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Ric Holland ARTS5022 July 2011 Thesis Proposal www.artofwa.

com

TABLE OF CONTENTS
1 Summary.............................................................................................................................................. 2 1.1 1.2 2 Background .................................................................................................................................. 2 Research Questions ..................................................................................................................... 3

Argument ............................................................................................................................................. 4 2.1 2.2 2.3 2.4 Background .................................................................................................................................. 5 More Recently ............................................................................................................................. 5 How it Happened ......................................................................................................................... 5 Why is digital technology important to the artist? ..................................................................... 6

3 4

Literature Review ................................................................................................................................ 7 Methodology ....................................................................................................................................... 9 4.1 4.2 Researchers Role ...................................................................................................................... 12 Industry validations and guidance............................................................................................. 13

5 6

References ......................................................................................................................................... 15 Ric Holland - CV ................................................................................................................................. 20 6.1 Career Summary ........................................................................................................................ 20

SUMMARY

This thesis will investigate and define future concepts in technology and the use of expressive Natural User Interfaces (NUI) for connecting humans to their traditional creative tools and techniques. It critically investigates the various predictions that are routinely made by industry about the way humans might creatively express themselves in the foreseeable future. The thesis will be presented as an online interactive documentary in multi-touch format, combining the candidates research and studio work with interviews and demonstrations from the worlds leading innovators and practitioners.

1.1 Background
Creating harmony between people and technology with sophisticated tools that are natural to use and people-friendly has been the corporate vision for the worlds leading Natural User Interface developer Wacom for the past 25 years. Wa in Japanese actually means harmony, and in the early 1980s they pioneered the development of the first cordless and battery-free pen tablets a brand new way of working with computers that opened up fresh, creative possibilities. Graphic artists around the world immediately prized the tablets user-friendly interface and versatility. To this day, the tablet is considered by many artists to be a must-have in the world of digital graphics. Wacoms CEO Masahiko Yamada and other pioneers of Natural User Interface technologies (including Bill Buxton, Chief Scientist at Microsoft, Duncan Brinsmead, Chief Scientist at Autodesk, and others listed under (4.2 Industry Advisors list) have all agreed to assist me in providing validation and guidance through a maze of emerging technologies, applications and development methodologies in the field of user interface technologies. User Centred Design methodology has become central to the way software and web applications are considered, and yet technology constantly leads the push for user adoption instead of firstly focusing on an understanding of the human requirements. What of the elderly who would like to use a product like Skype to keep in touch with family and friends? The software interface (originally designed for a different audience) is overly complicated and nothing like their experience of using a regular telephone. The same applies to many fine artists who see computers and graphics software as nothing more than a means to promote and publish their work and not a

means of creating it. As Masahiko Yamada speculates, the nature of computing in the next 25 years is not at all certain: Looking 25 years out into the future, I think computer products and computer technology will become really just like air conditioners and general appliances of today and so people wont notice the information flowing. All communication will be in real time anywhere you go. Whatever you do you can be connected at all times and not disrupt your privacy or efficiency. Computers and technology will become real life-supporting tools, but not in a way to control or disrupt the way people live and enjoy life. So we dont know if we are making pens in 25 years and we dont even know if there will be any big name companies still out there at that time when hardware has become just navigation devices, or interactive tools and software have become just services. So we are seeing huge changes in the industry coming. Eventually people wont talk about computers anymore. I dont really know what lies up ahead, who knows, but I do know its likely to be very exciting for all of us.1 Based on insights given in this interview, it's apparent that the notion of hardware and software development being two separate technology silos is rapidly becoming obsolete with innovations like Apples iPhone and iPad tipping the scales towards natural interaction. Microsofts Kinect interface for their Xbox 360 seems a perfect corporate example of putting human interaction first and seeing how technology and applications can be developed around the experience.

1.2 Research Questions


This thesis seeks to ask what makes for a harmonious user interface from the perspective of the technologists and software engineers who develop and manufacture them? Are they actually starting to address the deep human skills that support creativity and artistic practice? Have user interfaces been reverse engineered for the creative practitioner and do they need to be created from the perspective of creative practitioners? Is there a gap between our deep specialised creative skills and how current expressive NUI technology supports those skills? If so how fast is the gap closing, and will digital technology ever completely support the human senses for natural human expression? Can technology act as a prosthesis to the skills of the artist, as Bill Buxton has put it? 2

Source: http://www.scribd.com/doc/33763172/Art-of-Making-Marks-Book Source: http://www.microsoft.com/presspass/exec/guthrie/2010/03-16mixday2.mspx Microsoft Research at MIX10. Mandalay Bay Hotel Las Vegas, Nev. March 16, 2010 Accessed May 28, 2011
2

ARGUMENT

Most creative fields have either embraced technology fully or are at some point of convergence with their legacy techniques and skill sets. (See Appendices Diagram A) I have discussed this concept in many international forums and it has been validated by world leading innovators and practitioners. (4.2 Industry validation and guidance). To fine artists however, digital tools are still a long way from being of any real interest or acceptable as being capable of creative, fluid human expression. To the Hollywood concept artist or Japanese game designer, this may not be the case, and their digital work is often informed by a painting and drawing practice.

