"Interface design has often been considered a subsection of interaction design (Moggridge, 2007; Löwgren & Stolterman, 2004; Bagnara & Crampton Smith, 2006). In the shift from designing objects to designing experiences, interaction design needs to investigate temporal as well as spatial form (Redström, 2001; Mazé & Redström, 2005), and to see computation as basic material.
From a social, cultural and humanistic perspective, studies of the design of interactions and their contexts of use can be understood in terms of mediated communication and the historical, social, playful and aesthetic in digital design (Blythe, Overbeeke, Monk, & Wright, 2003; Lunenfeld, 1999). This approach has been framed as Communication Design (Morrison et al., in press). This mediational perspective of digital communication is informed by studies in new media, social semiotics, socio-cultural studies of learning and work, and practice-based research into multimodal composition in which mediated discourse itself undergoes change through active use (Jones & Norris, 2005; Morrison, in press). This view is distinct from the structuralist and directional or 'transmission' models of communication (e.g., Crilly, Maier, & Clarkson, 2008) that are not rooted in cultural and mediational theory. From a Communication Design perspective, the interface itself mediates; it is understood as socially and culturally constructed and situated. Such a perspective is not very widely articulated in discussions of the interface in design research. Further, few studies exist of dynamic, digital interfaces and their multimodal characteristics from a specifically media and Communication Design view (e.g., Skjulstad, 2007).
In their design activity, interaction designers invest heavily in the shaping of interfaces as symbolic and cultural texts. Alongside this attention to design, and with reference to user-driven studies, we also need to unpack the features and possible functions of these emerging forms of mediated communication. The proliferation of 'movement in the interface' demands that we pay attention to a variety of media types, genre conventions and earlier media, and to the ways that elements of these are combined in different configurations. Social semiotics provides some means for relating the various graphical, animational and kinetic aspects of dynamic interfaces within a wider communicative perspective.3"
(Jon Olav H. Eikenes and Andrew Morrison, 2010)
Jon Olav H. Eikenes and Andrew Morrison (2010). "Navimation: Exploring Time, Space & Motion in the Design of Screen-based Interfaces", International Journal of Design Vol 4, No 1.
CHARACTERIZED Kuala Lumpur 2013, Tuesday 30 April 2013, 7:00pm, MAPKL, Black Box-Publika, Dutamas, Kuala Lumpur, Malaysia.
"Over the past few decades, Malaysia has been bearing a rapidly fast changing landscape within the creative industries. As Malaysia establishes its national creative policy to be at sync with the heartbeat of the emerging global creative economy - there has been nationwide expansion of creative establishments, particularly in graphic design, motion, product and web design. From here numerous surfacing of young budding talents and self initiated art collectives - all adhere with a single aspiration - and that is to create a vibrant and energetic design scene that is not only modern but also infused with a rich cultural heritage."
"an effective physical connection is still absolutely imperative to brand success. Rather than assuming that the physical space is being hindered by the growth of digital activity, brands and designers are beginning to embrace the newer channels where consumers are choosing to spend their time and deliver a physical environment that adds value around these. Get the basic understanding of the 'new purpose' of the physical space right and the physical manifestation of the design will boom from there.
The key is to design interiors that can respond and morph with social and cultural shifts, so that the spaces become a form of 'cultural commentary', adding value to the popular activities of today's audiences. Above all, interior design must be approached in a way that ensures that the brand communicates a relevant message through this critical channel. This can be achieved by considering and responding to three key topics: cultural relevance, social context and technology integration."
(Lucy Johnston, Design Week)
Fig. "The Anthropologist", iloveretail.com
"The adaptability necessary to succeed as a design or media specialist comes not only from deep disciplinary knowledge. Graduates also need a breadth of knowledge and skills which some commentators have referred to as being 'T-Shaped'. These additional skills include the ability to work with and increasingly work across disciplines, entrepreneurial attitudes and a knowledge of the business contexts in which they will operate. All undergraduate Ravensbourne programmes incorporate curriculum and learning activities designed to develop these skills in our students. Cross-disciplinary collaborative projects offer students the opportunity to work in teams with other disciplines.
The course structure draws on the creative synergies and frictions of the different disciplines at Ravensbourne and provides physical and intellectual opportunities for students to meet, learn and work together with students from different disciplines."
"Are you ready to be part of our golden generation? We've built a new agency that blurs the line between the physical and the interactive. Now we're looking for exceptional people to work in multi-disciplinary teams, creating experiences that make them, and us, famous. We need supremely skilled Designers, Developers, Strategists, Copywriters, Account Handlers and Producers. If that's you, then there's a place in our graduate academy to define your career and craft in this connected world. Closing date for the July intake is Friday 13th July."
(Start JudgeGill, UK)