To determine whether the gamification of nature is a suitable solution to engage children with nature, we have to take a closer look at gamification in general.
The Goal The goal of gamification is motivation. The user should constantly have the incentive to stay motivated. With game elements like points, levels, badges, quests, etc., gamification allows users to clearly see their own goals. The users are being guided down goal-oriented paths and given immediate feedback. Good performances are being positively reinforced and the content is simplified and broken down into smaller tasks. This allows for more manageable tasks, keeps the user from being overwhelmed, and gives them a sense of accomplishment. All of this leads to heightened user motivation, engagement, and satisfaction.
The Reward System The reward systems in gamification differ from the traditional ones, i.e. money or grades, which are more controlling in nature and can affect people negatively. Gamification elements such as badges, points, trophies, or virtual gifts represent rewards that don’t have much meaning outside the game. Instead, they emphasize the relevance of a particular achievement, are more goal-oriented and aren’t a cause for additional stress. They can even connect the users with each other since they are all striving towards the same goal. The competitive nature of humans has to be taken into account here since it gives the users another incentive to keep working towards their goals and challenges them.
The Science Behind It As mentioned before, gamification is centered on motivation, the desire and willingness to do something. This drive and ambition are fueled by dopamine. The body releases dopamine when experiencing something pleasurable or satisfying. While these can be a variety of things, receiving a reward is one of the biggest. But the brain may give someone a chemical hit even before they’ve been recompensed for doing something. This is because dopamine neurons try to predict the rush someone will receive from certain actions. Over time, they’ll learn when something satisfying is about to happen and release dopamine. But this also means that even more dopamine will be released when receiving unexpected gratification. Therefore, the more the user plays the game, the more they receive, and the easier it is to stay motivated.
Unzählige Methoden für Gamification haben sich im und aus dem E-Commerce entwickelt. Einige wenige haben sich als Evergreens bewährt und helfen nicht nur im E-Commerce, sondern auch auf Blogs und Dienstleisterwebsites um Nutzer*innen zum Wiederkehren zu bewegen. Folglich werden hier etablierte Methoden für interaktive Websites aufgezählt.
1. Punktesysteme
Punktesysteme sind für alle gamifizierten Systeme und ihre Anwender*innen wichtig, denn sie zeigen den aktuellen Status eines Zustandes. Überlegt man sich zunächst ein Punktesystem, denkt man eventuell an ein Sportereignis, einlösbare Punkte in einem Videospiel oder Bonuspunkte, welche Nutzer*innen als Belohnung für das erfolgreiche Abschließen von Aufgaben dienen. Designer*innen sollten immer auf die Handlungen der User*innen achten, denn ihre Handlungen verraten viel über die Usability des Designs. So können Designer*innen entsprechend Anpassungen am gestalteten System vornehmen. Punktesysteme können offensichtlich oder kaum wahrnehmbar sein und dienen unterschiedlichen Zwecken.[1]
TripAdvisor zum Beispiel ist eine Plattform, auf der Kund*innenbewertungen über Reisen auf der ganzen Welt ausgetauscht werden. Die Website ist sehr erfolgreich und soll laut Berichten für 30% aller Hotelbuchungen verantwortlich sein. Daher haben Hotels ein großes Interesse daran, gut bewertet zu werden, aber auch dass andere Hotels schlecht bewertet werden. Yelp, eine Plattform, auf der Nutzer*innen lokale Restaurants und Unterhaltungseinrichtungen bewerten können, hat ähnliche Probleme. Derzeit ist der einzige Weg, um festzustellen, welche Bewertungen echt und welche gefälscht sind, viele von ihnen zu lesen. Weder TripAdvisor noch Yelp haben ein Reputationssystem implementiert, das der Komplexität oder dem Wert entspricht, der tatsächlich geschaffen wird. [2]
Im Vergleich dazu betrachtet eBay sein vollständig ausgestattetes Reputationspunktesystem, seit langem als zentralen Wert, der das Vertrauen und das Transaktionsvolumen fördert.[3]
So können Punktesysteme auch in Form von Währungen sichtbar werden. Interaktionen wie Likes, Views, Follower oder Bewertungen im WorldWideWeb zählen mittlerweile zu einer Art Zahlungsmittel. Als Facebook entwickelt wurde, gab es keine offensichtliche Verbindung zwischen der Anzahl der Freund*innen eines Nutzers und deren Funktion. Ähnlich wurden auf Twitter die Anzahl der Follower oder Erwähnungen nie explizit als “Punktzahl” oder “Wert” bezeichnet. [4]
Im Online Marketing und auf Social Media sind diese virtuellen Währungen nicht mehr wegzudenken. Wurde eine gewisse Menge davon angehäuft, kann diese Menge abgewogen, der Wert bestimmt und überlegt werden, was damit geschieht. Dadurch können potentielle Händler*innen und Käufer*innen aufmerksam werden.
