Conference on Designing for User eXperience
Fort Mason, San Francisco, CA

Important Dates

Early registration rates honored starting:

July 22, 2005

Notice of Acceptance:

August 15, 2005

Late registration rates effective after:

October 1, 2005

Last date to reserve hotel rooms at conference rate:

October 3, 2005

Mentor Request Deadline:

May 15, 2005

Contact us for additional info:

About DUX2005

ACM SIGCHI, ACM SIGGRAPH, and AIGA are excited to collaborate again in developing the Designing for User eXperience conference (DUX2005). Building on the success of the inaugural 2003 conference, DUX2005 will gather together researchers and practitioners of all the design disciplines and related fields to share their stories and experiences on how the needs and goals of both users and businesses are met through design. Sponsored by three premiere societies, the conference will feature case studies drawn from practitioners around the world, selected through a rigorous peer-review process that emphasizes practical, real-world learning.

The conference will take place at the beautiful Fort Mason Center in San Francisco, CA, from November 3-5. See the Program section for more details.

Registration

Register for DUX2005

Visit https://changehero.io/buy/eth to easily buy Ethereum tokens with just a few clicks, using a platform known for its fast and secure transactions. Argonaut Hotel rooms at the DUX2005 conference rate are sold out. For additional housing options, please contact any of the hotels located near the Fort Mason Center.

Hyatt Fisherman's Wharf
555 North Point
415.563.1234
www.fishermanswharf.hyatt.com

Hotel Del Sol
3100 Webster
415.921.5520
www.thehoteldelsol.com

Chelsea Motor Inn
2095 Lombard
415.563.5600
www.chelseamotorinn.com

The Coventry Motor Inn
1901 Lombard
415.567.1200
www.coventrymotorinn.com

Cow Hollow Motor Inn
2190 Lombard
415.921.5800
www.cowhollowmotorinn.com

Lombard Motor Inn
1475 Lombard
415.441.6000
www.lombardmotorinn.com

San Remo Hotel
2237 Mason
415.776.8688
www.sanremohotel.com

Best Western Tuscan Inn at Fisherman's Wharf
425 Northpoint
415.561.1100
www.tuscaninn.com

Edward II Inn & Suites
Scott and Lomard
415.922.3000
www.edwardii.com

Cancellation Policy:

Refunds will only be issued prior to October 22, 2005 subject to a 5% processing fee.

Conference fees

Tutorials are not included in the conference fee.

You must register for the conference to attend the tutorials.

Presenters are expected to register as paid participants.

Through 1 October 2005
for early registration		 Conference Fee Tutorial 1/2 Day Tutorial Full Day
Student $400 $90 $180
ACM SIGGRAPH/SIGCHI
and AIGA Members		 $650 $90 $180
Cooperating Society Member* $650 $90 $180
Non-Member $700 $100 $200
   
After 1 October 2005 for
late and on-site registration		 Conference Fee Tutorial 1/2 Day Tutorial Full Day
Student $400 $125 $250
ACM SIGGRAPH/SIGCHI
and AIGA Members		 $750 $125 $250
Cooperating Society Member* $750 $125 $250
Non-Member $800 $140 $280

*Cooperating Societies: Usability Professionals Association (UPA), Information Architecture Institute (IAI), Human Factors and Ergonomics Association (HFES), Society for Technical Communication (STC), Association for Information Systems (AIS SIGHCI), and Interaction Design Group (IxDG), International Institute for Information Design (IIID).

Hotel Reservations

The Argonaut Hotel is an historic waterfront hotel, located in San Francisco's Fisherman's Wharf. Many of the 252 spacious guestrooms feature unobstructured views of Fisherman's Wharf, the San Francisco Bay and the city skyline.

A conference rate of $169.00 per night for a single/double room is available from 2 to 5 November. This hotel rate is valid on the extended dates of 10/31, 11/1 and 11/6-11/8 based on availability only.

For reservations at the Argonaut Hotel, please contact the hotel directly at 866-415-0704. Be sure to let them know you are attending the DUX2005 conference. The reservation cutoff date is October 3, 2005

Hotel Map and Directions

Experience San Francisco

San Francisco, the host city of DUX 2005, is an eclectic blend of cultures and perspectives.

To help you experience this incredible city, we are happy to bring you "Experience San Francisco" by Nathan Shedroff. One of the premier names in Experience Design, Nathan has put together an exciting and curious guide to San Francisco. This is his view on one of the most beautiful cities in the world.

Download "Experience San Francisco" (pdf file)

Sponsors

DUX 2005 is a joint effort of many people and organizations without whom the conference would not be possible. We would like to express our thanks to them here:

If you are interested in becoming a sponsor, find out how.

Champions  
 
   
Benefactors  
   
Sponsors  
   
Friends  
Adobe FilterTalent
Intuit

Cooperating Societies

DUX 2005 is a joint effort of many people and organizations. DUX 2005 is being presented in cooperation with the societies listed below. If you are a member of any of these societies, you are eligible for the member registration rate.

   
   
Special thanks to , the SF Bay Area presence of
and its following constituent organizations:

Face to Face Silicon Valley


Silicon Valley

  

Organizers

Organizer's Bios

Conference Chairs
Richard Anderson, ACM SIGCHI
Brian Blau, ACM SIGGRAPH
John Zapolski (on leave), AIGA

Program Chairs
Clark Dodsworth, ACM SIGGRAPH
Nancy Frishberg, ACM SIGCHI
Rakhi Rajani, AIGA

Treasurer
Jeff Jortner

Sponsorship Chairs
Hugh Dubberly
Robin Bahr
Fred Sampson

Volunteer Chair
Teresa Hardy

Studio Tours
Maia Garau

Media Consultant
Sylvia Paull
Liz Danzico

Conference Manager
Betsy Johnsmiller

Emeritus Advisors
Jonathan Arnowitz
Aaron Marcus

Internet Support
Michael Kellner
Carly Tanaka-Lubensky
Chris Schmechel

Organizer's Bios

Return to Organizers page

Conference Co-Chair
Richard I Anderson
www.riander.com
riander.blogspot.com

Richard Anderson is a User/Customer Experience Management & Collaboration Consultant with more than 20 years of experience. He was a Practice Leader at 3 e-business design consultancies, starting and directing the Experience Center at Viant, and starting and directing the User Research & Experience Strategy discipline at Sapient and Studio Archetype. For those and many other companies, he has extended the reach and effectiveness of multidisciplinary, user-centered design practices.

Richard was a Program Chair for the first Designing for User eXperience conference (DUX 2003), was BayCHI (www.baychi.org) Program Chair for 12 years, served on SIGCHI's Extended Executive Committee and as SIGCHI's Local Chapters Chair for 5 years (for which he was honored for "outstanding and valuable contributions to HCI communities throughout the world"), and is on the Executive Council of the User Experience network (www.uxnet.org).

Conference Co-Chair
Brian Blau

Brian Blau is the CEO of Bluerock Technologies, a startup specializing in 3D computer graphics tools for visual simulations, and has been a professional in the field for more than 17 years. He has held diverse technical and leadership positions in the computer graphics industry at companies such as Autodesk, SGI and Intervista Software. In addition he has experience managing teams of computer graphics software developers, producing trade and technical conferences and live events, partner management, teaching at the college level and has been an art and film festival judge.

He contributes to the graphics industry by serving in various positions at the annual SIGGRAPH conferences as a producer of major events that included a week-long film festival and a 50,000 sqft high-tech exhibition and showcase. He also served as elected leader of the San Francisco SIGGRAPH chapter. His work in industry standards helped launch a 3D internet file format standard called VRML. He has been published or mentioned in Presence, PC Gamer, IEEE CG&A, SIGGRAPH, Artbyte, Hollywood Reporter, Frames Per Second, and has appeared in local and national broadcast news.

Conference Co-Chair
John Zapolski

John Zapolski is principal of Management Innovation Group, a San Francisco based consulting firm. Drawing on broad experience in research, strategy, design, and organizational development, his work helps Fortune 500 companies invent new product and service offerings, develop new business processes, and unlock the potential in their organizational culture. Committed to advancing the capabilities of the design industry, John is a member of the board of directors for the AIGA. He also helped launch the Information Architecture Institute and formerly served on their board. John was program chair, along with Richard Anderson, for the inaugural DUX conference in 2003.

