I had to make a short synopsis as context for the visiting critics to read prior to my 3rd Workshop presentation:
Asynchronic events and disproportions caused by the continuously changing matrix-worlds of personalized, globalized, user-generated content are relegating form back into the orders of the unknown, back into exformations, where the encoding patterns of form are only just emerging – in interactive scenes. (1)
I am investigating a new kind of interface, which I have termed Biokinetic Interfacing.
Digital interfacing usually seeks to reduce user cognitive load by showing clear, simple and predictable instructions to navigate the massive datasets that we now engage with. We can make a generalization about interfaces that states the more complicated the application is the uglier the interface tends to be.
Additionally digital interfacing also is digital, ignoring the particular qualities and sensitivities of each unique situation. This linear progression works precisely because it is indifferent – iTunes plays music we want at the volume we set: it does not matter how quickly we stab at the play button; it just plays. Simplicity leads to user understanding.
But what happens when we invert this relationship? When we push complexity to a point when the cognitive load becomes too great? When we incorporate all nuances now computationally available? When we look for a beautiful consequential post-screen interface?
Biokinesis seeks to move interfacing into an area of intuition by combining multi-faceted user engagement and object response in deep value design that brings people into conscious process and a state of sustained delight and immersion.
This current project applies the emergent ideas of biokinesis to a domestic audio interface that has standard, and simple instructions.
(1) Manfred Fasser P303-304 (2008) V. Buhlmann & M. Wiedmar (Eds) Pre-Specifics – Some Comparatistic Investigations on Research in Design and Art
Posted on the web here.