Auf Websites können Funktionen von beispielsweisen solchen Likes von Designer*innen, in Form von Herzen, Sterne, Punkte oder dergleichen platziert werden, mit denen die Nutzer*innen interagieren. Gleichzeitig kann auch bestimmt werden, ob User*innen lediglich darauf regieren können, oder ob ihre Reaktionen auch sammelbar, tauschbar sind oder wiederum als Währung eingesetzt werden kann. Damit können Designer*innen den Nutzer*innen anbieten, dass sie für bestimmte Aktionen durch die eigene Währung belohnt wird – zum Beispiel wie die des Abonnements eines Newsletters. Designer*innen sollten sich dabei immer wie Fragen stellen: Wie können User*innen die Währung Sammeln? Wie viel bekommen die User*innen und wofür können sie es ausgeben? [5]
So sorgt Nike Plus zum Beispiel für Motivation, indem bei der Laufverfolgung eine soziale Komponente eingebaut wurde. Die Läufer*innen werden dazu ermutigt, sich mit Facebook zu verbinden und Informationen über ihre Läufe in ihren Feeds zu teilen. Wenn Spieler*innen den Lauf starten, sendet die App eine Nachricht in deren Facebook-Feed und bittet Freund*innen, sie anzufeuern. Jedes Mal, wenn ein/eine Freund/in den Beitrag “liked”, spielt die App den Klang von anfeuernden Menschenmengen über ihre Musik, um ihnen mitzuteilen, dass sie gerade von Freund*innen unterstützt wurde. Auf diese Weise entsteht ein unterhaltsamer sozialer Kreislauf, der das Engagement der Spieler*innen für deren Fitnessprogramm steigert.[6]
(NikePlus App; Zichermann, G., & Cunningham, C. (2011). Gamification by Design: Implementing Game Mechanics in Web and Mobile Apps. O’Reilly Media. S.97)
2. Geschenke
Geschenke spielen in vielen Kulturen auf der ganzen Welt eine wichtige Rolle und sind oft von komplexen und widersprüchlichen Ansichten über angemessene Verfahren und Höflichkeit geprägt. In Ländern wie Südkorea und China gibt es eine starke Tradition des Schenkens, was die Vielfalt virtueller Geschenkideen in diesen Regionen und den Ursprung des Schenkens erklärt. Während in den USA und den meisten europäischen Ländern Geschenke in der Regel nur an wichtigen Feiertagen und bei besonderen Lebensereignissen überreicht werden, werden sie in der Online-Welt zunehmend als regelmäßiger Ausdruck von Verbundenheit und als wichtiger Teil der Kommunikation genutzt. Es muss nicht teuer und muss auch nicht besonders gut überlegt sein, aber es sollte Spaß machen und einfach sein.[7]
Wichtige Mechanismen des Verschenkens sind:
Leicht übertragbare virtuelle Gegenstände
Diese Art von Gegenständen bilden die Basis für ein System von Geschenken oder eine Kultur und sollten eng in die Wirtschaft des Spiels integriert sein.[8]
Geschenk-Erinnerungen und Empfehlungen
Event-Erinnerungen können eine Möglichkeit sein um sicherzustellen, dass Geschenke gemacht werden. So können zum Beispiel die Geburtstagserinnerungen von Facebook, die eine hervorragende Mechanik darstellen, zu Interaktionen führen und diese sogar fördern, da diese wiederholbar sind. [9]
Karma-Punkte
Diese knüpfen an den Geschenk-Erinnerungen an, denn Nutzer*innen die wie oben beschrieben beispielsweise jemandem auf Facebook gratulieren, werden sozusagen mit gutem Karma belohnt. Karma Punkte ähneln einem Geschenk in einem sozialen Kontext und wirken ähnlich wie die oben beschriebenen Punktesysteme.[10]
[1] Zichermann, G., & Cunningham, C. (2011). Gamification by Design: Implementing Game Mechanics in Web and Mobile Apps. O’Reilly Media. S.36
[2] Zichermann, G., & Cunningham, C. (2011). Gamification by Design: Implementing Game Mechanics in Web and Mobile Apps. O’Reilly Media. S.41
The research area of interaction design is concerned with how humans use technology. It can be applied to develop more sustainable, effective, and user-friendly systems. Utilizing interface design to develop long-term solutions has gained more attention in recent years.