My argument is that one day this will not be the case. In the not too distant future we will have devices that can respond to our emotions and convey our expressions through physical and digital means. These tools will look a whole lot different to what we currently have today because they will meet our individual human needs and not just be a general fit for the masses. Technology will be like turning on a tap take as much or as little as you want, and mix it with whatever you feel like then try it on for size. Dont like it then try someone elses recipe.

In the past, user interfaces have been made for mass production and the result has been a succession of mostly unintuitive devices. We reverse engineer our tools, retro fit our skills and often have to painfully acquire new skills just to get the job done. Based on new approaches to industrial design, software and hardware engineering and the constant evolution towards ubiquitous technology, a different type of NUI will emerge. This will be drawn out and presented by materials gleaned in the interviews and research examples that I am uniquely positioned to navigate, investigate, evaluate, summarise and define into a view of the new and exciting field of NUI in emerging innovation. I will articulate clearly a narrative that cuts a human path through the complexities of science and technology and contribute to global knowledge by connecting the dots where others can only see the spaces.

2.1 Background
Expressive mark making is a primal human urge, demonstrated from ancient cave paintings through to the great works of modern times. To illustrate ideas and emotions, to communicate, and to document have been primary motivators for mark making over the centuries. We have strived to interpret the world using tools and techniques that continue to evolve, and so great movements in culture and art history can be attributed in part to breakthroughs in science and innovation. Vibrant, fast drying pigments paved the way for the Impressionists to render their perceptions of the world in new ways. Photography provided greater understanding into visual perception, movement, 3D form, optical perspective and so on.

2.2 More Recently


Mass adoption of digital imaging technologies over the last 25 years has caused a very significant change in the types of creative tools now available. The internet has fuelled a global explosion in the production and consumption of digital art, photos, movies, music, interactive games and content. Still, many fine artists feel that digital tools in the form of computer hardware devices and software applications are possibly still lacking in refinement and versatility to truly respect and cater for the artists deep specialised skills.

2.3 How it Happened


Direct manipulation is a term that was coined in 1983 by the software designer Ben Shneiderman to describe what we now take for granted as pointing on a computer with a mouse. The first cordless pen input device was introduced by Wacom in 1984 (who have gone on to dominate the global computer market as a leader in providing pressure sensitive pen tablets and NUI multi-touch devices). Today, digital Illustrators, designers, animators, concept artists and many other digital practitioners have developed their skills and disciplines with the aid of these expressive NUI tools to achieve stunning results with an ever increasing array of technology.

2.4 Why is digital technology important to the artist?


Digital mark making has matured somewhat over the past 25 years, but its likely well look back in another 25 years to realise it was still only in its early infancy. How close is digital technology to totally synthesising traditional techniques in digital formats in the field of expressive mark making? Would the many and varied human skills and techniques that have evolved through enquiry and discovery over centuries be lost or enhanced if we were to close the gap between human and machine?

It takes a long time to really incorporate new user interface concepts and improvements into software products, because the software developers have already covered the market and have to provide many features for the industry such as ease of use and intuitiveness, combined with powerful computing capabilities and all nicely packed into a seamless product. So today we have a large number of what we might call legacy human interfaces. In the future our human interface experience may well be completely different.

LITERATURE REVIEW

Bill Buxton (Principal Researcher at Microsoft) is a recognised authority on developing innovative NUI solutions and who appears on many of the original white papers submitted concerning early concepts in NUI and multi-touch technology. He proposes3 that the following four attributes should be considered when developing successful NUI solutions: 1. Motor Sensory Skills, 2. Cognitive Skills, 3. Social Context, 4. Emotional Responses.

These concepts have informed my literature investigation and prompted me to read seemingly unrelated subject matter, which has led me down a path of enquiry to find the work of Malcolm McCullough. 4 He investigates the relationship between hand, mind and craft in a digital age, and considers the skills redundancy that subsequently occurs from every great step in innovation.. He takes the word Craft 5 on a journey through time in order for it to be reinvented in the digital arena. I find this helps me bridge conceptually the notion of the transference of traditional to digital skills and what that means when translated into a new context and medium 6. There is a vast collection of knowledge available on Interface Development, User Centred Design, Usability Engineering, Interaction Design, etc., however the field that I have described is relatively unexplored in the literature. Although I have been immersed professionally in the subject matter for many years, I often think that it has now become general knowledge, however this appears not to be the case. After taking a step back and looking objectively from the general publics perception (and even more importantly from the fine artists perspective), it certainly is not.