Conference Program Chair
Clark Dodsworth
www.dodsworth.com

Clark Dodsworth consults on digital strategy for institutions and interaction design for software, devices, and exhibits. The work includes online, onsite, and hybrid concepts, as well as strategic partnerships for the entertainment and museum markets. His first work on an end-user personalization database project was in 1990. He recently completed interaction design for the Natural History Museum of Los Angeles’ exhibit based on “Collapse!” Jared Diamond’s follow-up to the book, “Guns, Germs, and Steel.” Clark has worked on both the production and creative sides of interactive exhibits, TV spots, educational video, and electronic toys, and in management of networked point-of-sale marketing and early massively multiplayer games. He was director of content and production for the world's first B2C wireless, location-aware, internet company. He has been published or quoted in the Wall Street Journal, Informal Learning Review, Technology Review, Computer Graphics, Amusement Business, Animation World, the SIGGRAPH Video Review, and Fun World. He is a Fellow of Informal Learning Experiences, Inc., and contributing editor of Digital Illusion: Entertaining the Future with High Technology, published by Addison-Wesley. He serves as a reviewer for IEEE CG&A and SIGGRAPH, and is a speaker and juror for cultural heritage, art, simulation, and technology forums.

Conference Program Chair
Nancy Frishberg

Nancy Frishberg works with organizations to design products that put people at the center of user experiences. She uses appropriate qualitative and quantitative methods to aid decision making. Her professional career spans industry, academia and non-profit organizations, as well as consulting. At Sun Microsystems, her team conducted the first laboratory usability study (2001) of a large scale Open Source Software project, the GNOME desktop. At New Media Centers, Apple and IBM she advanced academic computing, contributed to handheld usability, organized the engineering side of business relationships, created award-winning multimedia tools, promoted disability access, and managed technical professionals.

She holds a Ph.D. from University of California at San Diego in linguistics. Her book on sign language interpreting, in print continuously for 20 years, serves as the basis for the national written examinations supervised by the Registry of Interpreters for the Deaf. She's been active in ACM's SIGCHI conferences as a participant, author or program organizer since 1989, and is a familiar face at BayCHI's monthly meetings.

Conference Program Chair
Rakhi Rajani
www.philosophise.com

Rakhi Rajani uses a multi disciplinary approach to exploring and interpreting human behavior, and considering the design and application of environments, technology and tools that encourage creativity and new forms of interaction.

Using participatory design to generate behavioral insights and facilitate a conversation between the designer and the customer, her work has spanned medical environments, transport systems, museum environments (including the Exploratorium), auditory and tactile interaction mechanisms, and social computing.

At HP Labs, she established and facilitated relationships between the research lab and the company's business and marketing counterparts. She led an investigation in culturally relevant design (across three geographies) and also worked with tweens to develop socially motivated digital artifacts that integrate into their fluid lives.

Rakhi has participated in the AIGA events circuit, organizing and promoting events both in the US and the UK. She is currently based in London, conducting research in Narrative Environments.

Volunteers

Volunteers are no longer needed for the conference.

Become a part of this premiere Designing for User eXperience conference by volunteering. This invaluable learning experience presents opportunities to meet and learn directly from User Experience industry professionals, teachers, and artists. Volunteers assist conference attendees and speakers, support conference programs and event logistics. Read the DUX2005 Volunteer Policy. (PDF)

To inquire about other volunteer opportunities, contact the .

Communicating with the Conference

The DUX2005 Conference welcomes your questions and suggestions sent via email to the .

DUX2005 Program

The full DUX2005 conference spans three event-filled days with reflection, discussion, and debate on designing for user experiences. The conference program features prominent designers, business analysts, researchers, and educators through presentations and discussions of design cases, design practice, design research, invited plenary speakers and panelists.

The program will include:

  • Plenary Speakers including luminaries from the world of user experience design.
  • Tutorials introducing attendees to some of the disciplines of designing for user experiences.
  • Conference Sessions featuring real-world design practices, research and cases.
Special Events
  • Studio Tours showcasing the rich diversity of practices in the Bay Area, and exposing attendees to a variety of inspiring work environments, cultures and approaches. This is an exciting opportunity for you to informally meet talented peers in the burgeoning field of UX design.
  • Receptions and other gatherings, offering lively conversation and networking opportunities.
  • Exhibits, featuring sponsor booths and a bookstore.
Conference Schedule  
Thursday, 3 November  
9 am-5 pm: Tutorials
10 am-4 pm: Studio Tours
5:30-7:30 pm: Opening Plenary
7:30-10 pm: Opening Reception
Friday, 4 November  
8-8:50 am: Breakfast
9-10:30 am: Session 1: User-Steered Content
10:30-11 am: Coffee Break
11 am-12:30 pm: Session 2: Common Sense and Reason
12:30-2 pm: Session 3: Posters: Visualization + Lunch
2-3:30 pm: Session 4: Invited Panel
3:30-4 pm: Coffee Break
4-4:45 pm: Session 5a: Design Education
4:45-5:30 pm: Session 5b: PG13: Designing Games
5:30-7:30 pm: Reception
9 pm-1:00 am: DUXBash
Saturday, 5 November  
8-8:50 am: Breakfast
9-10:30 am: Session 6: Out in the World - Experiences Beyond the Desktop
10:30-11 am: Coffee Break
11 am-12:30 pm: Session 7: Harnessing User Needs and Insights
12:30-2 pm: Session 8: Posters: Engaging User Needs in the Design Process + Lunch
2-3:30 pm: Session 9: Ubicomp - Mobility and Sociability
3:30-4 pm: Coffee Break
4-5:30 pm: Closing Plenary

Receptions, Meals, etc.

To facilitate attendee networking and socializing, DUX 2005 will feature two conference receptions, a festive DUXBash, and breakfasts, lunches, and coffee breaks.

Thursday, 3 November
Opening Reception
Sponsored by BayDUX, with support from Intuit
7:30-10pm
Buffet dinner, with breathtaking views of San Francisco Bay and Alcatraz Island

Friday, 4 November
Wine and Cheese Reception
Sponsored by AOL
5:30-7:30pm
Tasting of a selection of outstanding wines from Sonoma County's Wattle Creek Winery

Friday, 4 November
DUXBash
Sponsored by SAP, with support from Adaptive Path
9pm-12am+
Festive party at an art gallery and nightclub in downtown San Francisco

Breakfast will be provided at the Fort Mason Center one hour prior to the opening sessions of both Friday and Saturday. Lunch will also be provided. Mid-morning and mid-afternoon breaks both Friday and Saturday will feature coffee and other beverages sponsored by Yahoo!

DUX 2005 Plenary Speakers

Thursday, 3 November

6 pm: Opening Plenary

  • Bill Irwin, of New York, is an actor, writer, director, clown, choreographer and producer, and just completed his critically acclaimed starring role on Broadway in Edward Albee’s Who’s Afraid Of Virginia Woolf? opposite Kathleen Turner, for which he won the 2005 Tony Award for Best Actor. Bill starred opposite Sally Field in the 2002 Tony Award-winning play The Goat Or Who Is Sylvia, also by Albee. Bill is recipient of a National Endowment for the Arts Choreographer’s Fellowship, a Guggenheim fellowship, and a five-year MacArthur Foundation Grant. He has appeared in several feature films, including Scenes From a Mall, Illuminata, My Blue Heaven. more>

  • Driven to comedy by law school, Heather Gold continues to mix mind with matter, never doing the same set or show twice. Heather's unique style is a reflection of her unorthodox artistic path, reflecting her studies at Yale, Northwestern Law, Groundlings, and years in the geek and entrepreneurial culture of Silicon Valley. Heather's written for Alan Cumming, contributed to venues and publications like TechTV and The San Jose Mercury News and has baked over 19,000 cookies in her hit interactive baking comedy "I Look Like An Egg, but I Identify As A Cookie." more>

  • J. Walt, of Los Angeles, CA, is an interactive designer, filmmaker, graphic artist, and composer. He has created a number of films, videos, interactive attractions and performances. He has been at the forefront of interactive art, expanding the uses of interactive graphics into uncharted territories. He is an award-winning pioneer of computer-generated puppetry, having created digital puppets since 1987. more>

Saturday, 5 November

4 pm: Closing Plenary

  • Edward Tenner, of Princeton, NJ, is an independent writer, speaker, consultant, on technology, culture, and the history thereof. His book, Why Things Bite Back: Technology and the Revenge of Unintended Consequences is an international bestseller. His most recent book is Our Own Devices: The Past and Future of Body Technology. more>

DUX 2005 Plenary Speakers

< back   Bill Irwin   Heather Gold   J.Walt

Saturday, 5 November

4 pm: Closing Plenary

Edward Tenner is an independent writer, speaker, and consultant on technology and culture. His book, Why Things Bite Back: Technology and the Revenge of Unintended Consequences has been an international bestseller. His most recent book is Our Own Devices: The Past and Future of Body Technology.

