Interactive Relabeling
A reflection on how Christopher Volger's Hero’s Journey framework informs creativity and engagement across disciplines.
Quote 1
“We believe that aesthetics and interaction are tightly interwoven, so that the aesthetics of a product must be shaped according to its functions and roles, and its interactions must be judged by their aesthetic qualities—both sensory and conceptual.” pg. 1
Input
This perspective resonates with my design philosophy, emphasizing the integration of form and function. It challenges the common misconception that aesthetics are merely about visual appeal. Instead, this approach asserts that aesthetics play a critical role in guiding user interactions, shaping not only how a product looks but how it feels and functions in the user’s hands. I appreciate this holistic view because it aligns with my focus on creating designs that offer not just utility but a rich, engaging experience. The idea that interactions should be aesthetically pleasing opens up a new avenue for designers to consider nuances like texture, feedback, and even the sound of interactions, enhancing user engagement on a multisensory level.
Quote 2
“Interaction relabeling helps designers break loose from existing notions of interaction. For PDAs, whose interactions have got stuck in graphical user interfaces scaled-down from desktop monitor size, the fresh look provided by interaction relabeling turned out to be quite useful.” pg. 6
Input
The concept of interaction relabeling is an intriguing method that breaks the typical pattern of interface design by encouraging designers to reimagine how a user can interact with a device. I find this technique particularly valuable because it forces a departure from traditional design constraints and encourages creativity. By mapping new interactions onto existing objects, it allows for exploration beyond the standard screen-based interactions, potentially leading to more intuitive and human-centered designs. This method can open doors for designers to innovate in sectors where interactions are becoming monotonous and uninspired, emphasizing the importance of reconsidering how devices fit into a user’s everyday life.
Quote 3
“Designing for extreme characters tries to expose those emotions and character traits which remain hidden in scenarios for supposedly real-life characters because they are incorrect or embarrassing. The technique reminds us that in order to design humane products, these ‘undesirable’ emotions and character traits cannot be disregarded as they are, after all, what makes us human." pg. 6
Input
The practice of designing for extreme characters is a thought-provoking approach to addressing the full spectrum of human emotion in product design. By deliberately engaging with characters who embody exaggerated or even taboo traits, designers can uncover insights that may not emerge through conventional user personas. This technique resonates with my preference for thorough, nuanced exploration, as it advocates for embracing complexity rather than shying away from it. It also aligns with the idea that authentic, empathetic design must consider the imperfections and contradictions that define real people. This approach encourages the creation of products that not only cater to the idealized user but also accommodate diverse and often overlooked needs.