"As it happens, designing Future Interfaces For The Future used to be my line of work. I had the opportunity to design with real working prototypes, not green screens and After Effects, so there certainly are some interactions in the video which I'm a little skeptical of, given that I've actually tried them and the animators presumably haven't. But that's not my problem with the video.
My problem is the opposite, really - this vision, from an interaction perspective, is not visionary. It's a timid increment from the status quo, and the status quo, from an interaction perspective, is actually rather terrible. ...
I'm going to talk about that neglected third factor, human capabilities. What people can do. Because if a tool isn't designed to be used by a person, it can't be a very good tool, right? ...
Do you see what everyone is interacting with? The central component of this Interactive Future? It's there in every photo! That's right! - HANDS. And that's great! I think hands are fantastic! Hands do two things. They are two utterly amazing things, and you rely on them every moment of the day, and most Future Interaction Concepts completely ignore both of them. Hands feel things, and hands manipulate things.
Go ahead and pick up a book. Open it up to some page. Notice how you know where you are in the book by the distribution of weight in each hand, and the thickness of the page stacks between your fingers. Turn a page, and notice how you would know if you grabbed two pages together, by how they would slip apart when you rub them against each other.
Go ahead and pick up a glass of water. Take a sip. Notice how you know how much water is left, by how the weight shifts in response to you tipping it.
Almost every object in the world offers this sort of feedback. It's so taken for granted that we're usually not even aware of it. Take a moment to pick up the objects around you. Use them as you normally would, and sense their tactile response - their texture, pliability, temperature; their distribution of weight; their edges, curves, and ridges; how they respond in your hand as you use them.
There's a reason that our fingertips have some of the densest areas of nerve endings on the body. This is how we experience the world close-up. This is how our tools talk to us. The sense of touch is essential to everything that humans have called 'work' for millions of years.
Now, take out your favorite Magical And Revolutionary Technology Device. Use it for a bit. What did you feel? Did it feel glassy? Did it have no connection whatsoever with the task you were performing?
I call this technology Pictures Under Glass. Pictures Under Glass sacrifice all the tactile richness of working with our hands, offering instead a hokey visual facade."
(Bret Victor, 8 November 2011)
"The Future of the Book is a design exploration of digital reading that seeks to identify new opportunities for readers, publishers, and authors to discover, consume, and connect in different formats.
As more people consume pages in pixels, IDEO designers wondered why we continue to discover and consume the written word through the old analog, page-turning model. We asked: what happens when the reading experience catches up with new technologies?
The team looked at how digital and analog books currently are being read, shared and collected, as well as at trends, business models and consumer behavior within related fields. We identified three distinct opportunities - new narratives, social reading with richer context, and providing tools for critical thinking - and developed a design concept around each one.
The first concept, 'Alice,' turns storytelling on its head by making narratives non-linear and participatory. With Alice, the story world starts bleeding into the everyday life of the reader. Real-world challenges, like acting on a phone call from the lead character, or participating in photo based scavenger hunts, unlock new aspects of the story, and turn other readers into collaborators or competitors. Alice is a platform for authors to experiment with narratives, to allow their stories to transcend media, and to engage fans in the storytelling process.
The second concept, 'Coupland,' makes book discovery a social activity by allowing readers to build shared libraries and hear about additional texts through existing networks. Coupland makes it easy for busy professionals to stay on top of industry must-reads. Businesses can assign book budgets to their employees and build collective libraries through a group-licensing model. Personal recommendations, aggregation of reading patterns, and the ability to follow inspiring individuals and groups help ensure that Coupland users always are tapped into the latest essential content within and outside of the organization.
The third concept, 'Nelson,' connects books to commentary, critique, and contextual information, letting readers explore a topic from multiple perspectives. Nelson reinforces the role of books as carriers of knowledge and insight. Readers can explore polarizing material and see whose word currently has the greatest impact on popular opinion and debate. Layers of connected commentary, news, and fact-checking augment the core book content - providing greater context and encouraging debate and scrutiny.
Each concept features a simple, accessible storytelling format and a particular look and feel. We believe that digital technology creates possibilities, so our solutions truly adapt to the new environment, rather than emulate analog qualities onscreen. For example, we resisted any temptation to move books closer to the bite-sized character of other digital media, because longhand writing encourages immersion (deep reading) and reflection."