After receiving the A.B. from Princeton, a Junior Fellowship of the Harvard Society of Fellows, and the Ph.D. from the University of Chicago, Edward Tenner held teaching and research positions in Chicago and became science editor of Princeton University Press, publishing general interest books and launching competitive series in astrophysics, animal behavior, and earth sciences. Among the works he sponsored were Richard Feynman's last scientific book, QED: The Strange Theory of Light and Matter and The History and Geography of Human Genes by L. Luca Cavalli-Sforza, Paolo Menozzi, and Alberto Piazza, which began a new era of human genetics and received the 1994 R.R. Hawkins Award of the Professional and Scientific Division of the Association of American Publishers as the best scientific or professional book of the year.

Developing programs in the history of science and technology, Edward Tenner became engaged with these fields and resumed a writing career that began when he was an undergraduate and contributor to the Daily Princetonian, the Tiger Magazine, and the Princeton Alumni Weekly. His essay on the differences between Harvard, Yale, and Princeton was published simultaneously by all three alumni magazines.

In 1991 Edward Tenner received a Guggenheim Fellowship and was appointed a visitor at the Institute for Advanced Study, where he began a project on unintended consequences of technology that was published as Why Things Bite Back. As a fellow of the Woodrow Wilson International Center for Scholars in 1995-96, he turned to the history of human interactions with everyday objects, which has led to Our Own Devices.

Edward Tenner has been a visiting researcher in the Princeton departments of Geosciences and English and at the Rutgers Center for Historical Analysis. He is now a Senior Research Associate of the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation, National Museum of American History. He is also affiliated with the Center for Arts and Cultural Policy Studies of the Woodrow Wilson School, Princeton University.

Dr. Tenner has contributed essays and reviews to many of the leading newspapers and magazines of the U.S. and the U.K. He now writes mainly for U.S. News, the Wilson Quarterly, Technology Review, Raritan Quarterly Review, American Heritage of Invention and Technology, and Designer/Builder. He is a member of the editorial board of Raritan Quarterly Review, a contributing editor of the Wilson Quarterly and Harvard Magazine, and a member of the advisory board of Knowledge, Technology and Policy.

DUX 2005 Plenary Speakers

< back   Heather Gold   J.Walt   Edward Tenner

Thursday, 3 November

6 pm: Opening Plenary

Bill Irwin recently starred on Broadway as George in the revival of Edward Albee’s "Who’s Afraid Of Virginia Woolf?" opposite Kathleen Turner for which he won the 2005 Tony Award for Best Actor in a Play. Bill also starred opposite Sally Field in the 2002 Tony Award winning play "The Goat Or Who Is Sylvia" also by Albee.

In 2003/2004, The Signature Theatre dedicated their season entirely to Bill’s original work for which he acted as writer, director and star.

Bill Irwin was an original member of Kraken, a theatre company directed by Herbert Blau, and was an original member of the Pickle Family Circus of San Francisco, where he worked with Larry Pisoni and Geoff Hoyle. He appeared as a guest with the ODC Dance Company of San Francisco, which first produced his original work. His own pieces, often developed with Doug Skinner and Michael O’Conner, include "Not Quite/New York", "The Courtroom" and "Regard of Flight" (also seen on PBS’ Great Performances).

On Broadway, Bills’ original work, "Largely New York" received five Tony Award nominations and won Drama Desk, Outer Critic Circle, New York Dance and Performance Awards. Bill along with David Shiner, starred and choreographed the hit "Fool Moon". Bill also appeared with Steve Martin, Robin Williams and F. Murray Abraham in "Waiting For Godot" at Lincoln Center and "Texts For Nothing" directed by Joe Chaikin at the Public Theatre and in George Wolfe’s park production of "The Tempest". Other Broadway productions include: "Accidental Death of an Archist" and 5-6-7-8 "Dance!"

Bill has appeared on numerous television shows including, "The Closing Ceremony Of The Summer Olympic Games" in Atlanta in which he starred, directed and choreographed; "Northern Exposure", "Saturday Night Live", "The Tonight Show", "The Cosby Show", HBO’s "Bette Midler: Mondo Beyondo", PBS’ "Great Performances 20th Anniversary Special", "Sesame Street" and Mary Chapin Carpenter’s video, "Let Me Into Your Heart".

In 1983, Bill was awarded a National Endowment for the Arts Choreographer’s Fellowship, and in 1984 was named a Guggenheim fellow and was awarded a five-year MacArthur Fellowship.

In 1997, Bill directed and starred in his adaptation of the play "Scapin" at the Roundabout Theatre and in 1998 he directed "A Flea In Her Ear" also at the Roundabout.

In the fall of 2000, Bill directed and performed his own adaptation of Samuel Beckett’s prose work "Texts For Nothing" at the Classic Stage Company, for which he received a nomination for outstanding solo performance by the Outer Critics Circle.

Bill’s feature films include: "Love Conquers All!", "Igby Goes Down", "The Laramie Project" for HBO, "The Grinch Who Stole Christmas" with Jim Carrey, John Turturro’s "Illuminata, Scalpers" with Andy Garcia, and Mike Hoffman’s "A Midsummer's Night Dream" with Michelle Pfeiffer, Kevin Klein, and Rupert Everett. Also, "My Blue Heaven, Scenes From A Mall", "Popeye", "A New Life", "Eight Men Out", "Steping Out", "Hot Shots", and "Silent Tongue". He is currently filming "Lady In The Water" in Philadelphia.

PBS recently aired the special special "Bill Irwin, Clown Prince" as part of their "Great Performances" series.

DUX 2005 Plenary Speakers

< back   Bill Irwin   J.Walt   Edward Tenner

Thursday, 3 November

6 pm: Opening Plenary

Driven to comedy by law school, Heather Gold continues to mix mind with matter, never doing the same set or show twice. She involves the audience in a funny and insightful experience that makes something new of stand-up comedy, spoken word and conversation. Heather is known for her ruthlessly intelligent takes on everything from business and technology to family and politics, and the surprising connections she makes between them. Her unique style is a reflection of her unorthodox artistic path, reflecting her studies at Yale, Northwestern Law, Groundlings, improv legend Cynthia Szigeti and years in the geek and entrepreneurial culture of Silicon Valley.

Heather also spent years on the business side of the entertainment and media world. She followed and help further the promising path of digital convergence which she felt would eventually democratize distribution of art and media. Heather worked in strategic roles at New Line, CD-ROM pioneer Knowledge Adventure, Apple Computer’s first music group which pioneered webcasting, and as a commentator for Yahoo Financevision. She also sat on the Advisory Board of SxSW Interactive for 4 years and has been a Webby humour judge and member of the International Academy of Arts and Digital Sciences since 2000.

Heather performs at venues and conferences across North America, like San Francisco's Just for Laughs Showcase 2004, Yerba Buena Center for the Arts, New Media Invision Awards, Berkeley Arts Museum (Powerpoint for Peace), Silicon Valley’s BlogHer and Top 25 Women of the Web Awards, Toronto’s altdotcomedy, Austin's SxSW and Vortex Rep, and New York's Gotham Comedy Club. She contributes to many shows and publications, including the Toronto Globe and Mail, shift magazine, TechTV's Silicon Spin, The Learning Channel, The San Jose Mercury News and her own popular subvert.com.

Heather was awarded a residency at the Jon Sims Center for the Arts where she developed her debut solo show "I Look Like An Egg, But I Identify As A Cookie" in which she bakes chocolate chip cookies with the audience. The “open-source” show was written with audiences and played to sold-out rooms and critical and audience raves for over a year. Heather’s break-through success with “Cookie” was recognized by Curve Magazine with its National Theatre Award. Heather’s ability to draw out the audience and involves them in an experience that is particular to each event make her a popular emcee and entertainer.

“Gold has mastered that oh-so-rare breed of comedy--witticisms that make you think.” - Theatre Bay Area Magazine

“Comedienne extraordinnaire.” - Austin Chronicle

”Favorite industry humorist” - Fortune.com

“The Fran Lebwowitz of the digital era.” - Alan Deutschman (The Second Coming of Steve Jobs)

DUX 2005 Plenary Speakers

< back   Bill Irwin   Heather Gold   Edward Tenner

Thursday, 3 November

6 pm: Opening Plenary

J.Walt's newest works are graphic performances that combine video, animation, gestural drawing, sculpture, music, and dance into a new art form. J.Walt composes, programs, and performs works using a computer, a video screen, and various computer interfaces, often with other performers. Some of the pieces are tightly choreographed illustrations of music, while others are improvised within a particular mode.

J.Walt is an interactive designer, filmmaker, graphic artist, and composer. He has created a number of films, videos, interactive attractions and performances. He has been at the forefront of interactive art, expanding the uses of interactive graphics into uncharted territories. He is an award-winning pioneer of computer-generated puppetry, having created digital puppets since 1987.

