A Pattern Approach to Interaction Design

Total Page:16

File Type:pdf, Size:1020Kb

A Pattern Approach to Interaction Design A Pattern Approach to Interaction Design Jan O. Borchers Department of Computer Science Darmstadt University of Technology Alexanderstr. 6, 64283 Darmstadt, Germany [email protected] ABSTRACT perts need to work together very closely with team members To create successful interactive systems, user interface de- from other disciplines. Most notably, they need to coop- signers need to cooperate with developers and application erate with application domain experts to identify the con- domain experts in an interdisciplinary team. These groups, cepts, tasks, and terminology of the product environment, however, usually miss a common terminology to exchange and with the development team to make sure the internal ideas, opinions, and values. system design supports the interaction techniques required. This paper presents an approach that uses pattern languages However, these disciplines lack a common language: It is to capture this knowledge in software development, HCI, difficult for the user interface designer to explain his guide- and the application domain. A formal, domain-independent lines and concerns to the other groups. It is often even definition of design patterns allows for computer support more problematic to extract application domain concepts without sacrificing readability, and pattern use is integrated from the user representative in a usable form. And it is into the usability engineering life cycle. hard for HCI people, and for application domain experts even more so, to understand the architectural and techno- As an example, experience from building an award-winning logical constraints and rules that guide the systems engineer interactive music exhibit was turned into a pattern language, in her design process. In general, people within a discipline which was then used to inform follow-up projects and sup- often have trouble communicating what they know to out- port HCI education. siders, but to work together well, disciplines must learn to appreciate each other’s language, tradition, and values [23]. Categories and Subject Descriptors H.5.2 [Information Interfaces and Presentation (e.g., 1.1 Pattern Languages as lingua franca HCI)]: User Interfaces—style guides; theory and methods; Simply stated, a pattern is a proven solution to a recurring training, help, and documentation; user-centered design; design problem. It pays special attention to the context in H.5.5 [Information Interfaces and Presentation (e.g., which it is applicable, to the competing “forces” it needs to HCI)]: Sound and Music Computing—modeling, systems; balance, and to the positive and negative consequences of D.2.2 [Software Engineering]: Design Tools and Tech- its application. It references higher-level patterns describ- niques—user interfaces ing the context in which it can be applied, and lower-level patterns that could be used after the current one to further General Terms refine the solution. This hierarchy structures a comprehen- Design, Human Factors, Documentation sive collection of patterns into a pattern language. Keywords The central idea presented here is that HCI, software engi- Pattern languages, design methodologies, interdisciplinary neering, and application domain experts in a project team design, music, exhibits, education each express their expertise in the form of a pattern lan- guage. This makes their knowledge and assumptions more explicit, and easier for the other disciplines to understand 1. INTRODUCTION and refer to. Such a common vocabulary can greatly im- To design systems that fulfil today’s high expectations con- prove communication within the team, and also serve as a cerning usability, human-computer interaction (HCI) ex- corporate memory of design expertise. The next section briefly explains the concept and history of pattern languages. A critical component of these languages, however, are the cross-references that help readers find their To appear in Proceedings of the DIS 2000 International Con- way through the material. To facilitate creating and navi- ference on Designing Interactive Systems (August 16–19, gating through patterns, possibly with computer support, a 2000, New York), ACM Press, New York, 2000. See the conference formal syntactic definition of patterns and their relations is proceedings, online at http://www.acm.org/dl/, for the definitive version. presented that is independent of the domain they address. Copyright ACM. Posted by permission. Do not redistribute. It is also shown where in the usability engineering life cycle patterns can be applied. 1 The final section shows a pattern language for interactive It must be stressed that Alexandrian patterns are, above music exhibits as an example, and summarizes some initial all, a didactic medium for human readers, even (and espe- empirical studies about the usefulness of pattern languages cially) for non-architects. This quality must not be lost in a in HCI courses. more formal representation or extension of the idea to other domains. 