As the globe grows more interconnected, it is crucial to think about how our actions affect the environment. In other words, there is a need for rethinking existing systems to equitably meet the needs of a growing global population while ensuring future environmental viability is a critical task for today’s society [1]. To achieve sustainable development, we must satisfy the requirements of the present without sacrificing the needs of the planet. Meeting current requirements without sacrificing the capacity of future generations to meet their own demands is necessary for sustainable development. This entails developing systems that are socially just, environmentally friendly [2], and commercially viable.
A vital part in achieving sustainable development goals can be played by interaction design. For instance, we may entice individuals to use public transportation instead of private vehicles by creating user-friendly interfaces. We can also help consumers conserve money and the environment by creating apps that encourage users to use less energy. Since sustainable design focuses on creating the future rather than just a structure, Sustainability is both a process and a product issue. Understanding design as a process enables designers to assess and foresee the financial, social, and economic consequences of building things more accurately [3].
Although designing for sustainability has many difficulties, it is a significant and rewarding field of employment. We can create solutions that will actually change the world in which we live with careful preparation and imagination.
To argue that our future is full of ambiguity and that there are few certainties about how we will live in the future is an understatement. However, there has never been a more crucial time to plan for a more sustainable future for people. That’s why creating an effective interaction design process for a more sustainable future should be taken seriously.
Interaction design will fully fulfill its goal which is to give users a positive experience while fostering connections with the digital environment. When designing with this concept in mind, one must concentrate on giving each element of their experience, including the surroundings, meaning. Designers must comprehend all the components of sustainability, from renewable energy sources to water conservation methods, in order to efficiently do this, and use those resources to develop practical solutions.
Empathy, which involves comprehending users’ needs and responding to them in a way that makes sense to them, is at the core of any successful interaction design process. To make sure their ideas are both usable and practical in the long run, designers must take into account the types of technology people currently have access to as well as those they may have in the future.
Designers must concentrate on developing strategies for progressively delivering improved user experiences after they have a clear grasp of the people they are trying to assist. To do this, fresh creative ideas can be informed by data gathered from numerous touchpoints across various platforms. This enables us to anticipate changing technological trends and ensures that our ideas will still be useful in the future.
When developing interaction design methodologies for a sustainable future, designers may equip people all over the world with resources that change the world by taking into account all these variables. Interactive designs can act as catalysts for social transformation by granting everyone access to the knowledge they need to pursue their aspirations and create a brighter future together, whether it be through the creation of opportunities for education or the provision of resources for food production.
The term Artificial Intelligence, or AI for short, was coined by computer scientist John McCarthy in 1956. AI can be defined most simply as a machine that thinks. More broadly, a machine is said to have artificial intelligence if it can interpret data, learn from the data, and use that knowledge to adapt and achieve specific goals.
AI can be separated into two categories – weak and strong. Most AI today is considered weak AI, meaning that it was created to focus on one specific task, mimicking some aspect of human intelligence. Examples of weak AI include SIRI, Alexa, speech to text recognition, customer service chatbots, recommendation engines, and pre-screening for job or university applications.
