Tom Rombouts holds a bachelor's degree in Telecommunication and works in database software development for Ashton-Tate in Torrance, California. Although he loved the above book, he still doesn't like to use mice. He can be reached on USENET as tomr@ashtate. A.-T. com.
The Art of Human-Computer Interface Design makes almost no mention of the C programming language. Yet it is also one of the most valuable books that a C programmer, as a software professional, could possibly read.
Originally developed by the Human Interface Group at Apple Computer, this 540-page volume is a collection of more than 50 never-before-published pieces by a virtual Who's Who of leading user interface experts. Authorites from related non-computer fields are also included.
The material spans the spectrum of user interface history, philosophy, theory, and technique. Anyone who reads this book will realize that user interface is a far deeper subject than deciding whether on-screen menu choices should use numbers or letters.
The selections range from formal papers, to interviews, to light anecdotal ramblings. Despite the impressive credentials of the many authors, every page is readable and often entertaining. (A tribute to the non-jargon tone of the book is that the otherwise common abbreviation "UI" (user interface) is never used.)
To reduce the anthology-like nature of the book, the manuscripts were shared and reviewed by all the contributors before publication. Thus, cross-references to other articles in the volume appear frequently.
The book is organized into five sections of related contributions. Each section has a brief introduction. Introductory and closing remarks for the entire book also appear. Twenty pages of references, a contributors' gallery, and both a subject and a name index are included.
It is impossible to do justice to such a mass of knowledge in this short space. I hope a brief description of each major section and a selected item or two from each will convey at least a rough sense of the book's overall tone.
The first section, "Creativity and Design," introduces the broad principles, techniques, and problems of interface design. Some of the material is tutorial or historical, while other parts provide a behind-the-scenes look at software design.
From this group, Scott Kim's "Interdisciplinary Cooperation" is a remarkable piece from which anyone in a technical field can learn. In it he illustrates how people from different disciplines (such as a graphic designer and a programmer) invariably have different backgrounds and values, and thus will almost always have at least some difficulty communicating with each other. He then outlines some specific steps to improve cooperation across such boundaries.
The second section, "Users and Contexts," examines the range of users and situations involved in computer interaction. Educational, recreational, and productivity settings are all examined.
Of these, "Koko's Mac II" stands alone. This is a fascinating look at how northern California's celebrated "talking" gorilla, Koko, actually learned to use a specially reinforced and programmed Mac II. (The picture on page 96 of the furry and massive Koko seated at the terminal will be instantly understood by anyone who has ever worked in end user support!)
The next section, "Sermons," is a collection of candid, opinionated essays by some of the most notable names in the user interface field. Works appear by Alan Kay, Donald A. Norman, Ben Schneiderman, Jean-Louis Gassee, Timothy Leary, Ted Nelson, and Nicholas Negroponte.
Not to be missed is Timothy Leary's piece, which opens by comparing the effects of LSD to future software interface designs as analogous methods of changing human consciousness. The reader can decide whether this essay presents a brilliant vision of the future or is merely a new form of psycho/techo-babble.
The fourth section, "Technique and Technology," discusses specific advanced techniques such as animation, color, hyper-text, external input devices, voice interaction, and creating the illusion of reality.
Two articles in this group, one on gestures in human communication and another on difficulties with audio computer interaction, together demonstrate how very different today's human-computer interaction is from normal human conversation.
The fifth and final section, "New Directions," focuses on the future of user interface directions with terms such as "agents," "guides," and "cyberspace." This is perhaps the most fascinating material, because it touches on ideas that to date have only been seen in science fiction.
An interesting topic here is Scott S. Fisher's report on virtual reality work being conducted at the NASA Ames Research Center. What they have accomplished so far is not that different than some fictional scenes from the novel Cyberpunk or the movie Tron. Also noteworthy is an article by Susan E. Brennan that discusses a document titled "7000 Variations on a Single Sentence." As that title suggests, this document demonstrates that real natural language processing will take a lot more than just some long sessions with Lex and YACC.
If there is a single weakness to the book, it may be its not-so-subtle bias toward the Macintosh interface. (Quite understandable, considering the source.) Statements are often made about "personal computers" that more accurately mean "personal computers with graphics and mice," ignoring the large majority of character mode/keyboard only PCs that boot up every day. Still, since much of the book is about the future, and the Macintosh is arguably one of the most advanced interfaces available today, this selective emphasis is tolerable.
In summary, this book is certainly a must for those doing serious work in the Macintosh environment or in interface design. It is also a must for anyone who wants a greater understanding of the history, scope, and future of user interface issues. As the world continues toward an increasingly linked, multi-lingual global community, interface issues in the broadest sense, from VCR programming menus to the iconic shape of stop signs, will take on ever-increasing importance.
The Art of Human-Computer Interface Design
Edited by Brenda Laurel
Addison-Wesley
520 pages
U.S. $26.95; Canada $34.95
ISBN 0-201-51797-3