（選自書籍）方法論外文翻譯（原文）

1、225 © Springer International Publishing Switzerland 2014 R. Spence, Information Visualization, DOI 10.1007/978-3-319-07341-5_6Chapter 6 Design 6.1 A Very Personal View The literature on interaction design is vast

2、. So it may appear both presumptuous and lazy of me to devote only a few pages to this topic. But remember that this book is targeted, not at experts in the field of information visualization and interaction design, bu

3、t at readers enjoying their first concentrated exposure to the subject and, in all probability, completing their introductory course by undertaking a short project – one of the best ways of gaining an understanding of i

4、nteraction design for information visualization. So what I present in this chapter is a very personal account of the guidance for project/design work that I offer to my students in London, Eindhoven and Funchal. 1 I

5、’m aware that other teachers of information visualization will adopt different approaches, and I would indeed be very pleased to hear from them as well as from professional interaction/visual designers. In the narrativ

6、e that follows I’m addressing my remarks directly to ‘you’, my students. 6.2 An Attitude Creative design may appear quite foreign if you have just emerged from one of the many traditional academic disciplines such as

7、physics, mathematics and psychology, although it was almost certainly a feature of your kindergarten and primary years. There is a very different ethos associated with creative design: you will be collaborating with o

8、thers in a small group; you will at first be generating ideas without first evaluating them, and some may at first be considered ‘silly’; you will know that there are many possible outcomes of the task you have been give

9、n, not 1 I concentrate on the design process and oral presentation. My students will have had years of instruction about report writing (e.g., Goodlad 1990 ): more discussion here would be unwelcome, and could neve

10、r encapsulate the millions of words already written on the subject. 227to voice – typically by a word or phrase – ideas that occur to them, with one or two people standing by a board to write those ideas down immediatel

11、y they are offered. Especially at the start of a design project the aim is to externalise ideas – to move them from your internal thought processes where no one else can appreciate them, to some surface where your col

12、leagues can see them and start thinking about them. A variant involves individual members of the project group writing down ideas on Post-its – one idea per Post-it – and sticking them onto a vertical surface visible t

13、o all, thereby supporting later collaborative critiquing, grouping and ordering. In this activity all participants are equal , and it is essential that there is no deference to the most animated person taking part.

14、But it is essential that the accepted rules of brainstorming are obeyed. The session must be ‘judgement free’: none of the ideas that are voiced and written down must be questioned or ranked or judged in any way: at t

15、his stage there is no such thing as a silly idea. 3 There is a good reason for this rule – ideas that might be developed into a truly useful outcome might at first appear ‘silly’ or ‘obviously irrelevant’. Thus ‘wacky’

16、or ‘wild’ ideas are encouraged, as well as lateral thinking. For the same reason, at this stage, quantity rather than quality is of prior importance: ‘quantity can breed quality’. A brainstorming session can be quite b

17、risk, and might typically last for just 20 min, though the time to stop will usually be obvious. The ideas that are generated should preferably be recorded on a wall or very large pieces of paper so that, later, they a

18、re visible to all members of the group: that objective would, of course, be defeated if ideas were recorded on a laptop or notebook. Brainstorming is often referred to as a divergent activity in the sense that quanti

19、ty and a lack of judgement are essential. For this reason the dynamics of the brainstorming session are relevant: pauses can easily and quite naturally cause transition to criticism and evaluation. Group brainstorming i

20、s not the only way to generate ideas for later evaluation and development. Some individuals can be extremely creative on their own, so it may be a good idea to introduce a substantial pause following a group brainstorm

21、so that the results of such individual idea generation can be added to the result of the group session. In any case brainstorming can be mentally exhausting and can often best be followed at the very least by a coffee

22、 break and even longer to allow any individually created ideas to emerge. 6.5 Who Is the User? Early in the design process the relevant characteristics of the people who will use your design must be established. Will

23、 their interest be casual and poorly formulated, as with many visitors to a garden centre? Or well-formulated as a result of training, as with an ambulance driver? Interviews are a normal part of the design process, an

24、d 3 During one presentation about a design to show a supermarket’s produce to online customers three ideas were mentioned and developed, with a fourth merely classified as being silly and therefore discarded. I asked

25、about the ‘silly idea’. A very embarrassed student said that he had the idea of supermarket products ‘falling from the ceiling’. Creative development of that idea could have explored the idea that gravity might be rear