On the other hand, strong AI is a machine that can think exactly like us, including a self-aware consciousness that can solve problems, learn, and plan for the future. In the 1950s, Alan Turing, considered to be the father of computer science, developed the Turing Test to determine whether a machine has developed the ability to think like us. Turing argued that, if a machine could trick a human into thinking it was also a human, that meant it had strong AI. Contemporary thinkers argue that there is more to thinking like us than just being able to fool us. An argument against the Turing Test is a famous thought experiment known as The Chinese Room, developed in 1980 by John Searle. If you were isolated in a room and given a codebook telling you how to respond to messages in Chinese which were passed under the door, your responses would convince the native speakers on the other side of the door that you could speak Chinese, when really you were just manipulating data based on a set of rules. The Chinese Room argues that passing for human isn’t enough to qualify for strong AI, and that strong AI requires that the machine has actual understanding, something that Searle believed is impossible to achieve.
Although AI is far from a new topic, the years from 1950 to 2010 are considered the AI Winter, as not much progress was made during that time, but rather many small improvements that eventually led to the start of what is known as the AI Revolution in 2010, that continues today.
As games are a huge genre that cannot be describes and analysed as a whole it is important to split certain aspects of games and analyse them individually. The most important aspect that plays into the player behaviour and their choices to why they prefer certain games over others is the player type that they identify as. Bartle defined 4 main player types in 1996 that can still be mapped to players of modern games.
Achievers
Socializers
Explorers
Killers
These four types excel in two out of 4 characteristics that are unique to the group. While achievers are often very aware of their environment, they also enjoy acting and immersing into the story. Explorers share the interesting in the environment but focus more on the interaction with their surroundings to learn every detail about the story, the world and the connected challenges. Socializers prefer people over environment and love interacting with them, generally NPCs and also real players, however, they prefer bonding and making new friends with real players. Killers are in some way opposite of socialiser but they both share their interests in people. But while socializers enjoy interacting, killers do not care about that but rather act based on their own goals. They are usually very competitive and prefer playing against people rather with them.
Realistically most players do not identify as one type only. In reality an average player classifies as 80 percent of a socializer, up to 50 percent explorer, 40 percent achiever and around 20 percent killer.
The player types are important to understand as they explain what gets people interested in games, but the next question is what keeps them playing. The main reason why people keep playing games is the flow state. Once a player reaches the flow, they have a balance between a difficulty that keeps them challenges but does not demotivate them. The flow theory is based on positive psychology and is reached when a person is fully committed to a single task. It does not only appear in games but also in normal day to day tasks or work. However, it can be very exhausting as the full focus is on one activity.
Game designers are trying to balance the player between getting bored and experiencing a certain level of anxiety that stops them from playing as it stresses them too much or makes them frustrated with the game. Usually, the difficulty increases over time as the players become more skilled and experienced, however it should not be too difficult for them to get back into the game once they start playing for some while. A common example of generally good games that fail to keep players in the flow state is The Witcher 3. The story and the character are well made, however the players don’t really get into the flow state as the difficulty is to high due to a difficult fighting system that is not well introduced and then not increasing the difficulty as the player learns the controls.
References:
Bartle, R. (1996). Hearts, clubs, diamonds, spades: Players who suit MUDs. Retrieved from https://www.researchgate.net/publication/247190693_Hearts_clubs_diamonds_spades_Players_who_ suit_MUDs
Bartle, R. A. (2006). Designing virtual worlds ([Nachdr.]). Berkeley, CA: New Riders.
Zichermann, G., & Cunningham, C. (impr. 2011). Gamification by design: Implementing game mechanics in web and mobile apps. Sebastopol (Calif.), Beijing, Cambridge: O’Reilly.
This blog post is a follow up to my previous post and focuses on additional collected sources for my mind map. This will also be the last blog post giving insights into my exploratory research stage as I will focus on clustering the topics to get deeper insights into intersections and further research on topics already on the min map. During the week I added 34 new sources to my mind map which gives a total number of 60 sources.
Note: Since all notes on the mind map are linked to their sources and are used for structuring my research interests only, I will not provide additional information or references on all topics at the end of this post.