2. A BRIEF HISTORY OF PATTERN LAN- 2.2 Patterns in Software Engineering GUAGES Around 1987, software engineering picked up the pattern This section briefly outlines where the pattern idea comes idea. At the OOPSLA conference on object-orientation, from, and how it has been adapted to other disciplines. Beck et al. [8] reported on an experiment where application domain experts without prior Smalltalk experience success- 2.1 Patterns in Urban Architecture fully designed their own Smalltalk user interfaces after they The original concept of pattern languages was conceived by had been introduced to basic Smalltalk UI concepts using a architect Christopher Alexander in the 1970’s. In [2], he pattern language. It is interesting to note that this first soft- explains how a hierarchical collection of architectural de- ware pattern experiment actually dealt with user interface sign patterns can be identified to make future buildings and design, and user participation. urban environments more usable and pleasing for their in- habitants. In [3], he presents 253 such patterns of “user- The workshop started a vivid exchange about software de- friendly” solutions to recurring problems in urban architec- sign patterns. An influential collection of patterns for ture. They range from large-scale issues (“community of object-oriented software design was published by Gamma 7000”, “identifiable neighbourhood”), via smaller-scale et al. [18]. The annual Pattern Languages of Programming patterns (“promenade”, “street cafe”) down to patterns (PLoP) conferences have established an entirely new forum for the design of single buildings (“cascade of roofs”, to exchange proven, generalized solutions to recurring soft- “intimacy gradient”). Finally, in [4], the architect uses ware design problems. his pattern language to define a new planning process for the University of Oregon as an example. The overall format of a pattern has not changed very much from Alexander to, e.g., Gamma et al. [18]: Name, context, It is less known that Alexander’s goal in publishing this pat- problem, solution, examples, diagrams, and cross-references tern language was to allow not architects, but the inhabi- are still the essential constituents of each pattern. tants (that is, the users) themselves to design their environ- ments. This is strikingly similar to the ideas of user-centered The goals, however, have changed in an important way, and participatory design, which aim to involve end users in without many noticing: Software design patterns are con- all stages of the software development cycle. sidered a useful language for communication among soft- ware developers, and a practical vehicle for introducing less Pattern languages essentially aim to provide laymen with a experienced developers into the field. The idea of end users vocabulary to express their ideas and designs, and to discuss designing their own (software) architectures, has not been them with professionals. This idea of creating a vocabulary taken over. On the one hand, this makes sense, because implements well-known results from psychological research people do not live as intensely “in” their software applica- about verbal recoding : “When there is a story or an argu- tions as they live in their environments. On the other hand, ment or an idea that we want to remember [ ... ], we make though, a good chance to push the concept of participatory a verbal description of the event and then remember our design forward by introducing patterns has not been taken verbalization” [24]. The idea can be recalled when its short advantage of. This was one of the reasons why, at OOP- name is remembered. SLA’99, the authors of that book were put before a mock “trial” for their work. (See the article by Tidwell [31] for an Each of Alexander’s patterns is presented as several pages of interesting comment.) illustrated text, using a very uniform structure and layout with the following components [3, p. x]: 2.3 Patterns in HCI The pattern idea has been referenced by HCI research earlier A meaningful, concise name identifies the pattern, a ranking than most people expect. Norman and Draper [28] mention indicates the validity of the pattern, a picture gives a “sen- Alexander’s work, and in his classic Psychology of Everyday sitizing” and easily understood example of the pattern ap- Things [27, p. 229], Norman states that he was influenced plied, and the context explains which larger patterns it helps particularly by it. Apple’s Human Interface Guidelines [5] to implement. Next, a short problem statement summarizes quote Alexander’s books as seminal in the field of environ- the competing “forces”, or design tradeoffs, and a more ex- mental design, and the Utrecht School of Arts uses patterns tensive problem description gives empirical background in- as a basis for their interaction design curriculum [6]. formation, and shows existing solutions. But only recently a first workshop dedicated to pattern lan- The following solution is the central pattern component. It guages for interaction design took place within the HCI com- generalizes the examples into a clear, but generic set of in- munity. It showed that the ideas about adopting the pat- structions that can be applied in varying situations.