Source: http://www.daimi.au.dk/~kortbek/web/Publications/kinesthetic-interaction-fogtmann.pdf Dec 8-12 Dec, 2008 Cairns, QLD Australia. Accessed 28 May, 2011. 4 Mc Cullough, V. 1998, Abstracting Craft: The Practical Digital Hand 5 Mc Cullough, V. 1998, Abstracting Craft: The Practical Digital Hand pp. 29. 6 Mc Cullough, V. 1998, Abstracting Craft: The Practical Digital Hand Chapter 7 Medium pp. 193.

Since writing the book Art of Making Marks7 three years ago, I have learnt a great deal more through practical and theoretical investigation and exposure to the global expressive NUI fields that I have come in contact with as an executive at Wacom. I have attended conferences and been exposed to many presentations from academics, read their papers and met with leading digital industry innovators. My collected findings are stored and categorised at my blog: Art of Wa.com 8 My reading list (5.References) though comprehensive still only explains where we are now. The information I seek and the insights I wish to gain are bouncing around in research labs, being presented as papers in conferences, discussed online and in cafs all around the world. This thesis will capture those thoughts, make sense of the technical babble and bring clarity to a field that will all make sense eventually when we look back on it in another 25 years.

7 8

Source: http://www.scribd.com/doc/33763172/Art-of-Making-Marks-Book Source: www.artofwa.com

METHODOLOGY

The following qualitative research approaches, methods of investigation and data analysis will be employed in this study, as the subject matter is speculative and innovative in nature.
1.

General NUI innovation audit of whitepapers, theses, blogs, websites,

YouTube Linkedin and Facebook Groups and other social sources reposted at www.artofwa.com for peer review and feedback.
2.

Remote and where possible, in person video interviews with a

comprehensive array of global experts specialising in various fields of technology and computer sciences, encouraging discussions on future speculation and predictions.

3.

In person interviews with leading artists, designers, photographers, 3D

sculptors, Videographers, etc. from digital and non digital creative disciplines following a semi-structured set of questions. Responses recorded, transcribed, summarised and framed into a table for coding, cross reference and analysis, capturing instructional examples and demonstrations on video as a visual reference.
4.

Continuation of current pilot research questionnaire on technology

innovation to further validate what informed people think generally are the most innovative examples of useful technology innovation today and what can be improved or invented to become meaningful to them in the future. Breaking out of siloed software vs hardware thinking. (Coding Empowered, Connected, Ubiquitous, Universal interaction, Virtual no physical form)
5.

Personal investigations undertaken in Masters of traditional Painting at

COFA UNSW (MPil) (SART9728) while simultaneously working through the course curriculum also using digital painting tools and techniques - Wacom Cintiq12 and 2, Intuos 4, a variety of the latest tablets Apple iPad2, Asus EeeSlate (MS Windows 7), Acer - Google Android Tablet. Results posted at

www.artofwa.com and www.deviantart.com (artofwa group) (12 million artist members in forum) Field procedures, data collection methods and interview guides.

General document audits (1) are summarised and reposted at www.Artofwa.com for open forum discussions and discourse. Through moderation, relevant points are captured for future reference as search data. Summaries are re-posted and so on during the course of research duration. The power of community brings many helpers and self validates in a similar way to a Wiki post to provide data reduction which I will organise and interpret.

Qualitative Interviewing (2, 3) is done in a semi-structured format with some standardised questions to allow scope for digression and probing. Digital audio recording for phone and informal interviews (including note taking), hand held single camera video or side mounted on tripod for Vlog style interviews, duel camera interviews required for broadcast level or instructional style to capture hand/body gestures, screen and/or subject view. All audio will be catalogued for editing and transcribing for specific portions of interest. Transcription services used will be www.smartdocs.com.au. Skype recording is possible through screen capture software if high quality video is not required. This method is very good for low cost face to face interviews when distance and availability is an issue.

Pilot research (4) carried out as questionnaire face to face and responses captured as notes and in some cases audio recording also used because the final question often leads to a digress and probe session. Q&A sheet (3. References)

Practical research (5) of subject matter to build greater depth of personal knowledge and skills to feel and inform issues and gaps that can be discussed with experts in vertical knowledge and applications groups. On-going personal investigation across Tablet devices, operating systems and new release specialised applications, building on a knowledge base and adding to my current understanding of issues and trends from a hands on perspective.

The interviews (2, 3) will form the basis of further discussions within global communities and at www.artofwa.com. A broader pilot (4) survey of innovation in the general field of NUI is required to plot any shift in thinking which has been occurring within academic fields of computer science, mirrored in software development, industrial design and web development/design industries in the forms of User Centred Design and Usability. These practices and methodologies embrace the notion that humans interact with technology best when it fits their needs and motivations in a timely way. The principals have been adopted globally as best practice and continue to be refined. There are many new products on the market that have become popular because of ease of use and a natural feel of operation but there has been a tendency to think of these technical innovations as being of either hardware or software in nature. The research pilot conducted addressed this point by use of a method of inquiry that allowed the interviewee to decouple their thought processes by taking three small leading question steps to prepare the interviewee for a quantum forth leap and in most cases the candidate arrived at a surprising innovative insight. (2. References)

Through practical exploratory sessions with traditional artists/instructors I will catalogue and cross reference traditional tools and techniques to digital tools, techniques and NUI and conduct interviews with University lecturers, Technologists, Practitioners and General Users plus apply my Studio Practice explorations in digital / traditional techniques to gather and catalogue a body of global knowledge in this specialised field.