What has changed I added sources to the topics “Generative Art” (which I renamed to “Design with Code”) and “Media Didactic” – focusing mainly on the topic “Media Didactic”. Moreover, I found an article about exhibits in the New York Hall of Science and added it to “Institutions”, giving insights into the mechanics of the work being done behind the scenes. [1] Finally, I added two blogs about technology, society and critical making and a book about mathematical principles behind our physical world including possibilities of creating a digital world out of it. [2][3]
exploratory research – mind map
The Human Perception In the following paragraph I want to talk about multi-sensory perception, as the human perception is the bases for every interaction. When we speak about hands-on exhibits, the visitor first has to perceiving his environment. This is being done via multiple sources of sensory information derived from different modalities like vision, touch and audition. Some sources derive from different modalities but provide information about the same object. For example, a flying bird can be seen with eyes or heard with ears. This phenomenon can also be described as redundant sources of sensory information and is used by our brain to interact with the environment in a purposive fashion. [4]
Now let us connect human perception with the ability to learn vocabulary!
The more matching sensory impressions are involved in the learning process at the same time, the easier it is for the brain to understand and store the vocabulary. According to a research article from the Max-Planck-Society, the movement system in the brain appears to be particularly important – active movement and gestures have helped remembering the vocabulary. Apart from movement, the authors state that pictures have also helped to remember vocabulary better. However, further research must be made. [5]
Despite the fact that this theory sounds very logical and having made the experience that learning is easier combined with movement too, I would like to add that humans can not only be seen as rational beings. In my opinion emotions play a fundamental role – not only when it comes to the process of learning as in one of the articles noted, but also in the way we process and interpret the perceptions of our environment.
For my following blog post I was looking into where pupils acquire their needed information for vocational programs. To get a deeper insight, I was interviewing 2 people at the age of thirteen and fourteen, on what is their opinion on finding the needed information regarding apprenticeships or secondary schools. The interview was held in german.
For those who are not familiar with the term of “Polytechnische Schule” and “vocational orientation”, you can find the description below the interviews.
For my first interview, I was interviewing a 14-old boy who is currently attending “Polytechnische Schule” in Reutte. In autumn 2023 he will start an apprenticeship.
Nadja: You are currently visiting the “Polytechnische Schule” in Reutte. How does the subject vocational oraining proceed in your school?
Interviewee 1: In the “Polytechnischen Schule” there are two special fields which are: the technical cluster and the service cluster. Both of them contain three subclusters. For the technical cluster there are: wood and construction, electronics and IT and metal. In the service cluster there are: tourism, trade and offices and health- and social services.
When the semester started we chose three sectors and there we joined each of them for a week. Afterwards we had a talk with the head of the subclusters, we intended to choose. In the end, they deciced, if we fit into the faculty. I chose the cluster metal. We have several subjects which are necessary for this sector, for instance sciences, informatics or studio workshop, there we work with our hands and build workpieces.
After the first three weeks we needed to do a two-week internship at two different companies. We chose the companies, we are interested in. We knew these companies through our teachers or had private connections. Also there were constantly companies and representatives visiting the school and present their companies and the apprenticeships they offer. At the end of the semester, we will have another intership week. But I don’t know yet, in which company I want to do my internship.
Nadja: Where do you get the information from for the apprenticeships you are interested in?
Interviewee1: I get the information mostly from the teachers in school, in the context of the subject “vocational orientation” or from my parents.
Nadja: Do you feel enough informed about the different vocational programs?
Interviewee1: Yes, I do feel informed enough. I live in a small region where I know a lot of people work in different companies and I can ask them directly, if I want to know something. Also we have a close connection with the teachers and we can ask them anytime.
Nadja: What do you think of how the companies communicate to youths?
Interviewee1: I think it is quite good and I feel informed well enough. But I also think, that they should communicate more on Social Media. Especially me and my friends are on TikTok and Instagram all the time.
Nadja: Who do you address if you need further information?
Interviewee1: I can always talk to my parents and they are supporting me anytime. Also teachers in school are very supportive in those matters.
For my second interview, I was interviewing a 13-old girl who is currently attending “Neue Musik Mittelschule Weiz”. In autumn 2023 she will attend further school in Graz.
Nadja: You are currently visiting the “Neue Musik Mittelschule” in Weiz. How does the subject vocational orientation proceed in your school?