Recommended publications
  • The Architecture Analysis and Design Language: an Overview Outline
    Institut Supérieur de l’Aéronautique et de l’Espace The Architecture Analysis and Design Language: an overview Outline 1. AADL a quick overview 2. AADL key modeling constructs 1. AADL components 2. Properties 3. Component connection 3. AADL: tool support AADL Tutorial -- MODELS'15 2 Introduction > ADL, Architecture Description Language: » Goal : modeling software and hardware architectures to master complexity … to perform analysis » Concepts : components, connections, deployments. » Many ADLs : formal/non formal, application domain, … > ADL for real-time critical embedded systems: AADL (Architecture Analysis and Design Language). AADL Tutorial -- MODELS'15 3 AADL: Architecture Analysis & Design Language > International standard promoted by SAE, AS-2C committee, released as AS5506 family of standards > Version 1.0 (2004), version 2 (2009), 2.1 (2012) » Based on feedback from the aerospace industry > Annex document to address specific needs » Behavior, data, error modeling, code generation, … > AADL objectives are “to model a system” » With analysis in mind » To ease transition from well-defined requirements to the final system : code production > Require semantics => any AADL entity has a semantics (natural language or formal methods). AADL Tutorial -- MODELS'15 4 AADL components > AADL model : hierarchy/tree of components » Textual, graphical representations, XMI serialization > AADL component models a software or a hardware entity » May be organized in packages : reusable » Has a type/interface, one or several implementations » May
    [Show full text]
  • From a Pattern Language to a Field of Centers and Beyond Patterns and Centers, Innovation, Improvisation, and Creativity
    From a Pattern Language to a Field of Centers and Beyond Patterns and Centers, Innovation, Improvisation, and Creativity Hajo Neis Illustration 1: University of Oregon in Portland Downtown Urban Campus The Campus is located in downtown Portland in adapted old warehouse buildings, and was first designed in the Oregon pattern language method with the principles of pat- terns and user participation. The White Stag building facilities are open since 2009. 144 Hajo Neis INTRODUCTION What we call now the ›overall pattern language approach‹ in architecture, urban design, and planning has grown from its original principle of ›pattern and pat- tern language‹ into a large and solid body of theory and professional work. To- day, pattern theory and practice includes a large number of principles, methods, techniques and practical project applications in which patterns themselves play a specific part within this larger body of knowledge. Not only has the pattern lan- guage approach grown in its original area of architecture, but it has also (though less triumphantly than silently) expanded into a large number of other disciplines and fields, in particular computer and software science, education, biology, com- munity psychology, and numerous practical fields. Nevertheless, we first have to acknowledge that the pattern approach originally started with a single principle almost 50 years ago, the principle of pattern and pattern language that gave the name to this school of thought and practical professional project work. In this article we want to trace some of the theoretical and practical develop- ment of the pattern method and its realization in practical projects. We want to explore how challenges and opportunities resulted in the adaptation of the pattern language method into various forms of pattern project formats and formulations including ›pattern language‹ and ›project language.‹ We want to look at various forms of innovations and techniques that deal with theoretical improvements as well as the necessities of adaptation for practical cases and projects.
    [Show full text]
  • Pattern Languages in HCI: a Critical Review
    HUMAN–COMPUTER INTERACTION, 2006, Volume 21, pp. 49–102 Copyright © 2006, Lawrence Erlbaum Associates, Inc. Pattern Languages in HCI: A Critical Review Andy Dearden Sheffield Hallam University Janet Finlay Leeds Metropolitan University ABSTRACT This article presents a critical review of patterns and pattern languages in hu- man–computer interaction (HCI). In recent years, patterns and pattern languages have received considerable attention in HCI for their potential as a means for de- veloping and communicating information and knowledge to support good de- sign. This review examines the background to patterns and pattern languages in HCI, and seeks to locate pattern languages in relation to other approaches to in- teraction design. The review explores four key issues: What is a pattern? What is a pattern language? How are patterns and pattern languages used? and How are values reflected in the pattern-based approach to design? Following on from the review, a future research agenda is proposed for patterns and pattern languages in HCI. Andy Dearden is an interaction designer with an interest in knowledge sharing and communication in software development. He is a senior lecturer in the Com- munication and Computing Research Centre at Sheffield Hallam University. Janet Finlay is a usability researcher with an interest in design communication and systems evaluation. She is Professor of Interactive Systems in Innovation North at Leeds Metropolitan University. 50 DEARDEN AND FINLAY CONTENTS 1. INTRODUCTION 2. THE SCOPE OF THIS REVIEW 2.1. General Software Design Patterns 2.2. Interface Software Design Patterns 2.3. Interaction Design Patterns 3. A SHORT HISTORY OF PATTERNS 3.1.
