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TECHNIQUES from MAGIC APPLIED to DESIGN TMAD TÉCNICAS De La Felipe Vilches Ivelić TÉCNICAS TECHNIQUES de la MAGIA from MAGIC APLICADAS al APPLIED to DISEÑO TMAD DESIGN TMAD : 0718-8447 (impreso); 2452-4298 (electrónico) : 0718-8447 (print); 2452-4298 (electronic) Proyecto Project Traslation José Miguel Neira El maestro Tony The magician Tony Slydini presentando Slydini performing “Bolas de papel en ‘Paper Bals in la caja”. The Dick the Box’. The Dick Cavet Show. Imagen Cavet Show. cortesía de Daphne Courtesy of Daphne Productions / Global Productions / Global ImageWorks. ImageWorks. Felipe Vilches Ivelić Diseñador, Pontificia Universidad Católica de Chile. Ayudante de Taller de Producto en la Escuela de Diseño de la Pontificia Universidad Católica de Chile. Felipe Vilches Ivelić Designer, Entender empíricamente la percepción Pontificia Universidad Católica de Chile. Product Studio Course humana ―hasta el punto de poder ma- Assistant at the School of Design nejarla― permite a los magos realizar of the Pontificia Universidad Católica de Chile. ilusiones en apariencia “sobrenaturales”. Estos conocimientos sobre la percepción resultan útiles para nuestra disciplina, Understanding human perception empir- tal como demuestran los hallazgos que ically ‒ to the point of being able to ma- emergen del proyecto Técnicas de la Magia nipulate it ‒ allows magicians to perform Aplicadas al Diseño (TMAD). A partir del illusions that appear to be supernatural. estudio de diversas técnicas empleadas This knowledge about perception is useful por los magos, este artículo propone una for our discipline, as shown by the find- nueva aproximación para conocer los pro- ings of the project Techniques from Magic cesos cognitivos de las personas, enrique- Applied to Design (TMAD). By studying dif- ciendo la metodología proyectual en áreas ferent techniques used by magicians, this como el diseño de interacción, el diseño article proposes a new approach to unveil de servicios y el diseño de información. A the cognitive processes of people, enrich- continuación, se aborda en profundidad ing project methodology in areas such una de las técnicas desarrolladas: Informar as interaction design, service design and la acción. A partir del análisis de un tipo information design. Informing the action, de ilusión mágica, dicha técnica permite one of the techniques developed, is dis- incorporar elementos al �lujo de experien- cussed in depth. By analyzing one type of cias de las personas en forma natural, sin magical illusion, this technique allows for atraer la atención. the natural incorporation of elements into the �low of people’s experience without drawing attention to them. DISEÑO, COGNICIÓN Y MAGIA DESIGN, COGNITION AND MAGIC Cada decisión que toma un diseñador responde a un Every decision made by a designer is a response to objetivo tanto utilitario como comunicacional. El em- both a utilitarian and a communicational objec- plazamiento de un objeto, su apariencia, su sonido y tive. The location of an object, its appearance, its sus propiedades táctiles sugieren acciones para ser rea- sound and its tactile properties suggest actions to lizadas (Norman, 2013). A este rango de acciones po- be taken (Norman, 2013). This range of possible sibles se lo conoce como a�fordance (Norman, 1999). No actions is known as a�fordance (Norman, 1999). obstante, según Norman, lo que finalmente determina However, according to Norman, what ultimately la interacción con un objeto son aquellas acciones que determines the interaction with an object are efectivamente percibe el usuario: «el arte del diseñador those actions that the user actually perceives es asegurarse de que las acciones deseadas y relevantes “hence, the art of the designer is to ensure that the sean percibidas» (1999, p. 41). Es por este motivo que se desired, relevant actions are readily perceivable” vuelve fundamental para el diseñador comprender có- (1999, p. 41). It is for this reason that it becomes mo las personas perciben, prestan atención, aprenden, fundamental for the designer to understand how razonan, recuerdan y transforman sus intenciones en people perceive, pay attention, learn, reason, acciones. Esto explica que el diseño se nutra constan- remember and transform their intentions into temente de hallazgos provenientes de otras discipli- actions. This explains why design is constantly fed nas, como es el caso de gran parte de las metodologías by findings from other disciplines, as is the case in de diseño centradas en el usuario y las Guías del Buen a large number of user-centered design method- Diseño (ver Nielsen & Molich, 1990; Norman, 1983) ologies and Good Design Guidelines (see Niel- que, tal como afirma Johnson (2010), se basan princi- sen & Molich, 1990; Norman, 1983). As Johnson palmente