Interviewee2: We do have the subject Vocational Training for 2 years now. Several companies and representatives of highschools visit our school. Also the whole class made an excursion and visited companies and highschools.
Nadja: Where do you get the information from for the apprenticeships or highschools you are interested in?
Interviewee2: I get my information mainly at school and through my own research. The other day I went to the education fair in Graz together with my mother. There I also received more information and insights.
Nadja: What do you think of how the companies communicate to youths?
Interviewee2: In my opinion the communication is really exciting. I learnt a lot from the representatives or the education fair in Graz.
Nadja: Who do you address if you need further information?
Interviewee2: If I need further information, I am going to adress my parents or a teacher.
Terms
Polytechnische Schule:
The Polytechnische Schule is a one-year mandatory general education school in the Austrian education system that follows the 8th grade. Its primary purpose is vocational preparation. [1]
Vocational Orientation:
Vocational orientation is a process that has two sides. On the one hand, we have the young people who are seeking to orient themselves towards their own interests, competences and objectives. The other side consists of the requirements of the world of work, to which the young people are guided. Both of these sides constantly need to be rebalanced. Vocational orientation provision supports young people in mastering this process. [2]
Everything is colorful, sparkles, flashes, everyone laughs, everything is beautiful. You have the opportunity to experience the great life of your friends and share your own. Through comments, likes and the direct messages you can communicate and interact with your friends or new people. You can get inspired, discover new opportunities and possibilities, or even convince others about yourself and inspire them. It all sounds like a beautiful world on Instagram and a good exchange with social contacts.
So why is Instagram increasingly portrayed as toxic, why are more and more warnings being issued, and why is this app even said to lead to depression? I would like to explore these questions at the beginning of my research and uncover the risks that this supposedly beautiful illusory world brings with it.
Anxious, Stressed, Depressed:
People tend to seek for a digital status (online popularity) and compare themselves to others. These behaviors are leading to depressive symptoms such as anxiety, body concerns and lower self-esteem.
The problem with comparing oneself online is that users not only see their friends, but also many people they would never meet in real life and whose pictures have usually been edited with heavy filters. The boundaries between friends and celebrities become blurred. This then leads to a false social comparison, as users start to compare themselves with people and make them their ideal image, who in this way do not exist at all.
Users also begin to edit their own images and adjust their weight, for example, because of this social pressure. This also leads to eating disorders. A study at Florida State University found that one in three women edit their pictures before posting them, and this also has a direct correlation with dissatisfaction about their own bodies.
Another study showed that people who were shown photos of fitness, beauty and modeling experienced increased negative mood and anxiety than the control group who were shown neutral images (nature, food).
These were just a few examples of what Instagram does to us and our body image. Numerous of studies indicate that the use of the app from the point of view of edited images can lead to severe anxiety, eating disorders, insecurities and depressive feelings.
So this is a big, if not the biggest, risk that Instagram brings and that I think needs to be countered. I will discuss other risks and initial counter-movements in the following blog posts.
As the world becomes increasingly digitalized, it is more important than ever to consider how our design choices can impact the environment. Interaction design has a lot of potentials to help create a sustainable future, through things like increasing efficiency and reducing waste. For example, designing user interfaces that are easy to use and understand can help reduce the need for paper instructions or disposable packaging. And by making products and services more efficient, we can help conserve resources and reduce emissions.
There are lots of small ways that interaction designers can make a big difference in creating a sustainable future. So let us commit to using our skills for good and make the world a better place! Interaction design is a powerful tool to help create a sustainable future. The way information is presented, and the tone of the message can be used to influence people’s decisions. For example, if an environmental organization were to simply tell people to stop using plastic, they would likely not be taken seriously. However, if they were to explain the long-term effects of plastic pollution and why it is crucial to reduce our reliance on single-use plastics, their message may be more persuasive. By understanding how different tones can affect people’s attitudes and behavior, designers can create experiences that inspire positive action.
In addition to tonality, interaction design can also use visuals and animations to help make a message more impactful. For instance, designers could create visuals that illustrate the effects of climate change or show what steps people can take to reduce their carbon footprint. In this way, interactive designs can help make complex topics easier for people to understand and provide them with tangible actions they can take to contribute towards a sustainable future.