    [Show full text]
  • Prudent Design Principles for Information Flow Control
    Prudent Design Principles for Information Flow Control Iulia Bastys Frank Piessens Andrei Sabelfeld Chalmers University of Technology Katholieke Universiteit Leuven Chalmers University of Technology Gothenburg, Sweden Heverlee, Belgium Gothenburg, Sweden [email protected] [email protected] [email protected] ABSTRACT Motivation. Recent years have seen a proliferation of research Recent years have seen a proliferation of research on information on information flow control [16, 17, 19, 39, 49, 55, 67, 70, 72, 73], flow control. While the progress has been tremendous, it has also leading to applications in a wide range of areas including hard- given birth to a bewildering breed of concepts, policies, conditions, ware [8], operating system microkernels [59] and virtualization and enforcement mechanisms. Thus, when designing information platforms [32], programming languages [36, 37], mobile operating flow controls for a new application domain, the designer iscon- systems [44], web browsers [12, 43], web applications [13, 45], and fronted with two basic questions: (i) What is the right security distributed systems [50]. A recent special issue of Journal of Com- characterization for a new application domain? and (ii) What is the puter Security on verified information flow60 [ ] reflects an active right enforcement mechanism for a new application domain? state of the art. This paper puts forward six informal principles for designing While the progress has been tremendous, it has also given birth information flow security definitions and enforcement mechanisms: to a bewildering breed of concepts, policies, conditions, and en- attacker-driven security, trust-aware enforcement, separation of policy forcement mechanisms. These are often unconnected and ad-hoc, annotations and code, language-independence, justified abstraction, making it difficult to build on when developing new approaches.
    [Show full text]
  • Human-Computer Interaction Design Patterns: Structure, Methods, and Tools
    International Journal on Advances in Software, vol 3 no 1 & 2, year 2010, http://www.iariajournals.org/software/ 225 Human-Computer Interaction Design Patterns: Structure, Methods, and Tools Christian Kruschitz Martin Hitz Department of Informatics-Systems Department of Informatics-Systems University of Klagenfurt University of Klagenfurt Klagenfurt am Wörthersee, Austria Klagenfurt am Wörthersee, Austria [email protected] [email protected] Abstract—Design patterns play an important role when patterns for easier retrieval of the right pattern for a given managing design knowledge for later reuse. In the Human- design problem within an collection or pattern language. Computer Interaction (HCI) community, design patterns are Section VI shows how to identify relationships among an often used tool for sharing design knowledge among user design patterns. Relationships represent a key concept to interface (UI) designers as well as non UI experts. An HCI gain the full reuse potential from individual patterns. Proper design pattern consists of several different components. The first component is the structure of a pattern, which consideration of relationships promises even more powerful encapsulates the description of the problem, its context, and search and navigation opportunities. Section VII describes the solution suggested by the pattern. Relationships and research approaches on how to enrich design patterns with semantics are important when design patterns are used in semantic information. By using ontologies, it is possible to pattern management tools. To make sure that the developed share HCI design patterns across different collections and it patterns satisfy their users, it is important to evaluate and is easier to identify patterns for a specific design problem.
    [Show full text]
  • Design Discourse: a Way Forward for Theistic Evolutionism?
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto NZSTh 2018; 60(3): 435–451 Erkki Vesa Rope Kojonen* Design Discourse: A Way Forward for Theistic Evolutionism? https://doi.org/10.1515/nzsth-2018-0025 Summary: It is usually supposed that biological design arguments (where biologi- cal complex order is seen as evidence of a Creator) are made obsolete by Darwi- nian evolutionary theory. However, philosopher Alvin Plantinga and others have defended the continued possibility of a rational “design discourse”, in which biological order is taken as a sign of God’s purposeful action. In this article, I consider two objections to design discourse: (1) a theological objection to biologi- cal design based on the problem of natural evil, and (2) the evolutionary objec- tion, according to which evolutionary theory removes the justification for any biological design perception. Whereas Plantinga’s own response utilizes the arguments of the Intelligent Design movement, I argue in favor of utilizing “de- sign discourse” as part of a theistic evolutionist view. Keywords: theistic evolutionism, teleology, design argument, problem of natural evil, Alvin Plantinga Zusammenfassung: Es wird gemeinhin angenommen, dass biologische Design Argumente (welche die komplexe biologische Ordnung als Beweis für einen Schöpfer erachten) durch Darwins Evolutionstheorie obsolet werden. Der Philo- soph Alvin Plantinga und andere haben jedoch die Möglichkeit eines fortgeführ- ten rationalen „Design Diskurses“ verteidigt, der die biologische Ordnung als ein Zeichen Gottes zielgerichteter Handlung begreift. In diesem Artikel betrachte ich zwei Einwände gegen den Design Diskurs: (1) einen theologischen Einwand zum biologischen Design basierend auf dem Problem der natürlichen Übel und (2) den evolutionären Einwand, nach dem die Evolutionstheorie die Berechtigung jeder biologischen Design Vorstellung aufhebt.