en la psicología cognitiva. (2010) states, they are mainly based on cognitive Desafortunadamente, gran parte de estas herra- psychology. mientas de diseño terminan presentándose como fór- Unfortunately, a large part of these design mulas simplificadas, con una reducida o nula explica- tools end up appearing as simplified formulas, ción de su trasfondo racional (Johnson, 2010). Así, a with little to no explanation of their rational pesar de que creemos comprender el comportamiento background (Johnson, 2010). Thus, although we de las personas, la verdad es que este depende de pro- believe we understand the behavior of people, the cesos subconscientes respecto de los cuales no tenemos truth is that this is determined by subconscious suficiente información (Norman, 2013). Este desco- processes for which we do not yet have enough in- . . . . nocimiento es una de las principales causas de error formation (Norman, 2013). This lack of knowledge en los proyectos de diseño y tiene como consecuencia is one of the main causes of error in design projects la implementación de diseños difíciles de entender y and it results in the implementation of designs that utilizar, que exigen comportamientos anti-naturales are di�ficult to understand and use, and which de- por parte de las personas (Norman, 2013). Esto último mand anti-natural behavior from people (Norman, no representa de ninguna manera un juicio peyorati- 2013). This does not in any way entail a pejorative vo ante los conocimientos teóricos de que disponen los judgment on the theoretical knowledge available diseñadores, y lo cierto es que los mismos neurocientífi- to the designers, as the truth is that even neuro- cos aclaran que la naturaleza de la atención y la percep- scientists claim that the nature of attention and ción no está descrita en su totalidad, y que la relación perception has not been described in its entirety, entre ellas aún no ha sido comprendida con certeza and that the relationship between them has not yet (Hohwy, 2012). been understood with certainty (Hohwy, 2012). En este escenario, existe una disciplina que lleva In this context, there is a discipline that has cientos de años realizando un particular tipo de experi- been carrying out particular types of cognitive mento de procesos cognitivos, cuya metodología em- process experiments for hundreds of years, pírica es capaz de otorgar una aproximación práctica whose empirical methodology is able to provide a hacia conceptos inherentemente abstractos (Macknik, practical approach to concepts that are inherently Martinez-Conde, & Blakeslee, 2010). La magia, como abstract (Macknik, Martinez-Conde, & Blakeslee, arte escénico, presenta ante el público actos aparen- 2010). Magic, as a performing art, presents acts temente sobrenaturales de manera casi infalible. Es- to the spectators that seem to be supernatural. to es posible debido a que los magos son capaces de This is possible, and almost infallible, because controlar algunos de los procesos cognitivos humanos magicians are able to control some of the most más complejos, manejando la atención de sus espec- complex human cognitive processes, manipulating tadores (misdirection) para llevarla lejos de la tram- the attention of their spectators (misdirection) to pa, es decir, del método secreto que hace posible la take it away from the secret method that makes ilusión, logrando que los efectos se perciban como un the illusion possible, making it seem as if we are fenómeno mágico. witnessing a magical phenomenon. El nivel de especificidad y detalle con que se han The level of specificity and detail with which desarrollado múltiples técnicas de misdirection (ver multiple misdirection techniques have been de- Slydini, 1971) da cuenta de la forma profundamente veloped (see Slydini, 1971) accounts for the deeply empírica e intuitiva a través de la cual los magos llegan empirical and intuitive way in which magicians a entender el funcionamiento de la mente humana. come to understand the functioning of the human Desde la década de los setenta, estos métodos se han mind. Since the ’70s, these methods have been complementado con estudios de los principios psico- complemented by the studies of the psychologi- lógicos que sustentan las ilusiones mágicas, entre los cal principles that sustain magical illusions, such que destacan los de Arturo Ascanio (Etcheverry, 2000), as those of Arturo Ascanio (Etcheverry, 2000), siempre con el fin de entender cómo guiar efectiva- seeking to understand how to e�fectively guide the mente la atención del espectador, de manera que este attention of the spectator, so that they perceive perciba solo las acciones que el mago desea. only the actions that the magician wants them to. La relevancia de todo esto radica en que, en la bús- The relevance
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