Finally, interaction design can be used as an opportunity for collaboration between businesses and individuals. Designers could create platforms that allow companies to connect with local communities in order to promote sustainable practices or develop interactive tools that allow individuals to track their own sustainability efforts over time. By providing users with a platform where they can work together towards a common goal, designers have the potential to create powerful experiences that unite people around environmental initiatives.
Overall, interaction design has the potential to play a key role in creating a sustainable future by influencing tonality, using visuals and animations, and fostering collaboration between businesses and individuals. With thoughtful design approaches, designers have the power to inspire positive action towards environmental initiatives and ultimately shape the future of our planet – one design at a time! As we look to the future of our planet, it is clear that we need to find new ways to create a more sustainable society. One way that interaction designers can help is by using our skills and expertise to create solutions that are environmentally friendly.
Semiotics is the study of signs and symbols as a means of communication. The word semiotics comes from the Greek sēmeĩon sign or signal. Semiotics is about signs and symbols in general, not just visual signs. Semiotic studies include the study of language, written texts, images, gestures, fashion or any other form of symbolic expression that can be interpreted through a system of codes or rules. Semiotics has its roots in linguistics but has since expanded to include all forms of human communication. [1] Therefore, it is also relevant for user interface design.
Signs have their own meaning, which is given to the sign and interpreted by the viewers. The social and cultural context plays a role in the interpretation of the signs. In UI Design, Designers have a special role in choosing signs for the interface. That means not only icons, but written as a word, graphical or in some other way.
They must convey a message and provide an interaction, which is specified by user tasks but also by the goals of the stakeholders. Not only do they have to take the user’s context into account, they also have to convey the message that the stakeholders want to convey via the user interface. [2] For example, an interface must reflect the brand identity and speak the language of the user. This underlines the importance of knowing and understanding the user and his environment, in order to assess whether he or she understands the words, icons or methapers used. When talking about Semoric it is also significant to consider the socio-cultural preferences of the target group. Using language that is appropriate for the target audience, such as youth language or specialized language, or considering codes in a specific industry can help deliver a better message. That is also true for the design of user interfaces.
For De Souza, the relationship between designer and user has a special role in the UI communication process. Basically, the designers are in a conversation with the user. The designer is the sender of the message, while the user is the receiver. The message can be conveyed through words, images, graphics, explanatory texts and behaviour (of the UI). Thus, designers must also be aware of their own communicative behaviour. According to this theory, the designer communicates with the user, not the system. The message that the designer conveys must be interpreted by the user when he interacts with the system. [3]
Especially complex software programs can benefit from the semiotic approach. If they only follow guidelines and laws, then they do not communicate the true intellectual value of the software. They should communicate the value of the software solution to the user instead of just showing them how to use it. If users are not aware that the software can offer them much more, if the designers do not communicate the real value of the software, then this can have serious consequences for the user experience. Why should a user learn a new technology or continue to use the program if it is less efficient than another method? [4]
In many cases of B2B software, where software products are commissioned by companies for reasons of digitization, the end users are very often not involved and the value of the new software is not communicated to them. Presenting the user with a fait accompli is in many cases the reason why the acceptance of new tools and software fails. Furthermore, the success of the software is not measured by the user experience, but by the satisfaction of the project managers and the numbers of usage. If we look at the user interface design from the semiotic point of view, then explaining the strategies of the application is a more important point than the handling itself.[5] This approach, the focus on the communication between designer and user could support design patterns to produce better usability and user experience. In order to achieve this, designers must have high communication skills – they must communicate their intentions and reasons concisely and understandably, in a way that the user can absorb quickly and easily. [6] According to the semiotic process, users interpret the user interface according to their intentions. If these match the designer’s intentions, then the communication has been successful. [7] Users interpret all the time. Sometimes their guess is correct, sometimes not, but all are either for “why” or for “what”. Evaluating these guesses leads to interactive patterns. [8] The understanding of methapers must also be taken into account. The use of methapers to increase understanding of a new kind of development is well known. The “desktop” methaper references the physical desktop to help the user deal with documents and their filing system in folders.[9]