    [Show full text]
  • Spatial Expressions in Design Idea Capture Languages
    Open University Computing Department Research Report 95/16 Spatial Expressions in Design Idea Capture Languages Martin Stacey Computing Department, The Open University, Milton Keynes, UK. [email protected] Paper for the AID'96 Workshop on Visual Representation, Reasoning and Interaction in Design Convened by J.C.B. Damski and N.H. Narayanan. Abstract. Intelligent support systems for conceptual design in engineering have so far failed to support spatial thinking in conceptual design. But multimedia interface technology including techniques for recognising speech and drawn gestures offers solutions to the HCI problems involved in computer support for spatial conceptual design. Effective computer support could be made possible by the use of a design idea capture language for expressing and changing shapes and qualitative spatial and functional relationships, fluently in a machine-understandable way. The design idea capture language would serve to constrain the expression of design ideas sufficiently to enable the successful use of AI techniques for generating coherent spatial representations from sets of spatial expressions in the language. This paper discusses the design meanings required for spatial conceptual design with reference to linguistic studies of spatial expressions in natural language, which show that geometric approaches are insufficient for representing spatial relationships important in design. 1. Introduction So far spatial aspects of conceptual design have been neglected in the development of intelligent support systems for conceptual design in engineering. This paper takes the view that the goal of research on intelligent design support systems for engineering should be developing systems that provide workspaces in which designers express their ideas as they create them, so that creating computer representations of designs to support AI reasoning is coextensive with designing.
    [Show full text]
  • The Patterns of Architecture/T3xture
    THE PATTERNS OF ARCHITECTURE NIKOS A. SALINGAROS Published in Lynda Burke, Randy Sovich, and Craig Purcell, Editors: T3XTURE No. 3, CreateSpace Independent Publishing Platform, 2016, pages 7-24. EDITORS’ INTRODUCTION Pattern theory has not as yet transformed architectural practice—despite the acclaim for A Pattern Language, 1 Christopher Alexander’s book, which introduced and substantiated the theory. However, it has generated a great amount of far-ranging, supportive scholarship. In this essay Nikos Salingaros expands the scope of the pattern types under consideration, and explicates some of the mathematical, scientific and humanistic justification for the pattern approach. The author also argues for the manifest superiority of the pattern approach to design over Modernist and contemporary theories of the last one hundred years. To a great extent Dr. Salingaros’s conviction rests on the process and goals of the pattern language method which have as their basis the fundamental realities of the natural world: the mathematics of nature (many that have been studied since the beginning of human history); the process of organic development; and the ideal structural environment for human activity. For Salingaros, Alexander, et al. aesthetics in Architecture derive from these principles rather than from notions of style or artistic inspiration. AUTHOR’S INTRODUCTION — KEY PATTERN CONCEPTS Pattern. A pattern is a discovered organization of space, and also a coherent merging of geometry with human actions. In common usage “pattern” has an expansive definition. In Architecture “pattern” often equates with “solution”. In any discussion of architectural pattern theory the word “pattern” itself is used repeatedly, often with reference to somewhat different concepts.
    [Show full text]
  • Technical Communication As Design: a Design Pedagogy Study
    Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2020 Technical communication as design: A design pedagogy study Philip Brandon Gallagher Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Recommended Citation Gallagher, Philip Brandon, "Technical communication as design: A design pedagogy study" (2020). Graduate Theses and Dissertations. 17885. https://lib.dr.iastate.edu/etd/17885 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Technical communication as design: A design pedagogy study by Philip Brandon Gallagher A dissertation submitted to the graduate faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Rhetoric and Professional Communication Program of Study Committee: Charlie Kostelnick, Major Professor Barbara Blakely Stacy Tye-Williams Margaret LaWare Carol Faber The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this dissertation. The Graduate College will ensure this dissertation is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2020 Copyright © Philip Brandon Gallagher, 2020. All rights reserved. ii DEDICATION To my most compassionate, loving, supportive, and unflappable family, I want you to know that I could not have accomplished this feat without each and every one of you.