He grew up in Evanston, Illinois, and graduated from the California Institute of the Arts in 1988. Since then has created a number of interactive attractions for Disney, Sony, and others. He organizes the Los Angeles Abstract Film and Video Workshop, a monthly gathering of artists. J.Walt's work has been exhibited at Ars Electronica, Siggraph, Sinking Creek Film Festival, New York Animation Festival, and others. He lives with his wife and three children in Altadena, California.

http://www.johnadamczyk.com

Tutorials - Thursday, 3 November

If a tutorial is full, please email the to be put on the wait list.

Morning Tutorial 9 am-12:30 pm Afternoon Tutorials 1:30-5 pm Full Day Tutorials 9 am-5 pm
Return to Tutorials page

The Layers of Experience

Tutorial Leader: Marc Rettig, FIT Associates

We are gathered at this conference to discuss "designing for experience." On the premise that you can't successfully design for something you don't understand, this workshop gives attendees a few tools for analyzing and understanding human experience.

This is not so much a workshop on research methods as a workshop on "how to decide what data to gather, and what to do with it once you have it." Based on more than a decade of using field research to support design, Marc Rettig will share tools for documenting the complexities of human interactions with technology, information, and one another.

This session will mix lecture and practice. Using both in-classroom exercises and video of field observations, we will look at moments of experience through many lenses. We'll then build a model of what we see, integrating data about: what people do, relationships between people, communication and language, success measures and barriers to success, artifacts and environment, and more. Having created a model of the "layers of experience" for a particular activity, we will then discuss how to use this model in conceiving and designing products and services.

Marc Rettig is a founding principal of Fit Associates. After a twelve-year first career as a software developer, Marc is now thirteen years into a second career as a designer, educator, and researcher. As someone committed to shipping “design that fits people’s lives,” Marc’s work is to facilitate interdisciplinary efforts to translate customer research into good design and strategy. Recent clients include Whirlpool, BBC, the U.S. Army, Crate and Barrel, and Microsoft. He has taught both lecture and studio courses at Carnegie Mellon’s Graduate School of Design (where he was the 2003 Nierenberg Distinguished Chair of Design) and the Institute of Design, IIT, in Chicago.

Marc served as Chief Experience Officer of the pace-setting user experience consultancy HannaHodge, where he was responsible for the firm's user-centered process, team culture, and research initiatives. He was a Director of User Experience at Cambridge Technology Partners. Prior to that he was a consultant with seeSpace, VP of Design for Digital Knowledge Assets, and a Senior Architect in Andersen Consulting's Advanced Technologies Group.

Marc has an undergraduate degree in Anthropology and Linguistics, and completed requirements for a Master’s in Computational Linguistics at New York University. Marc frequently speaks and conducts hands-on workshops in industry and academic settings around the world.

Return to Tutorials page

Whose Line is it Anyway: Innovation, Ethnography and Improv

Tutorial Leader: Steve Portigal, Portigal Consulting

We look at two not-usually-combined-or-even-discussed-together approaches to direct experience: the theatrical activity of "improv" and participant-observer user research (or "ethnography").

Improv is not "stand up comedy" (although people assume them to be the same thing). It's a series of games with rules that offer huge degrees of freedom within a set of constraints. In these games we bring out a lot of basic, quickly understood and communicated, rules of culture that are implicit, not explicit. We see people's relationships to products, to each other, and to current events. Improv is also a process for exploring collaboration at its most fundamental level, the co-creation of ideas, rather than "shared document editing."

Participant observation has interesting similarities with improv. Both are in-the-moment processes. You learn upon reflection. There's enormous unspoken collaboration. Both involve a great deal of advanced "listening." Within a brief exchange, what our respondents say contrasts with how they say it and what they are doing, and what we see in the environment. This kind of listening is an advanced skill that takes some developing. Improv can be a useful training activity to play out some of these research scenarios indirectly, to enhance and hone our listening skills, and to develop a core technology of participant-observation research. The improv approach draws from literature in anthropology as well as communication studies.

Finally, with improv, there is often an "aha" moment. As performers without a script, we learn to "look for the ending" and know when to conclude. We do participant-observation research to create and achieve new insights and see new patterns in a different kind of "aha."

In this tutorial, you will learn more about improv, participant observation, listening, context, and, of course, how these things all fit together and can be used and experienced.

Steve Portigal is the founder of Portigal Consulting, a firm that brings together user research, design and business strategy. Portigal Consulting helps clients to discover and act on new insights about how their customers work, play, shop, entertain, eat, and live their lives around products and services. In addition to regularly speaking at design and marketing events, Steve contributes to several blogs and writes FreshMeat, a semi-regular email column about the relationships between business, culture, technology, products, and consumers. He is an avid photographer who has a Museum of Foreign Grocery Products in his home.

Return to Tutorials page

The ROI of User Experience: Measurement and the Context of UX Practice

Tutorial Leader: Janice Fraser, Adaptive Path

Join Janice Fraser, co- author of Adaptive Path's research report Leveraging Business Value: How ROI Changes User Experience, as she shares her insights about how to make user experience design a tool for delivering business value — so that your Web team can get the resources and attention it deserves.

Over the last few years, ROI has been sought as the “holy grail” of getting more headcount and credibility. By unraveling how to measure the value of Web design, ROI analysis contextualizes corporate decision-making and transforms user-experience design into a real competitive advantage.

There are numerous examples of how aligning product specifications with business objectives and user needs delivers a real competitive advantage, but – outside of retail e-commerce – that value is rarely measured and managed. Too often, the business value of the Web is narrowly viewed as the sum of two parts: increased online revenues, plus the cost reductions that technological efficiencies offer. Such thinking ignores an organization’s entire relationship with its customers, and constrains Web design priorities to specific, short-term outcomes. Often, outstanding web strategies languish because an organization makes no attempt to forecast the future value of user-experience design. It's viewed as an expense to minimize rather than an investment that can deliver a return. As a result, successful implementation is doomed by a lack of commitment and support.

The impact of ROI extends well beyond its obvious benefits in making resource-allocation decisions. Janice will discuss how using ROI and other valuation methods helps evolve design competency within organizations. The valuation methods provide tools for developing and measuring a design strategy as a component of a larger business strategy: The ability to "value" user experience design makes it a visible and credible business lever on par with marketing, research and development, and channel strategy. As a result, your website can become a strategic lever for understanding the whole customer, influencing their online and offline behavior, and anticipating their future goals. ROI is a shift in organizational culture as much as it is a mathematical calculation.

This half-day workshop provides frameworks and analysis that will help you to:

  • Understand how to choose high-value, high-impact Web development projects
  • Evaluate Web investments in the context of the larger corporate budget
  • Internally advocate for user experience as a competitive advantage
  • Optimize your business processes and organizational structure to better leverage your Web site

The field of user experience is at a turning point – organizations that are better able to capture the value of user experience will be the ones that invest in the most ground-breaking projects and minimize waste on short-term fixes and abandoned projects.

Janice Fraser is the CEO and a founding partner of Adaptive Path, the world's premier user experience consulting company. She has worked in high-tech media for over a decade, and pioneered consumer Web applications for Netscape in 1996. She is the founder of four startup companies and was previously managing editor for IDG Communications. Clients include the United Nations, Hallmark, WellsFargo.com, and the Target Corporation, as well as numerous other Fortune 500 companies, start-ups, and non-profits.

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Designing for Service

Tutorial Leader: Shelley Eveng a service experience. That will be followed by a series of lectures and “doing” activities in teams that cover as the following topics as time allows:

  • Understanding the nature of experience in service
  • Mapping the territory of the service experience
  • Conducting immersive research in the world and documenting customer journeys
  • Creating customer typologies
  • Understanding service ecologies and touchpoints
  • Developing service concepts
  • Creating experience prototypes or enactments
  • Producing a service blueprint
  • Conducting service testing

The day will conclude with presentations from each team and a discussion of everyone’s understanding of the challenges of designing for service including the relationship between service and interaction design.

Shelley Evenson is currently an Associate Professor in the School of Design at Carnegie Mellon University. She teaches in the area of interaction design. Shelley has worked for more than 25 years in multidisciplinary consulting practices. Her work focuses on tapping into the needs of constituents, defining the best opportunities to respond to those needs, quickly prototyping the response and iteratively reshaping it based on people’s feedback. Prior to CMU, Shelley was cofounder of seeSpace and Chief Experience Strategist for Scient. Her client engagements have included CIBC, Texas Instruments, Williamsburg Institute, Apple Computer, Xerox, Diamond Technologies, Bank of Montreal, and Kodak. Her current interests include design languages and strategy, experiences that skill, organizational interfaces, design for service and what lies beyond user-centered design.