To visually represent the data as a model and broadly communicate my thesis proposal, research approach and assumptions I have prepared the diagram A. (Appendices) This diagram is based on 30 years of first had observation and practice, illustrating traditional and digital creative convergence over time. The point of intersection represents where digital and traditional disciplines and technologies have completely merged together into one discipline with supporting techniques and technical infrastructure and where human expressive skills, both from a traditional and digital stand point have formed one professional standard/pathway moving forward. The left (Blue) quadrant represents pathways for digital professional tools and techniques over twenty five years. (Art of Making Marks representing a significant body of existing field research) Traditional pathways are represented in the right quadrant (yellow) and bellow the green quadrant demonstrates a much longer history of

technique and technology development. At the extreme right edge of the yellow quadrant is the widest gap to be questioned. This is where traditional drawing and painting tools and techniques still remain arguably preferred by fine artists. The top quadrant (Pink) represents the focus of this thesis being the next 25 years from 5 years out to 25 years in the future where science fiction writers dare to speculate.

Some creative fields have already converged and some are closer than others and so it is my intention to derive from qualitative research and analysis from all 5 methods of data collection to survey and validate the overall model. Vectors will then be plotted into the most likely areas of future innovation based on scenarios that arise from the data. I am likely to find obvious paths and also road blocks in expressive NUI development that do not fully support the factors of Motor Sensory Skills, Cognitive Skills, Social Context and Emotional Response. The exciting aspect to this thesis will be to possibly find the unexpected path in the data to bridge the gap I describe in my argument.

4.1 Researchers Role


Having had the experience as a researcher/interviewer, gathering content for my previous book and a deep understanding of the subject matter, I hope to gain the confidence and trust of interviewees quickly, opening relevant pathways of discussion and insights. My qualifications are detailed bellow (Appendices) and are summarised as follows: 30 years of professional skills and knowledge gained in the field of traditional and digital art, design, photography and digital media innovation having been internationally recognised as one of the early pioneering artist/designers to go digital, continually working closely with key technologists and expert practitioners in their fields. Author the book, Art of Making Marks - Wacoms anniversary of 25 years as leader in Natural User Interface technology, containing interviews that represent a global body of investigation into expressive digital mark making. I am the author of the blog www.artofwa.com which contains three years of investigation and field research and enjoys a healthy flow of visitor traffic to the website. I have developed a comprehensive professional network online and offline, having held senior roles in relevant organisations and currently retained as a consult to the CEO of Wacom in Japan while working full time in a busy web/mobile/apps User Centred Design agency in Sydney.

4.2 Industry validations and guidance


Diagram A (Appendices) has been discussed and validated by senior industry advisors globally, including Bill Buxton at Microsoft Research, a leading contributor of what we now take for granted as multi-touch interfaces, and the man whose work continues to challenge barriers between human and machine. Ric Holland has met with and identified the following people as global leaders of their fields, representing a digital eco-system that will form the basis for this investigation. They have all agreed to critique research findings and to provide insights and guidance from a commercial development and innovation perspective.

Academic Supervisors Associate Professor Phillip George (Media Arts) UNSW COFA Professor Ross Harley (Head of School, Media Arts) UNSW COFA Digital industry advisors Masahiko Yamada (CEO) Wacom Dr Dave Fleck (VP of Engineering) Wacom Bill Buxton (Principal Researcher) - Microsoft Duncan Brinsmead (Chief Research Scientist) Autodesk Russell Brown (Global Creative Director) - Adobe John Derry (Co-author Painter) - Fractal Design/Corel Wayne Westerman (Senior Engineer) FingerWorks/Apple Leon Brown (Senior Product Manager) - Hewlett-Packard Larry Weinberg (Senior Software Engineer) - Smith Micro

Art and Design industry advisors Ron Cobb (Visual Futurist) - Film/Industrial Design (Alien(s), Star Wars, Back to Future) Syd Mead (Visual Futurist) - Film/Industrial Design (Blade Runner, Tron, 2010, etc)

Academic advisors Professor Judy Kay (Head of IT - Computer Science) - Sydney University (Computer Human Adaptive Interaction Research Group) - CHAI (Australian Research Council) President - AIED Society Professor Dr Tom Misner (CEO) SAE Global Darrall Thompson (Director of Teaching) - UTS Dr Jeffrey Crass (Director & Dean, Enmore Design Centre) - TAFE NSW

