Getting a degree in the humanities not only gives students the ability to focus on what they love and are interested in during their schooling, but it also allows them to do anything they are motivated to do beyond those fields. For example, English and Art majors can easily go into marketing or advertising and put their knowledge of visual and written language and cultural history to succeed in these career paths. Backgrounds in art have also been shown to increase scientific innovation and creativity and assist in new important research.
Humans are incredibly complex, making usability (or user experience design) a difficult practice. To manage this complexity, many UX principles focus on data. While effective, focusing too much on data skews the motivations of behavior, often making them seem based on logic. Humans are not logical beings however, they are emotional first and logical second. To really understand usability’s impact on a website you must first understand how the user feels and what is triggering their emotional state.
Digital Textuality 3.0 is the era of the “reading” of texts as Big Data. With our interest in pattern recognition and visualisations we are learning to extract knowledge from textual Big Data in the same way as the bankers from their numerical Big Data.
Even after all the research, asking questions, and asking for references purchases are still emotional. Content needs to target the right emotions. Before, during and especially after a purchase people's emotions play a role in their happiness with a product or service. After a transaction is especially important for brands. Once a customer purchases something they're looking for justification.... They want to feel good about their purchase. They can go to your website and read even more about the product or service. People want to feel good about their purchase and one way to feel good is to share information about how great their decision was.
When Carr made his argument about the distractions of the internet, I had just finished reading a piece that Paul Kedrosky wrote for The Edge collection, in which he argued that one of the things he liked best about the internet and social media was the way in which it bombarded him with random data and content — the way that molecules are bombarded with other particles during quantum research —... and that this produced all sorts of wonderful combinations of ideas: The democratization of connections, collisions and therefore thinking is historically unprecedented. We are the first generation to have the information equivalent of the Large Hadron Collider for ideas. And if that doesn’t change the way you think, nothing will.
The marketing of nostalgia is as complex as the feelings it endeavours to control and at the same time provoke. As an exhibition concept it is irredeemably linked to discourses about memory, where everything that came before is patrimony. The past becomes an element that can be placed in a museum in an emotive manner, capable of evoking the times abandoned due to progress, the deterioration and crisis presumed by our contemporaneity.
Remember the good old days when everyone read really good books, like, maybe in the post-war years when everyone appreciated a good use of the semi-colon? Everyone's favorite book was by Faulkner or Woolf or Roth. We were a civilized civilization. This was before the Internet and cable television, and so people had these, like, wholly different desires and attention spans. They just craved,... craved, craved the erudition and cultivation of our literary kings and queens. Well, that time never existed. Check out these stats from Gallup surveys. In 1957, not even a quarter of Americans were reading a book or novel. By 2005, that number had shot up to 47 percent. I couldn't find a more recent number, but I think it's fair to say that reading probably hasn't declined to the horrific levels of the 1950s. All this to say: our collective memory of past is astoundingly inaccurate. Not only has the number of people reading not declined precipitously, it's actually gone up since the perceived golden age of American letters.
It's my contention -- and I've made this point in other ways -- that when people look at the sprawling mess of Internet publishing and decide that the quality of writing has declined, they are comparing apples to oranges.
But the real problem with apps was more profound. When people read news and features on electronic media, they expect stories to possess the linky-ness of the Web, but stories in apps didn't really link. The apps were, in the jargon of information technology, "walled gardens," and although sometimes beautiful, they were small, stifling gardens. For readers, none of that beauty overcame the weirdness and frustration of reading digital media closed off from other digital media.
they imagine our information age to be unprecedented, but information explosions and the utopian and apocalyptic pronouncements that accompany them are an old concern. The emergence of every new information technology brings with it new methods and modes for storing and transmitting ever more information, and these technologies deeply impact the ways in which humans interact with the world. Both... the optimism of technophiles who predict the emergence of a digital “liquid” intelligence and the pessimism of those who fear that Google is “making us stupid” echo historical hopes and complaints about large amounts of information.