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Methodology for Visualization

Tutorial Leader: Mark Baskinger, CMU

This tutorial is designed as a full-day event comprised of complementary parts of: introduction / skills building and implementation / application of skills. The tutorial will cover:

  • Overview of Methodologies
  • Introduction to Perspective Drawing
  • Primitive Geometries
  • Geometric Compositions + Abstractions
  • Narrative sketching
  • Notational sketching
  • Collaborative design

This tutorial will introduce methodologies of hand-generated visualization that leverage the imagination of the author and audience to enhance the larger creative process. The goal is to expose participants to the methods of creating real time visual communication through sketching, mark-making and diagramming. Participants will quickly build proficiency and confidence in using drawing as a primary tool for communicating complex, creative ideas. Introduction to perspective drawing, storyboarding and visualization techniques will provide the foundation for exploring these various methods in-depth

As part of the broader development process, drawing and visualization serve as primary methods for thinking, reasoning and exploring opportunities within given parameters. Therefore the goal of design drawing is to provide visual information that enables a focused discourse to emerge around the subject. Visualization and design drawing centers on abstracting the world into a simplified series of geometrical forms, amorphic transitions, materials, textures and tones. Differing from fine art drawing, which often emphasizes a highly structured, accurate rendition of something viewed from life, visualization centers upon communicating the essence of an idea that is not yet realized in physical form. The intention of visualization therefore, is to accurately communicate and convey the essence of an idea.

Real-time visualization can enhance the creative process by presenting immediate visual responses to ideas. To develop convincing argumentation and complete recording of the creative process, visualization focuses on depicting a visual story of an idea through details and contextual scenarios. This approach is of special interest to designers as it can bring powerful perceptual processes to bear in making inferences and subsequent decisions about an idea in its totality. This method of visualization enables the author to more accurately communicate their ideas to colleagues, clients, and to themselves. The very premise is based on the principles of creating sequential image sets that simplify complex problems, illustrate key issues, and reduce abstract concepts into visually digestible, non-verbal narratives. These narratives serve to capture ideas in a more consistent and real way than words can, providing a concrete visual touch point for all viewers to reference.

Mark Baskinger’s work spans graphic design, industrial design and environmental design, with emphasis on the interrelation of visual language, communication, and experiential attributes of design. He holds an MFA in industrial design from the University of Illinois at Urbana-Champaign and a BFA in graphic design from Carnegie Mellon University. He has published papers on product language and methodologies of visualization, and is now conducting a two-year research project with GE Appliances that investigates the role of appliance design in promoting autonomous living for elders. In the past 10 years, Mark has worked for various design firms, including a position as Creative Director with Corchia Woliner Rhoda in New York, industrial designer with the MAYA Design Group in Pittsburgh, and as an exhibit designer for the Wildlife Conservation Society. Currently, he is a faculty member of the School of Design at Carnegie Mellon and co-founder of the Letter Thirteen Design Agency in Pittsburgh.

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Designing Story

Tutorial Leaders: Brian Lanahan, Character LLC, & Gary Hirsch, On Your Feet

Story is a buzzword in marketing and design circles these days. Everyone is told they need a “story” to differentiate their offering and engage consumers in a sea of sameness. But what does it mean to tell an engaging story, and how can this be applied to designing communications and user experiences that resonate?

This tutorial will teach the fundamental principles behind effective stories and then examine how these principles can inform our work in brand identity, design and user experiences. The day will cover the following areas:

  • An overview of the metaphors at work in most businesses and how they support some activities and hinder others.
  • The role of story as a metaphor.
  • The essential structure of story: Aspects and principles through analyzing films.
  • How these principles “travel” to our world. A few cases.
  • How characters work with brands.
  • Applying story thinking to problems in the room.
  • Designing actions as a way to embody story.
  • Tools for working with story in teams.

Brian Lanahan is the Managing Director of Character LLC, a Portland, Oregon based company that develops characters for brands. www.characterweb.com

He has a BA in History from Duke University and an MBA from the Kellogg School at Northwestern University. Brian started his career as a buttoned-up New York businessman with a blue suit and striped tie for each day of the week. His MBA and suit took him to the Coca-Cola Company, where he spent eight years working in brand management, advertising and new product development, culminating in a giant top floor office and a complete loss of faith in manufactured branding. Dissatisfied and looking for something more, he volunteered to lead the new product exploration that eventually became OK Soda. OK dangled the enticing possibility in front of Brian that a brand could have more meaning and inspire emotional connection with its audience if it was co-created rather than imposed. Unfortunately, OK was meant to change the Coke system at a time when the system was unwilling to change. Equal parts inspired and disillusioned, Brian left Coke, left marketing and left business. He moved to Portland and began teaching in the MBA Program at Portland State University, conducting classes on Consumer Behavior, Business Ethics and Social Responsibility and doing marketing projects for environmental causes and companies. Brian founded Character in 2002 with two other partners to help bring an understanding of character and story to brands. These days he gets to wear jeans and T-shirts to work and uses his powers only for good.

Gary Hirsch is a founding partner of On Your Feet, an arts-based brand consultancy that uses methods and tools from improvised theatre to help brands create authentic actions, make engaging stories and generate breakthrough ideas. www.oyf.com

Gary has been teaching and performing professional improv for fifteen years. For the past nine years he has been a core member of the national touring group, Brainwaves Improv Comedy. He has presented and taught at numerous improv festivals and marketing related conferences, and has led programs with Nike, Warner Bros. FedEx, Intel, Saatchi & Saatchi, and others.

Gary has a Masters Degree in Arts Education, from Case Western Reserve University and he sits on the faculty (ouch!) as an adjunct instructor in the School of Business Administration, Portland State University. Gary has two ridiculously cute and smart kids and a fantastic wife who puts up with his improvisation in the kitchen and elsewhere throughout the house.

Conference Sessions

The DUX 2005 program will feature accepted submissions of real-world design practices, research and cases from around the globe, creatively combined in sessions moderated by leading design practitioners and theorists. You will leave with insights and best practices you can teach or apply on your next project.

Friday, 4 November

  • User-Steered Content, 9-10:30 am
    Techniques of personalization for the content and function of websites, applications, and services.

  • Common Sense and Reason, 11 am-12:30 pm
    Our best practices aid business efficiencies and reduce cognitive complexity.

  • Posters-Visualization, 12:30-2 pm
    What visual cues about the world work for which tasks, devices or displays?

  • Invited Panel, 2-3:30 pm

  • Design Education, 4-4:45 pm
    Tradeoffs in contemporary design education focusing on techniques, modalities, and physical space.

  • PG13-Designing Games, 4:45-5:30 pm
    Children and teens learn from serious play.

Saturday, 5 November

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Friday, 4 November

9-10:30 am, Session 1: User-Steered Content

Session Chair: Margret Schmidt (TiVo)

  • Moving GM to #1 in Online Customer Satisfaction: Techniques for Conducting Quantitative Benchmarking Across Hundreds of Web Sites and for Prioritizing Functionality Based on User Needs in Differing Geographies and Markets
  • Howard Tiersky, Curtis Songer

  • Diamond Search: Improving the User Experience of Buying Loose Diamonds Online
  • Maren Costa, Gianna Curran, Devraj Varadhan, Sylvia Olveda

  • The Goldilocks Content Framework: Identifying Just-Right Information
  • Jared Spool, Joshua Porter

  • Improving Color Exploration and Visualization on the ColorSmart by BEHR™ Application
  • Jay Joichi

  • Messageboard Topic Tagging
  • Jane Murison

  • The Paradox of the Library: Information Architecture Challenges in an Interdisciplinary Organization
  • Abe Crystal

  • Peers: Building a Social Network for Collaboration at Avenue A | Razorfish
  • Tracy Cohen
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Friday, 4 November

11 am-12:30 pm, Session 2: Common Sense and Reason

Session Chair: Ryan McCormack, MetaDesign

  • Guidelines Are a Tool: Building a Design Knowledge Management System for Programmers
  • Mike Kuniavsky, Srinivas Raghavan

  • Maintaining Concentration to Achieve Task Completion
  • Ben Shneiderman, Benjamin B. Bederson

  • The Challenges and Realities of Merging Online Banks
  • Abla Hamilton, Suzan Revah

  • A Process for Incorporating Heuristic Evaluation into a Software Release
  • Marilyn Hollinger

  • Improving the Usability of VeriSign SSL Certificate Enrollment
  • Krista Van Laan, Eva Jonshult

  • Early and Often: Avoiding the Design Review Death Spiral
  • David Cronin
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Friday, 4 November

12:30-2 pm, Session 3: Posters-Visualization (lunch provided)

  • Design of a Telescope Control System Interface
  • Timothy Hudson, Graciela Gonzalez

  • Viewing Visual Web Site Design in Context
  • Chris Roast

  • Gospel Spectrum
  • Anh Dang

  • Projective Techniques for Projection Technologies
  • Steve Portigal

  • Going More Public: Situated Display Design in a Care Setting through Co-Realization
  • Connor Graham, Keith Cheverst, Mark Rouncefield, Christian Kray

  • v4v: A View for the Viewer
  • Mira Dontcheva, Steven Drucker, Michael Cohen

  • Damming the flood -- Blocktables and Monitoring Streaming Security Event Data
  • Andreas Dieberger, Markus Stolze, Rene Pawlitzek

  • Visual Decision Maker - A Recommendation System for Co-Located Users
  • Steven Drucker, Tim Regan, Asta Roseway, Markus Lofstrom

  • Design of a Neighborhood Pathfinder
  • Jeff Howard, Jodi Forlizzi

  • Development of a Symbol System For Use in the Health Care Industry
  • James Bolek, Jamie Cowgill
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Friday, 4 November

2-3:30 pm, Session 4: Invited Panel

Moderator:

Suzanne Stefanac
Long-time author and interactive media strategist, Suzanne Stefanac was the founding editor of Macworld Online, executive producer for the hour-long nightly MSNBC program The Site,and co-founder/head of creative and production for pioneering interactive television company RespondTV, She is currently writing a book, "Dispatches from Blogistan" for Peachpit Press/New Riders.