Art and Design industry advisors Ron Cobb (Visual Futurist) - Film/Industrial Design (Alien(s), Star Wars, Back to Future) Syd Mead (Visual Futurist) - Film/Industrial Design (Blade Runner, Tron, 2010, etc)

Academic advisors Professor Judy Kay (Head of IT - Computer Science) - Sydney University (Computer Human Adaptive Interaction Research Group) - CHAI (Australian Research Council) President - AIED Society Professor Dr Tom Misner (CEO) SAE Global Darrall Thompson (Director of Teaching) - UTS Dr Jeffrey Crass (Director & Dean, Enmore Design Centre) - TAFE NSW

REFERENCES

1. Art of Making Marks http://www.scribd.com/doc/33763172/Art-of-Making-Marks-Book 2. Pilot survey Q&A analysis


1. What in your opinion is the best example youve seen of Digital Innovation? The coding applied to the answers are: a. Software 6 responded (content delivery) b. Hardware 9 responded (devices with natural user interfaces) 2. Why do you like it? Validating the emotional and practical criteria being used. The coding applied to the answers are: a. Empower 8 responded (new capabilities made possible) b. Connect 7 responded (current capabilities made better or easier) 3. How do you think it could be improved? Evoking responses pertaining to category 3 (Combined) The coding applied to the answers are: a. Ubiquitous devices 4 responded (many devices everywhere) (Combined) b. Universal interaction 7 responded (transparent connectivity) (Combined) c. Smarter/Better functionality 4 responded (generally improved) (Combined) 4. If you could magically invent something new to improve your life what would it be? The coding applied to the answers are: a. Virtual 13 responded (has no physical form) b. Connected 9 responded (current capabilities made better or easier) c. Empowered 11 responded (new capabilities made possible)

3. Reading List
Bill Buxton, Sketching User Experiences (1) Getting the design right and the right design.
Fail fast and early, learn fast and early. Redesigning a product or relaunching one is very expensive. This is a great read and deals with products and services in their "wholistic" setting. A new idea exists in a context and that context determines its success or failure.

Scott Jenson, The Simplicity Shift


Designing Innovative consumer products takes both passion and perspective. Passion to overcome the hundreds of problems that always crop up and perspective to know which problems are the most important to solve.

David Bayles and Ted Orland, Art & Fear


Observations On the Perils (and Rewards) of Art making.

Steve Krug, Dont Make Me Think


The title of the book is its chief personal design premise. All of the tips, techniques, and examples presented revolve around users being able to surf merrily through a well-designed site with minimal cognitive strain.

Dr Helen Sharp, Interaction Design: Beyond Human-Computer Interaction


A distributed cognition analysis typically involves examining the distributed problem-solving that takes place including the way people work together to solve a problem.

Donald A. Norman, Things That Make Us Smart: Defending Human Attributes in the age of the machine
A Human-Centered Technology The human mind is limited in capability. There is only so much we can remember, only so much we can learn. But among our abilities is that of devising artificial devices artifacts- that expand our capabilities. We invent things that make us smart.

Bill Moggridge, Designing Interactions


Why a Mouse? Who would choose to point, steer, and draw with a blob of plastic as big and clumsy as a bar of soap? We spent all those years learning to write and draw with pencils, pens and brushes.

3DTotal.com, Digital Painting Techniques: Practical Techniques of Digital Art Masters


Digital Painting Techniques is a compilation of tutorials written by various talented digital artists. It is broken up into eight chapters with roughly five to seven tutorials apiece, and a gallery at the end.

David Cole, Complete Digital Painting Techniques


Simulate and replicate traditional art-creation techniques - from dry brush and wet-into-wet to crosshatching and graffiti - using digital applications. Featuring step-by-step instructions using popular programs such as Adobe Photoshop and Corel Painter, this encyclopedia of techniques is a bookshelf staple for designers, illustrators and fine artists alike.

Cher Threinen-Pendarvis, The Photoshop and Painter Artist Tablet Book: Creative Techniques in Digital Painting
Learning to actually draw and paint with a graphics tablet has barely been covered. If you've been a traditional artist for years, you still need basic exercises to learn how to handle the "digital brush."

Scott Spencer, ZBrush Digital Sculpting Human Anatomy


Whether you are sculpting human or alien characters with ZBrush, your ability to create convincing results with an efficient workflow is extremely dependent on your knowledge of sculpting anatomy. As any established character artist will tell you, the education you get through sculpting your first human body following anatomically correct guidelines is one of the most important learning processes you will go through.

Mike de la Flor and Bridgette Mongeon, Digital Sculpting with Mudbox: Essential Tools and Techniques for Artists
Explores digital sculpting in its entirety from the art studio, to computer, through to production. Traditional sculpting techniques and digital sculpting in Mudbox with comprehensive tutorials. Interplay between Mudbox and other 3D/animation programs like 3ds Max and Maya - export Mudbox models -Use Mudbox to prepare rapid prototypes, build/mill armatures, and create hybrid sculptures.

