your users. Slack, for instance, uses the first screen to create some context. They simply introduce themselves, focusing on benefits instead of screens and features.
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That’s why now all the big players are shifting from hamburger menus towards making the most relevant navigation options always visible.
Interesting example of YouTube switching away from the hamburger menu.
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www.hopesandfears.com www.hopesandfears.com
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There is a lot of evidence that quite subtle changes to user interfaces can have dramatic effects on how the interfaces are used. For example, the size of a search box or the text that accompanies it can considerably influence the queries that people submit.
-- David Elsweller
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The whole gendered usage of hearts seems to have escaped Twitter. So does the fact that people fave (with stars) in complex ways - they are bookmarks, they are likes, they are nods of the head. But they are not indicators of love. I feel very weird loving tweets by random men I've only just started a conversation with. Not that there's anything wrong with feminine. But women - and men, in their own ways - are well-aware of how feminized visual signals get read by others, and in an identity space like Twitter, I suspect that will really minimize usage. Or at least until we all get used to it.
-- Bonnie Stewart
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en.wikipedia.org en.wikipedia.org
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There is a very significant differentiation between user-design and User-centered design
User-design is like "peer-production": the users are given the tool to do the job; while
User-centered design is a way of "participants' consultation".
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- Oct 2015
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desencadenado.com desencadenado.com
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Sigo convencido de que Lean Startup y las ideas, herramientas y metodologías que le rodean como Customer Development, Business Model Design, Lean UX o Effectuation son la mejor vía para crear una empresa. Pero la interacción con mis lectores y con los alumnos de mis cursos me ha hecho ver que hay problemas para llevar a la práctica estas ideas.
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medium.com medium.com
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Gratisography
top recommendation for stock pictures for any design projects.
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it is vital that teachers become active agents for change, not just in implementing technological innovations, but in designing them too.
One of the ultimate levels of technological appropriation may be in designing and implementing new tools related to a given technology.
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practicaltypography.com practicaltypography.com
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Apple does not sell great design. It sells design that flatters its owner. (And Apple’s timing has been perfect to exploit the rising tide of wealth inequality.)
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- Sep 2015
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slack-files.com slack-files.com
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digital systems and displays oftenundermine mutual availability and visibility. Removing the visibility ofthe scene of action from the view of others not only undermines co-participation and collaboration at the exhibit itself, but removes thepossibility of others seeing and making relevant sense of what people aredoing elsewhere within the scene. The relevant ecology of action is largelydenied to those who happen to be within the same space. In contrast, it isworth adding that even those who design for fairgrounds and similar venueshave long recognized the importance of making their displays visible to a‘gathering’, allowing others to participate in various ways in the scene ofaction
In our world of constant digitization, it is important to be aware of how technology creates individual and group experiences. If, in order to appreciate the work, you have to participate (i.e. run the controls), you are turning what could have been a group experience into an individual one.
This also reminds me a lot of Marshal McLuhan's ideas on hot and cold media.
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- Aug 2015
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peeragogy.github.io peeragogy.github.io
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Hey... BTW we can also use hypothes.is by now to collect opinion and feedback from peers during this design phase .
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v-e-n-u-e.com v-e-n-u-e.com
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we try to not make a specific interface. Instead, we always use the content as the interface. This is how we always design. In Cargo, there’s no design, there’s just content. You click on a thumbnail, but the thumbnail is just a smaller representation of the project. Essentially the browser is the canvas—it is the design—whereas, with a lot of web design, you see people making designs inside the browser, like a box inside a box, and then shading here, adding a bar there. But we don’t do that. We try to disappear.
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www.html5rocks.com www.html5rocks.com
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A tutorial
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www.script-tutorials.com www.script-tutorials.com
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Dev HTML5 games 4 beginners
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www.designer-daily.com www.designer-daily.com
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Tools and tutorials for making HTML5 games
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- Jun 2015
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lesswrong.com lesswrong.com
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Gilbert, Tafarodi and Malone's paper was entitled "You Can't Not Believe Everything You Read". This suggests —to say the very least—that we should be more careful when we expose ourselves to unreliable information, especially if we're doing something else at the time. Be careful when you glance at that newspaper in the supermarket.
I wonder if this accounts for the bad design of pseudoscience publications.
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ur-panel-prototype.herokuapp.com ur-panel-prototype.herokuapp.com
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No
This is an eligibility question. Answering 'No' ends the transaction.
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When you hear people talk about Slack they often say it’s “fun”. Using it doesn’t feel like work.
I'm commenting on my friends (Medium comment) here in Hypothesis because I wanted to see how Hypothesis handles that!
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- May 2015
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research.microsoft.com research.microsoft.com
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That is, the human annotators are likely to assign different relevance labels to a document, depending on the quality of the last document they had judged for the same query. In addi- tion to manually assigned labels, we further show that the implicit relevance labels inferred from click logs can also be affected by an- choring bias. Our experiments over the query logs of a commercial search engine suggested that searchers’ interaction with a document can be highly affected by the documents visited immediately be- forehand.
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- Apr 2015
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thegrid.io thegrid.io
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What features are included in my Founding Membership? 1 year pre-paid subscription Subscription begins v1 release, late Spring 2015 Life-time subscription rate of $8/month 7 Sites, custom domains OK Pretty much unlimited contributors, storage and bandwidth Commerce engine, due late 2015 Grid NFC Token (limited gold edition)
Reduced monthly cost for life and 7 sites with customizable domains
Pretty much unlimited contributors, storage and bandwidth
I assume this mean you can share your sites with others?
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Do you need to learn code to use The Grid? No coding is required to use The Grid. Just do what you're already doing on Facebook, Twitter, Instagram, etc. Post images, video, and content to your site and our AI Designer will make it beautiful. If you know code, you can extend functionality using our platform tools and API.
Coding skills are a plus but not necessary. Accessibility!...
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Can I migrate my existing website into The Grid? We will provide tools so that you can migrate your existing website, however, there will be some limitations depending on how your website was built. In addition, third parties can use our APIs to build tools that can add additional functionality for migrating content.
Site migration is a plus!
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