Panel:

Marney Morris
Animatrix, founded in 1984, has created interactive projects that have defined major strategic shifts for clients like AT&T, The Limited, Clinique, Domino's Pizza, Perot Systems, and the Walt Disney Company. Originally, Animatrix created interactive launches for classic products such as Adobe Illustrator, Microsoft Word and Excel, Hewlett Packard's first printer, and Kodak's Photo CD. Animatrix created over 30 movie web sites including 101 Dalmations, Ransom, and The Rock. In the last few years, Animatrix has been designing interfaces of large data systems.

Animatrix is currently developing RNNR™, a software application for designers to easily prototype and share ideas. RNNR™ will be shipping in early 2006.

Marney Morris, founder of Animatrix, was honored as a 'Wonder Woman of the Web' by Town & Country Magazine and as one of the 'Top 25 Women on the Web' by Upside magazine.

Marney has been a speaker at MIT, The Art Center, the Stanford Publishing Conference and the TED conference. She has been a strategic consultant to ABC, Disney, Oxygen, and AT&T, among others. She has taught interaction design at Stanford University and continues to lecture and consult on design and engineering issues. Animatrix created the first 'Guided Tour of the Macintosh' and shares a patent with TV Guide/News Corp for the first interactive TV Guide.

Born in the San Francisco Bay Area, Marney grew up on a farm outside Petaluma and in an Eichler house in Palo Alto. She earned a degree in Science at UC Davis and a degree in Fine Arts from UC Santa Cruz. She credits classes with John Cage and Wayne Thiebaud as the most influential in her education.

Scott Yu
Scott Yu is an industrial designer known worldwide for his innovative transportation and consumer electronics work. He is co-founder and president of Gingko Design Inc., which has received the IDEA, CES, iF, Good Design, ID Magazine and Singapore Design awards. Previously, Scott held design positions at Ford, Peugeot SA, and Volvo A.B., and was lead designer for Citroen's ECO 2000, achieving 90 mpg fuel economy in 1983. As the youngest manager at Ford, he headed the small car studio responsible for design and development of the Probe, Escort and Festiva. He has long contributed to the integration of computer technology to the design process. Scott is a member of IDSA, and received his B.S. from Art Center College of Design. He developed a design curriculum at Art Center College of Design and advises MFA programs at Academy of Art College.

Ronna Tanenbaum
Ronna is an entrepreneur and interaction designer with 20 years of experience in IT. She is interested in contextually connecting people and information, media, learning, networked technologies, society, and enabling innovation. She is currently founder of Storymixer, Inc., a free, web-based media workshop and collaborative learning community working in partnership with the Internet Archive. She was Chief Creative Officer at Alexa Internet, an Amazon.com company, responsible for user-experience, branding and creative strategy. Her concepts for Amazon.com were pivotal to Alexa's acquisition. Ronna consulted with the MacArthur Foundation to explore ways that network and in-hand technologies can advance the Foundation's work. She also consulted to Apple Computer, Macromedia, Hewlett Packard, The Learning Company and others. Ronna co-founded Interactive Factory/West, Inc., an educational software company, and was a designer for The New York Times. She is a board member for Worldlink Foundation. She holds a Masters in Educational Technology from Harvard with studies at MIT's Media Lab and a BFA in Computer Graphics from Syracuse.

Fred Dust
Fred Dust leads the Smart Space design practice for IDEO. An architect by training, Fred leads multidisciplinary teams to create immersive, interactive spaces for diverse industries, including healthcare, education, retail, financial services, hospitality and workplace design. Prior to joining IDEO Fred was a project architect at Fernau and Hartman and spent several years as a project manager at Hotwire productions. Fred holds a bachelor's degree in art history from Reed College and master's of architecture from the School of Environmental Design at University of California, Berkeley.

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Friday, 4 November

4-4:45 pm, Session 5a: Design Education

Session Chair: Matt Cottam (RISD)

  • infoscape: an Online Visual Information Landscape for Collaborative Design Education
  • Andrew Vande Moere

  • OpenD: Supporting Parallel Development of Digital Designs
  • Mark Meagher, Kate Bielaczyc, Jeffrey Huang

  • Teaching Embodied Interaction Design Practice
  • Scott Klemmer, Bill Verplank, Wendy Ju
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Friday, 4 November

4:45-5:30 pm, Session 5b: PG13-Designing Games

Session Chair: Nicole Lazzaro (XEODesign)

  • Theories Meet Realities: Designing a Learning Game for Girls
  • Carrie Heeter, Brian Winn, Darcy Greene

  • Children’s and Parents’ Perception of Full-Body Interaction and Violence in a Martial Arts Game
  • Johanna Höysniemi, Perttu Hämäläinen

  • Designing Opportunities to Spark and Nurture Scientific Inquiry in Middle School Girls
  • Kristin Hughes
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Saturday, 5 November

9-10:30 am, Session 6: Out in the World-Experiences Beyond the Desktop

Session Chair: Dana Chisnell (Usability Works)

  • HRV Monitor: Creating a Guided User Experience on Handheld Devices
  • Robert Fabricant

  • The SenseChair: The Lounge Chair as an Intelligent Assistive Device for Elders
  • Jodi Forlizzi, Carl DiSalvo, John Zimmerman, Bilge Mutlu, Amy Hurst

  • Writing the BoK: Designing for the Networked Learning Environment of College Students
  • Paul Burke, Sue Nguyen, Pen-Fan Sun, Shelley Evenson, Jeong Kim, Laura Wright, Nabeel Amed, Arjun Patel

  • A Foundation for Emotional Expressivity
  • Anna Ståhl, Petra Sundström, Kristina Höök

  • Designing an Arabic User Experience: Methods and Techniques to Bridge Culture
  • Hala Hemayssi, Elyse Sanchez, Robert Moll, Charles Field

  • Defining Cultural Identities Using Grammars - An Exploration of “Cultural Languages” to Create Meaningful Experiences
  • Ashwini Asokan, Jonathan Cagan

  • An Exploration in Interface Design for the Chinese Migrant Worker Population
  • Neema Moraveji, Rania Ho, David Huynh, Leizhong Zhang
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Saturday, 5 November

11am-12:30 pm, Session 7: Harnessing User Needs and Insights

Session Chair: Richard Beckwith (Intel Research)

  • SynchroMate: A Phatic Technology for Mediating Intimacy
  • Martin Gibbs, Frank Vetere, Marcus Bunyan, Steve Howard

  • Creating a User Experience Culture at a Non-Software Company
  • Brenda Leadley, Haunani Pao, Sara Douglas

  • Active Capture Design Case Study: SIMS Faces
  • Ana Chang, Marc Davis

  • Inspired Innovation – How Corel is Drawing Upon Employees’ Ideas for User Focused Innovation
  • Jennifer Fraser

  • Designing for a Collaborative Industrial Environment: The Case of the ABB Powerwall
  • Daniel Fallman, Mike Kruzeniski, Mattias Andersson

  • Customer Driven Innovation: Quicken® Rental Property Manager
  • Suzanne Pellican, Matt Homier

  • New Media Design for Cultural Institutions
  • Jerry Watkins, Angelina Russo
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Saturday, 5 November

12:30-2 pm, Session 8: Posters-Engaging User Needs in the Design Process (lunch provided)

  • Design-Led Passenger Environment and Passenger Experience
  • Roberto Palacin

  • The Mobile Storefront: Let Your Fingers Do the Shopping
  • Annette Wagner

  • Augmenting the City: Designing a Context-Aware Mobile Web Site
  • Jesper Kjeldskov, Jeni Paay