Robert Barrett, Life Drawing: How to portray the figure with accuracy and expression
Clear chapters which demonstrate how to study figure drawing from a wide variety of approaches. It does not limit to one particular procedure but offers many ways to get into the subject, all of which it demonstrates via very fine drawings/sketches. Very strong on structural approaches.

Lark Books, The Figure in Clay: Contemporary Sculpting Techniques by Master Artists
Nine artists are featured and all use a wide variety of techniques: coiling, pinching, slab, casting, and molds - alone or in combinations to create some of the best modern ceramic sculpture being produced today. Each of the featured artists writes an introductory essay explaining their philosophy, work and techniques.

Jose Arguelles, The Transformative Vision: Reflections on the Nature and History of Human Expression.
Arguelles gets right down to the root causes of the crisis of modern civilization. He calls the feminine element psyche (breath or soul) and the male element techne (skill). Since the Renaissance techne has come to dominate life, giving us a purely mechanical existence at the exspense of psyche, which has been relegated to the unconscious. Arguelles shows how art has manifested this split, culminating in the sterility of modern art today.

Michael Benedikt, Cyberspace: The First Steps


Cyberspace has been defined as "an infinite artificial world where humans navigate in information-based space" and as "the ultimate computer-human interface." These original contributions take up the philosophical basis for cyberspace in virtual realities, basic communications principles, ramifications of cyberspace for future work and play places.

John Carroll, Making Use: Scenario-Based Design of Human Computer Interactions


Traditional approaches to the complexity of the design process via abstraction, treating design problems as if they were composites of puzzles have given way to Scenario-based design uses concretization. A Scenario is a concrete story about use. Scenarios are a vocabulary for coordinating the central tasks of system developmentunderstanding people's needs, envisioning new activities and technologies, designing effective systems and software, and drawing general lessons from systems as they are developed and used. Instead of designing software by listing requirements, functions, and code modules, the designer focuses first on the activities that need to be supported and the allows descriptions of those activities to drive everything else.

Alan Cooper, About Face: the Essentials of Interface Design


Primarily directed at software interface design, its principles could also easily apply to other disciplines, such as architecture and industrial design - anyone concerned with how people use products.

Anthony Dunne and Fiona Raby, Design Noir: The Secret Life of Electronic Objects
Beneath the glossy surface of official design lurks a dark and strange world driven by real human needs. A place where electronic objects co-star in a noir thriller, working with like-minded individuals to escape normalisation and ensure that even a totally manufactured environment has room for danger, adventure and transgression.

Paul Dourish, Where the Action Is


Introduction to the world of phenomenology, sociology and philosophy as pertaining to Human-Computer Interfaces. Arguably "social computing", "tangible computing" and "embodied interaction" add up to a construct that can effectively inform the design of new HCI devices.

Matt Fuller, Software Studies


Computer scientists, artists, designers, cultural theorists, programmers, and others from a range of disciplines each take on a key topic in the understanding of software and the work that surrounds it. These include algorithms; logical structures; ways of thinking and doing that leak out of the domain of logic and into everyday life.

George Lakoff and Mark Johnson, Metaphors We Live By


Deconstruction of the term "conceptual metaphors", and the complex way in which they interact to structure our experience of reality. The authors examine how common ways of speaking and thinking actually reflect a relatively coherent metaphorical system, suggesting philosophical and political implications.

Brenda Laurel, The Art of Human Computer Interface Design


1990 human-computer interface design. Wide range of opinions, experiences and conclusions on what really works (and what doesn't) on interfaces back then.

Malcolm McCullough, Digital Ground


The many disciplines that support interaction design: psychology, architecture, cultural anthropology and technology.

Bonnie Nardi, Context and Consciousness: Activity Theory and Human Computer Interaction
A provocative compendium of theoretical expositions and methodological examples for the application of activity theory in the design of collaborative computing systems and the implications of activity theory to instructional design/architecture, knowledge management and all that fun stuff.

Bonnie Nardi and Vicki O'Day, Information Ecologies: Using Technology with Heart
Perspectives on how technology is affecting our society in both an anthropological as well as a sociological view catering to both technical and non-technical individuals.

Don Norman, The Invisible Computer: The Design of Everyday Things


Strives to support the design of better information appliances due to the complexity of the computer coupled with creeping featurism. Human centered design must be used to overcome increasing complexity.

Jennifer Preece, Yvonne Rogers and Helen Sharp, Interaction Design: Beyond HumanComputer Interaction
Interaction Design is a meat and potatoes book about HCI. Rather than focusing on the software that drives the application, the book analyzes how users actually interact with the system. This interaction is what ultimately will determine whether a system is successful or unproductive.