    [Show full text]
  • Architecture Description Language) COMS W4115 Alan Khara Ask2206 February 11, 2014
    1 of 13 General Purpose ADL (Architecture Description Language) COMS W4115 Alan Khara Ask2206 February 11, 2014 1.0 Introduction In the design of system architecture1, a blueprint of the system typically comes second, after requirements are gathered in the process of architecture development. This is followed by design verification and, later, implementation. Initially, the domain of Architecture Description Languages (ADLs) was confined to the design phase and was highly motivated by Object Oriented paradigm [1] [2] [3]. ADLs were mainly graphical in nature, with numerous Line and Box representations that were later standardized by Object Management Group (OMG) in Unified Model Language2 (UML) [4][5]. Being quickly adopted by industry, UML was infested with ambiguous features: a given relationship between components of a system could be ambiguous and yield two different interpretations of the same drawing [2]. Research during the last decade has worked to solve this problem on two different fronts. One line of research seeks to extend UML in order to make it less ambiguous [6] [7] [8] [9]. Another kind of research is finding new ADLs (graphical and text based) that have more rigorous and well defined semantics [10] [11] [12][13]. Both of these trends are important with respect to defining the problem scope of the proposed project. Because they are mainly driven by industry, efforts to extend UML are inherently domain- specific [14]. The primary motivation behind the development of UML is to overcome ambiguity and reduced the communication gap that exists among various stakeholders. This is tackled by either introducing constraints or adding new vocabulary.
    [Show full text]
  • Fashion As Practice, Fashion As Process: Using Principles of Language As a Framework for Understanding the Design Process | Catálo…
    30/9/2019 Fashion as practice, fashion as process: using principles of language as a framework for understanding the design process | Catálo… Fashion as practice, fashion as process: using principles of language as a framework for understanding the design process Kurennaya, Anya Abstract: Cuadernos del Centro de Estudios de How do creative impulses and lived Diseño y Comunicación Nº 64 realities interact and inform one ISSN: 1668-0227 another throughout the design process? This project examines the Los procesos mechanics of the creative process by emergentes en la observing the work of three graduate enseñanza y la fashion design students as a first step práctica del diseño toward understanding the nature of the Año XVIII, Septiembre 2017, Buenos design process and the symbiosis Aires, Argentina | 326 páginas between object and process, using descargar PDF ver índice de la publicación ideas borrowed from modern linguistic theory as the starting point for Ver todos los libros de la publicación investigation. Referencing Cholachatpino’s et al. (2002) compartir en Facebook categorization of the microsubjective order of the fashion process as “a Esta obra está bajo una Licencia Creative dynamic process and not a linear Commons Atribución-NoComercial- CompartirIgual 4.0 Internacional continuum”, along with Ingold and Hallam’s (2009) notion of cultural improvisation and related theories from the field of linguistic anthropology, this paper argues that the fashion design process is open to the kind of improvisation inherent in any ongoing lived experience, the final product representing a culmination of the ideas, desires, decisions, obstacles, and other circumstances shaping its production. Ideas are not translated into their material form in a fluid and uncomplicated manner; in fact, there are many intervening forms of disruption, diversion, reformulation, and rearticulation, not unlike our everyday use of language in conversation.
    [Show full text]
  • The Visual Language of Brutalist Web Design El Lenguaje Visual Del Diseño Web Brutalista
    The visual language of brutalist web design El lenguaje visual del diseño web brutalista Fernando Suárez-Carballo obtained a PhD from the Pontifical University of Salamanca in 2005 and is a perma- nent lecturer in Art Direction in the Faculty of Communication Studies at this university, where he has taught a range of subjects related to visual communication since the year 2000. He is a member of the research group Business Innovation and Creativity and the author of several articles and chapters of books on graphic design, the field that is his main line of research. His management responsibilities have included coordinating the degree course Advertising and Public Relations and his appointment as Associate Dean for students at the Faculty of Communication. He currently heads the Office for the Transfer of Research Results (Oficina de Transferencia de Resultados de Investigación, OTRI). Pontifical University of Salamanca, Spain [email protected] ORCID: 0000-0001-7498-6595 Received: 15/11/2018 - Accepted: 19/03/2019 Recibido: 15/11/2018 - Aceptado: 19/03/2019 Abstract: Resumen: Many authors agree on the current relevance of brutalist web Un gran número de autores coincide en señalar el protagonismo design, a trend inspired by the popular architectural style which, actual del diseño web brutalista, una corriente inspirada en el pop- ISSN: 1696-019X / e-ISSN: 2386-3978 in turn, is distinguished by the rawness of its materials, the ular estilo arquitectónico que, a su vez, se distingue por la desnudez geometric shapes or the absence of decoration. This study uses de sus materiales, las formas geométricas o la ausencia de orna- Content Analysis to discover whether it is possible to interpret mento.
    [Show full text]