  • A Participatory Digestion and Design Game for Community and Technology Exploration
  • Stephen Viller, Margot Brereton, Fiona Redhead, Jeff Axup

  • Interactive Drama and User Centered Product Concept Design
  • Tomi Kankainen, Vesa Kantola, Katri Mehto, Sauli Tiitta

  • Designing speculative household cleaning products for older adults
  • Susan Wyche

  • Redesigning and Redefining the AOL Product UI for 100 Million Online Users
  • Jeff Gothelf, Kiki Ross, Meghan Cesario

  • Middle-Out Design
  • Audrey Crane

  • Office Central
  • Nicole Yankelovich, Mike Wessler, Jonathan Kaplan, Joe Provino, Nigel Simpson, Karl Haberl, Justin Matejka
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Saturday, 5 November

2-3:30 pm, Session 9: Mobility and Sociability

Session Chair: Steve Diller (Cheskin)

  • Nokia Sensor: From Research to Product
  • Per Persson, Younghee Jung

  • Mobile Computing in High-End Retail
  • Ann Supawanich, Jenica Rangos, Jeanine Harriman, Garrick Schmitt

  • Meeting in Quiet: Choosing Suitable Notification Modalities for Mobile Phones
  • Daniel Fallman, Björn Yttergren

  • Card Product Development in an Internet-Based CRM Environment
  • Pat O'Brien, Laith Murad, Simon Gibbs, Richter Rafey

  • Mobile Essentials: Field Study and Concepting
  • Jan Chipchase, Per Persson, Mikko Aarras, Petri Piippo, Tetsuya Yamamoto

  • Typography for Mobile Devices: The Design of the QUALCOMM Sans Font Family
  • Jared Benson, Ken Olewiler

  • The Iterative Design and Study of a Large Display for Shared and Sociable Spaces
  • Shahram Izadi, Yvonne Rogers, Harry Brignull, Tom Rodden, Geraldine Fitzpatrick, Siân Lindley

Studio Tours - Thursday, 3 November

Download studio tours brochure   Schedule & Navigation   Booking

   

A warm welcome to the Designing for User eXperience (DUX 2005) Studio Tours! We have selected 15 studios to showcase the rich and exciting variety of practices in San Francisco. This will be a unique chance to meet talented peers in the burgeoning arena of user experience design, and to experience their inspiring cultures and work environments first-hand.

Studios will share their stories, explaining how their philosophy and process shape their unique approach. Through examples of their work they will illustrate how they merge research, design and branding to create compelling experiences for different media: from physical to digital, and from two-dimensional to fully immersive.

A range of methods and disciplines come into play when designing for different experiences. The studios look forward to meeting you, and to exchanging insights on how real-world business value can be added through communication and design.

   

* Studio Tours are free to all participants, but you must first consult the schedule and map and then book a place!

   

Featured studios

Full information on the studios and what they will be presenting is available in the brochure.

  1. MetaDesign
  2. Gensler
  3. fuseproject
  4. Cheskin
  5. ODA
  6. frog design
  7. Adaptive Path
  8. Hot Studio
  9. Pentagram
  10. Method
  11. Avenue A | Razorfish
  12. Smart Design
  13. Lunar Design
  14. Center for the Book
  15. Odopod

DUX2005 Studio Tours - Schedule & Navigation

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Download studio tours brochure   Schedule & Navigation   Booking

   

Before booking your place on the tours, please consult the schedule and map below to plan your day. Take into account walking distance between studios; if you prefer, you can also plan to take buses or taxis. Please be realistic about the number of tours you can and will attend!

   

   

Studio Tour Location Map

Map

   

Public Transportation

www.transitinfo.org

Useful bus routes:

  • #5 (passes every 6-10 mins)
  • #10 (passes every 15 mins)
  • #12 (passes every 20 mins)
  • #15 (passes every 9 mins)
  • #19 (passes every 10 mins)
  • #30 (passes every 9 mins)
  • #45 (passes every 9 mins)
  • #49 (passes every 7-9 mins)

   

Taxis

  • Luxor: 415.282.1224
  • Yellow: 415.626.2345

   

Walking distance between studios

Here are some examples of how long it takes to walk between certain studios, to help you plan your day:

  • Gensler (2) to fuseproject (3) = 8 minutes
  • fuseproject (3) to Cheskin (4) = 1 minute
  • frog design (6) to Adaptive Path (7) = 3 minutes
  • Hot Studio (8) to Pentagram (9) = 2 minutes
  • Pentagram (9) to Method (10) = 6 minutes
  • Method (10) to Smart Design (12) = 7 minutes
  • Smart Design (12) to Lunar Design (13) = 12 minutes
  • Lunar Design (13) to Avenue A | Razorfish (11) = 12 minutes

DUX2005 Studio Tours - Booking

Return to Studio Tours page

Download studio tours brochure   Schedule & Navigation   Booking

   

Studios can host a limited number of visitors. You must reserve a place on each tour you plan to attend. Studios are open at the times shown in the schedule. Places are given on a first-come first-served basis, and you are free to visit as many studios as you like on the day. Please be realistic about the number of tours you can and will attend! When booking, please note walking distance between studios. If you prefer, you can also plan to take buses or taxis.

Please check that any tutorials you are registered for on Thursday 3 November do not conflict with the studio tours you are signing up for.

Places are limited. We ask that you attend any tours that you have signed up for. If you have a change of plans, let us know in advance by updating your reservation. See how to reserve a place below.

If you have signed up for Studio Tours before Thursday 3 November and already have your DUX 2005 registration number, you may go on the Studio Tours and then pick up your credentials at Fort Mason later that day (by 5:30pm at the latest, in time for the Opening Plenary).

   

How to reserve a place

  1. Go to the registration site at http://www.regonline.com/dux2005.
  2. Enter the email address you used when registering for the conference.
  3. You will then be prompted to enter your password (if you do not remember this, you can request that a reminder be sent to your registered email address).
  4. Once you have retrieved your registration record, select “Make changes”.
  5. In the next window, select the “Edit agenda & Fees” icon. This will take you into the agenda window where you can make changes to Tutorials and Studio Tours reservations.  
  6. After you have completed and submitted your changes, you will receive an e-mail confirmation.

Message from the Program Co-Chairs

The Designing for User eXperience conference, DUX2005, provides a forum to present your case studies and sketches about your insights in designing user experiences, with a focus on the methodologies used and the effectiveness of final results.

Demonstrations will be an essential element. Presentations will showcase and describe human-centered design from a wide range of real-world projects. We particularly invite designers to submit Design Case Studies, Design Practice Studies, Design Research Studies, and Sketches:

  • Mobile device interfaces, including vehicle systems
  • Web services
  • Specialized applications (kiosks, security, hazardous materials)
  • Social computing (blogging, flashmobs, IM, collaborative)
  • Innovative Game Interaction
  • Tangible interfaces
  • Embedded interfaces
  • Data visualization
  • Broadband, wireless, and ubiquitous computing
  • Design Process (e.g. distributed design teams)
  • Process Design
  • Responsive environments
  • Public art installations, live performance interfaces
  • Multi-channel applications
  • Consumer products/services; appliances
  • Wearable devices/smart textiles
  • Adaptive prostheses
  • Social impacts of design innovation

Submissions should illustrate analysis of and best practices in the process of designing products/services, and lessons learned. Submissions should detail designs or solutions to design problems in the user experience that involve interactive systems. ("User experience" includes visual design, interaction-, information-, and business-oriented design issues, including branding). Accepted applicants will present their designs at DUX2005 and their work will be included in the ACM Digital Library and AIGA Case Study Archive. Exchange of ideas among presenters and the audience will be an important part of the presentation/demo event.

Submissions

DUX2005 invites submissions in four categories: Design Case Studies, Design Practice Studies, Design Research Studies, and (briefer) Design Sketches. Studies report on implemented designs and the methods and techniques people have used, specifying what worked, what did not work, and why. Sketches report on works in progress. Our mentoring program is designed to help with your submission. Contact the for more information or to request a mentor.

Design Case Studies offer comprehensive and richly illustrated narratives of the challenges of development, the processes used, and the results (good or bad), including the impact on stakeholders, user community, sponsoring organization, and technology providers. Case Studies provide evidence of the quality of the user experience and the degree to which the design achieved the organization's goals.

Design Practice Studies report on implemented designs in real-world use, but focus on processes, methods, models, tools, or techniques which have achieved positive or negative outcomes across multiple cases. Practice Studies provide evidence that the reported ways of working achieve repeatable specified outcomes in specified contexts.