Jef Raskin, The Humane Interface


Goes outside the realm of currently-used computer systems, and introduces ideas that can't immediately be put to good use. But that is necessary to get a complete picture of the concepts. (Not to mention the help that it might give to someone who decides to go about designing an all-new computer or operating system.

Nathan Shedroff, Experience Design 1: A manifesto for the creation of experiences


An attempt to define this field in as inclusive a way as possible. It covers a broad cross-section of media with examples and theory.

Edward Tenner, Why Things Bite BackTechnology and the Revenge of Unintended Consequences
From medicine and natural disasters to plant and animal pests to machinery and software to how better running shoes lead to more injuries. In short what we have here is a warning: we are not as smart as we think we are. We are not as completely in control of our lives as we would like to believe. We are in danger of really screwing up the works at any time.

John Tahckera, In the Bubble


A loosely structured conversation with many voices, a freestyle rush into 10 clusters of ideas on how designers - architects, industrial designers, artists, engineers, urban planners and others - should be thinking about today's big design issues, including sustainability, needless complexity, and the frenetic pace of the social and business worlds.

Edward Tufte, The Visual Display of Quantitative Information


A simple proposition: graphs and graphics that represent statistical data should tell the truth.

Lawrence Erlbaum Associate, Human Computer Interaction


Defines the psychology of human-computer interaction, showing how to span the gap between science & application. Studies the behavior of users in interacting with computer systems.

Appendices Diagram A

RIC HOLLAND - CV

1 Tralee Ave. Killarney Heights Sydney NSW 2087 AUSTRALIA (Mobile) 0411 737 478 (Email) ric.holland@extreme.com.au (Linkedin) www.linkedin.com/in/richolland (Twitter) www.twitter.com/ric_holland (Blog) www.artofwa.com (Portfolio) www.extreme.com.au

6.1 Career Summary


Education UNSW - Masters (Research), Expressive Natural User Interfaces, (2010 - Current) TAFE - Graphic Design Advanced Diploma, Randwick 1980.IBM GSA Media Training 2001, User Centred Design Methodology 2002. Objective Experienced creative design professional, digital media innovator, human centric method practitioner and expressive natural user interface researcher, positioned and involved in the next wave of new media and NUI development globally. Career Summary 2011 Current (6 mths) Gruden Senior Business Development Manager

___________________________________________________________________________ 2011 Current (6 mths) Wacom Consultant to CEO ___________________________________________________________________________ 2006 2011 (5 years) Wacom Partner & Evangelist Manager / Global ___________________________________________________________________________ 2003 2006 (3 years 4mths) Extreme iMedia Creative Director / Consultant ___________________________________________________________________________ 2000 2003 (3 years) IBM GSA Creative Director / Asia Pacific ___________________________________________________________________________ 1998 2000 (1 year) MetaCreations Corp Regional Manager / Asia Pacific ___________________________________________________________________________ 1996 1998 (3 years) Vision Graphics CTO / Creative Director ___________________________________________________________________________ 1989 1996 (7 years) Extreme Digital CEO / Creative Director ___________________________________________________________________________ 1980 1989 (9 years) Ricreation Studio Founder / Creative Director

Employment History

Global Partner & Evangelist Manager Wacom GBM (Global Brand Management) 2006 Current Wacom is one of the worlds largest Natural User Interface vendors. Graphics pen and screen tablets are very popular with artists, graphic designers, animators, architects, etc, who commonly cite Wacom as industry standard. Wacom also provides interface technology to major computer vendors such as HP, etc. Responsible : Creating and maintaining visibility of Wacom in the global digital content creation markets. Develop key evangelist relationships and partnerships with global Masters, Professionals and Influencers. Writer/editor for Investor Relations team responsible for all public corporate documents including two Annual Reports. Project lead on Global Web, CMS and Social Web projects. Achieved : CEOs award for writing and producing Wacoms 25th Anniversary book Art of Marking Marks. Attained 2,000 monthly visitors to my blog www.ArtofWa.com from over 100 countries and 4,000 cities. Successfully lead the global web launch of a new multi-touch product Bamboo for mass consumer markets. Maintained 140% annual sales growth when responsible for ANZ Business Development. Presented Wacom technology at over 100 trade shows, public functions and spoke to many thousands of customers in past 4.8 years. ____________________________________________________________________________________ CEO / Creative Director Extreme iMedia 2003 2006 Extreme iMedia provided consulting services in professional fields such as interactive music, digital publishing, web branding, user centred design, digital media education and cross media workshops. Responsible : Business development and creative projects at 301 Interactive, Different, IdN World, HotHouse, Gravity. UNSW (University of New South Wales), COFA (College of Fine Art), UTS (University of Technology Sydney), AFTRS (Australian Film, TV & Radio School), LAMP (Laboratory of Advanced Media Production), Billy Blue Design School, SAE Computer Graphics College, Enmore Design Centre. Achieved : World wide release 5.1 DVD for INXS through Universal Music, PR launch SAE Global headquarters, Toyota Digital Point of Sales CRM, Alcatel, Ambience, Fujifilm, South Corp Wines, IAG, eBook Systems, 3G Hutchison. Delivered digital media courses and retained senior lecturer positions.