Once a platform is recording this kind of data, it could also start to present you with significant patterns in your reading habits. Maybe over the course of a year, you read 30 percent of your books in July and August. Maybe you only read when it's raining. Or when it's sunny, or at night. This is the kind of value that may make people take more of their reading onto digital formats and finally give up the ghost of paperbacks and co.
Perhaps the page-flip user interface taps a mode of nostalgia specific to our relationship to knowledge – nostalgia for a way of knowing that is bounded and finite.
While scrolling still seems to be the preferred method of reading and advancing through text on tablets and other slab devices, developers have yet to come up with something truly original for the digital space.
This user experience flow isn't a product of any hardware limitation. It's a set of decisions clearly designed around efficiency (and, possibly, data) — get us into the text as quickly as possible. Of course, this efficiency comes at the expense of intimacy. We jump in and out of digital texts with little to no procession. In contrast, every time you set down a physical book, the cover is... staring up at you. And every time you pick it back up, you have to go “through” the cover to get to the text. Do that five times and you'll never forget the title or author.
To create any good interface, it is essential for the designer to understand the cognitive models that a user brings to any new product. Designers have to take into account the conventions and operational principles of the products and services that the users are familiar with, even if it is simply just to know how to evolve. Clearly a great deal of objects and tools we use could do with the... attention of a good designer or design team, but there are also plenty of highly refined design solutions that embody fundamental design principles, conventions, and years of collective refinement that there’s no need to attempt to reinvent the wheel.
Contemplemos esas Prisiones que son, junto con las Pinturas negras de Goya, una de las obras más misteriosas que nos ha legado un hombre del siglo XVIII. En primer lugar, se trata de un sueño. Ningún conocedor en materia onírica vacilará ni un instante ante esas páginas marcadas por las principales características del estado de sueño: la negación del tiempo, la desnivelación del espacio, la... levitación sugerida, la embriaguez de lo imposible reconciliado o superado, un terror más cercano al éxtasis de lo que piensan aquellos que, desde fuera, analizan los productos del visionario, la ausencia de lazos o contactos visibles entre las partes o los personajes del sueño y, finalmente, la fatal y necesaria belleza.
Information overload is a real phenomenon, but it is I believe, by design. It either works for us or against us and it is our choice as to which way the stream flows. To be clear, information overload is a symptom of over consumption and the inability to refine online experiences based on interest and importance.
Most people surveyed said the functionality and popularity of the Web will continue to get stronger. Many top experts said the future will be a blend of the wide-open Web and customized apps, with people using apps/Web accessed through cloud computing. More than a third of survey participants said the Web will be replaced as the primary gateway to information for most people, as humans’ craving... for convenient access to information everywhere magnifies the prevalence of and dependence upon mobile devices and the targeted software applications known as “apps.” Overall, the tech experts participating in this survey generally believe the mobile revolution, the popularity of targeted apps, the monetization of online products and services, and cloud computing innovations will drive Web evolution. Some survey respondents say while much will be gained, perhaps even more may be lost if the “appification” of the Web comes to pass.
The idea of “the book” guiding design of e-books has been a commonplace, grostesquely reductive and unproductive. No single book exists, so no “idea” of “the” book could be produced in any case. The multiplicity of physical structures and graphic conventions are manifestations of activity, returned to book form as conventions because of their efficacy in guiding use. The notion of a metaphor... applied to an element like a table of contents is highly misleading. This is not a metaphor at all, but a program, a set of instructions for performance. By looking to scholarly work for specific understanding of varieties of attitudes towards the book as literal space and a virtual espace, and to artists and poets for evidence of the way the spaces of a book work, we realize that the traditional codex is also, in an important and suggestive way, already virtual. But also, hat the virtual spaces of e-space, electronic space, have yet to be given those forms by which their co
still see good uses for content-driven apps: When the underlying content is variable, subject to change or useful to analyze in structured ways over time; and When analysis is user-driven, based in available content and not necessarily something a publisher can predict.