Design Research Studies report on implemented designs in real-world use, but focus on research findings which have guided design or predicted the impact (positive or negative) of designs on the user, the organization, or technology, across multiple cases. Research Studies provide evidence that the reported research supplies design guidance or prediction of results in specified contexts on a repeatable basis.

Studies can be up to 16 pages in length. (An appendix of no more than 5 additional pages of illustrations may be included to help explain the design, process, and/or method). Keep in mind that this event is not a design competition; the focus is on sharing your design experiences with the community and reflecting on achieving objectives and lessons learned. Submissions will be chosen on the merit and contribution of the Design Study, not only on the quality of work it describes. A valuable lesson learned from a poor design is just as acceptable as a valuable lesson learned from a good design.

Design Studies can cover the following aspects of a project: the actual practice/project execution, methods used, or research conducted for the project, as long as the criteria outlined below are followed. Studies that do not cover the submission guidelines will not be accepted.

Sketches are short descriptions of design stories, methods, or research that are not yet fully implemented designs in real-world use. As such, they are appropriate for discussing work in progress and do not need to span multiple cases. Sketch submissions could be concepts or partial implementations. The results section of a sketch describes projected outcomes or next steps.

The downloadable Submission Kit spans all four categories. Technical details for preparing and submitting your work are in the How to Submit section of the DUX2005 web site.

Note that preference will be given to submissions that are new to our three sponsoring communities, e.g., not previously published or presented to the public.

Studies (of implemented designs) Size
Design
Case Study		 Particular project + analysis; lessons learned... Up to 16 pages
+ up to 5 of illustration
+ up to 100mb of video
Design
Practice Study		 Repeated/multiple instances of use, with analysis of outcomes Same
Design
Research Study		 Exploratory, in which a design, technique, or process is examined, with iteration and variation. Same
Sketch Shorter: work-in-progress; ideas; late-breaking; concept-plus-projections... 4-6 pages
+ up to 2 of illustration

What to Include in Your Submission

We provide the outline below for all submissions. Using it enables effective evaluation and facilitates your focus on describing design, design methods, and techniques, instead of the structure of the submission. Use of a different format risks rejection of the submission. All items below are included in the page total.

  1. Abstract (limit 150 words)
  2. Keywords (from supplied list or your own)
  3. Problem Statement. Includes industry, problem, objectives, and goals (business, market, users, technology), etc.
  4. Background
    1. Team members and their roles
    2. Project dates and duration
    3. Context of project
  5. Challenge. In real-world design, there are constraints that make it difficult to follow ideal-path processes. What constrained your project (budgetary or time limits, patent issues, technology constraints, a political challenge, a midstream change in priorities...)?
  6. Solution
    1. Process (methods, tools, procedures, influences):
      • Why did you choose to do this?
      • Why was this the most effective solution? Or not?
      • What prediction did you make about effectiveness of the design or other goals?
      • What other best practices were considered but not used? Why?
    2. Solution details:
      • What were the elements of the design strategy?
      • How did the design solution support project requirements?
      • How were end-users involved in the process?
      • What is unique or convention-setting about the user experience(s)?
      • What were the constraints of the solution?
      • How was business and culture affected as a result?
      • What is the feedback -- the user response, and how did you determine it?
    3. Results (measured against goals)
      • What prediction did you make about effectiveness of the design or other goals?
      • How did you measure success?
      • What was the impact on you and/or the end users?
      • What insights did you gain—lessons learned?
      • What is repeatable? What would you do differently? What is worth repeating?
      • What are the next steps in the work, or anticipated development of the study's concepts?
  7. Illustrations of the solution(s): models, screenshots and other illustrative images embedded in the above sections as appropriate.
  8. References

Also:

  • Your submission must be in English. If English is not your first language, we encourage you to have a fluent English speaker check your work, or to use our mentor program.
  • Your submission should contain no proprietary or confidential material and should cite no proprietary or confidential publications; responsibility for permission to use video, audio or pictures of identifiable people or systems rests with you, not DUX2005. Submissions without clearances will not be evaluated.

Review Criteria

All submissions meeting the conference requirements will be peer-reviewed by a jury of professionals, drawn from AIGA, SIGCHI, and SIGGRAPH. Your submission may be accepted as is, rejected, or accepted pending specified changes. Please follow the submission guidelines and use the submission template to increase the possibility that it will be accepted. All accepted submissions will be listed in the DUX2005 Conference program, presented as part of the conference, and distributed to conference attendees.

Acceptance Criteria: Reviewers will judge how well the contribution meets the goals of the conference, whether the content outlined in the above section is included, clarity of exposition and demonstration, etc.

Clarity of Exposition

  • Is the written submission well structured?
  • Are arguments used to support assertions?
  • Is previous similar work cited to show that the authors have considered past experience or literature in this area?
  • Are there sufficient illustrations, graphs, charts, and/or video to describe the work and depict the user experience?

Claims and Outcomes

  • Is there a clear statement of impact on the user?
  • Are further prospects for use or continued use of the project described?
  • Are the claims valid and substantiated, with quantitative or qualitative data?
  • Is it clear how other practitioners can make use of the results?
  • Is this work novel or original in a way that adds value to the body of published work in this area?
  • Does it add something new and meaningful to what the design community already knows and understands?

Applicability

  • Contribution to the practice of designing for user experience
  • Suitability for the selected category of presentation (case study, practice study, research study, or sketch)

Submission Format

Your Design Case Study, Research Study, or Practice Study is limited to a maximum of sixteen pages, US letter size or A4, including all illustrations and citations. Sufficient illustrations are required to convey an actual design to the audience; web links or other supplementary material may complement but not replace in-line illustrations. An additional 5 pages of supplemental illustrations are allowed, but please note the supplement can only contain images with short captions. Please submit supplementary material (e.g., video, audio, interactive demos) as MPEG or QuickTime movies, Flash or Director Projectors, MP3 or AVI. Prepare your submission so it can stand on its own without the supplementary materials, since circumstances may prevent some reviewers from accessing them during the brief review window.

The proceedings are full-color PDFs that will be published in the ACM Digital Library and the AIGA Design Archives. Please limit your submission to a final archive data size of 10mb.

Please download the DUX Submission Kit to use as a guideline when preparing your submission.

Packaging Your Submission

  • Cover sheet (single page): Include the name and full contact address (surface, phone, fax, email) of the individual responsible for submitting and receiving inquiries about your submission.
  • Title
  • Author(s) and contact info
  • Abstract of 150 words or less
  • Keywords
  • Content described in What to Include in Your Submission

To upload your PDF file, sign into Precision Conference System's DUX submission web page and register as a user for DUX 2005. Further instructions are provided there and also in the submission kit.

Note: These submission formats are part of the process of developing a body of user experience design case studies that have been embodied in our cooperation with SICGHI, SIGGRAPH and the AIGA, as developed for the DUX2003 conference.

Download Submission Kit

The DUX Submission Kit is available in Microsoft Word and Adobe PDF formats. Click an icon below to download the submission kit.


dux_submission_kit.doc
Microsoft Word Format (3.6mb)
dux_submission_kit.pdf
Adobe PDF Format (248kb)

In order to view Adobe PDF files, you will need a PDF viewer, such as Adobe Acrobat Reader.

Mentoring

If you would like help with your DUX 2005 submission, you may ask for a mentor. Your mentor will help you with your DUX submission, through one on one advising, usually via email.

To request a mentor, please send email to the with the subject: Requesting Mentor, Your last name and the subject, and type of your submission.

In the email, you must include a description of your work (an abstract is a minimum requirement), some keywords, an indication of which specific participation category you're interested in and any specific questions or areas in which you would like help. Also include your full name, affiliation, and contact information as well as some indication of your level of experience with the field and the conference.

Please include the following information at the beginning of your message and check all that are appropriate.

  • I need help in deciding whether DUX is an appropriate place to present my work.
  • I need help in deciding which submission category is appropriate for my work.
  • I need help in deciding what aspect of my work is most relevant.
  • I need help in how best to organize my contribution.
  • I need some help in making sure the English is correct. (We cannot provide complete translation or re-writing; we suggest finding someone in your locality for that purpose).
  • I need another kind of help (please specify in enough detail).

A mentor will typically spend about a total of 2 hours on a submission and is there to support you in creating a high quality submission. Please note that the mentor will provide advice only. It is up to you to create your final submission and having a mentor does not guarantee acceptance to the conference.

Although we will strive to find mentors for everyone who asks, mentors are volunteers and in some cases, it may not be possible to find an appropriate mentor.

We advise that you request a mentor early; no later than May 15th.

Confidentiality of Submissions

Confidentiality of submissions is maintained during the review process. All rejected submissions will be kept confidential in perpetuity. All submitted materials for accepted submissions will be kept confidential until the start of the conference. Submissions should contain no information or materials that are proprietary at that time.
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