____________________________________________________________________________________ Creative Director / Asia Pacific IBM GSA (Interactive Branding & Design) 2000 2003 IBM eBusiness Innovation Centre :: Sydney represented the leading edge of enterprise ebusiness development and was the largest of 20 IBM centres globally before the Dot Com crash. Responsible : Developing and maintaining multi-million dollar relationships in the emerging eBranding sectors of Corporate, Government, Finance and eLearning. Mentored and directed the Usability, User Centred Design (UCD) and Interactive Branding & Design teams for Asia Pacific. (IA Information Architecture, Graphic Design, Multimedia, Content Strategy, Business Analysis, Solution Design) Achieved : IBM eBusiness Innovation Centre launch and cross media branding, Thai Farmers Bank eBranding (18 months project that contributed over $60 Million in follow on revenue), Westpac Bank ($50 Billion successful outsourcing bid and proposal), CBA, IAG, Caltex, Dairy Farmers, South Corp Clean Air, NSW Parks & Wild Life, Vodafone, Ansett, GM Holden, Sydney Local Councils, Red Cross, etc. ____________________________________________________________________________________ Regional Manager / Asia Pacific MetaCreations Corp 1998 1999 MetaCreations Corp was best known for its graphics applications Ray Dream Studio/Infini D, Fractal Design Painter, Bryce, and Kai's Power Tools. In 1999 MetaCreations invested heavily in '3d on the Web' technology "MetaStream" and began restructuring from graphics applications to Internet technology. MetaStream, acquired Viewpoint Digital, and ultimately merged to become the Viewpoint Corporation. Responsible : Business development in AP, researched and appointed new channel partners, developed and managed marketing, managed $300K of market development funds. I publically evangelised the software tools throughout Asia Pacific at partner road show events with Adobe and Macromedia, directly at trade events, conferences, at educational institutions, sponsored competitions and awards nights. Achieved : 200% sales growth in the professional and education sectors by developing user groups, new sales and marketing channels and by providing education site licensing. I provided valuable product feedback to US software engineers through local beta testing programs and by talking to customers.

____________________________________________________________________________________ Creative Director / CTO Vision Graphics 1996 - 1998 Vision Graphics was one of the largest and most respected pro photographic labs in Australia. A merger with Extreme Digital enabled it to become the most advanced digital photographic and multimedia company in the region, supporting 80 staff and innovating advanced digital imaging techniques for the Professional Photographic industry. Responsible : Developing brand, business, creative services, technology, managing client expectations and delivering projects using the latest techniques in digital imaging, interactive publishing and multimedia. Achieved : Consolidation of traditional/digital services, expansion of core business to leverage broader markets with creative services (not limited to traditional photographic services), branding, consolidated pricing model, rapid development software platform for interactive production, web galleries and digital portfolios. I evangelised the beginning of digital video in AP with Radius and Supermac - spoke at trade shows, conferences and events in regard to new media markets. ____________________________________________________________________________________ Creative Director / CEO Extreme Digital 1982 - 1996 Extreme Digital an award winning design agency that set new standards in digital media production, pioneering the early adoption of digital techniques that challenged the established industries in print publishing, photographic manipulation, video/film and animation.(interactive media) Responsible : Being the founder and business manager, establishing 80/20 innovation method, tendering, creative pitch, project management, client management, R&D, staff training, team and morale. Achieved : 130% annual growth over 14 years, 20 famous Board Games designed/produced and marketed. 2,500 branding and marketing projects delivered - including BHP, Microsoft, Apple, Aldus, Adobe, Fractal, Corel, MetaCreations, HP, Compaq, SPC Software, CA, Kodak, Fujifilm, InfoMagic, Firmware, Events Fashions, Micro Australia/Merisel, Mac World Expos, Publish Expos, Queensland Tourist & Travel, Balarinji, Nida, SAE, SOCOG Olympics, IBM, Toshiba, Sony, Quantel, Wacom, etc. ____________________________________________________________________________________ Honors and Awards Judge for AIMIA Awards 2003, 2004, 2005, 2007, 2009, 2010. Judge for 20th Annual London International Awards Interactive Media. Judge for inaugural Integrated Media Awards 1998. Won many MdN/IdN Awards, MacWorld Awards, Australian Catalogue Awards, etc. AIMIA (Australian Interactive Media Industry Association) Vice President NSW Committee 2001 - 2006 Advisory boards - Enmore Design Centre TAFE, School of Audio Engineering SAE, Bond University and Create Australia as accreditation consultant. Co-founder and Vice President of International Design Education Association (IDEA) '4 Day Thing' annual design workshops supporting over 50 Charity Clients. Project Leader - 9 years. Hosted at UNSW COFA.

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