Series: MIT Press
Hardcover: 766 pages
Publisher: The MIT Press; 1 edition (October 1, 2007)
Language: English
ISBN-10: 0262134748
ISBN-13: 978-0262134743
Product Dimensions: 8 x 1.8 x 9 inches
Shipping Weight: 3.8 pounds (View shipping rates and policies)
Average Customer Review: 4.0 out of 5 stars See all reviews (29 customer reviews)
Best Sellers Rank: #174,330 in Books (See Top 100 in Books) #86 in Books > Arts & Photography > Decorative Arts & Design > Industrial & Product Design #90 in Books > Computers & Technology > Computer Science > Human-Computer Interaction #141 in Books > Reference > Encyclopedias & Subject Guides > Business
(I originally gave this book a more positive review. won't let me change the star rating. I give this book TWO stars, not four.)This book is fairly impressive at first glance. Seven-hundred plus pages, adequately footnoted, and nicely designed. I can't imagine anyone in the field of interaction design not enjoying cracking open Moggridge's book.But "Designing Interactions" isn't quite what I thought it would be, and my first optimistic impressions were terribly wrong. It is, as Bruce Sterling's blurb describes it, "a labor of love." It's really "The History of Designing Interactions." More specifically, it's "The History of how Bill Moggridge, his company IDEO, and A Few Other People Mostly in California Designed Interactions." It's something of a hagiography--biographies of designer-saints, whose every effort was nothing less than beautiful, innovative, useable and useful. Failures, missteps, or significant-but-ugly designs (Windows 3.1 gets about a sentence) are minimized. That makes it feel like something of a whitewash.It actually reminds me a lot of "The Art of Unix Programming" in its combination of cultural and technological history, mixed with practical sections. But where the people in "The Art of Unix Programming" come across as modest smart people, sort of tinkering along inventing an entire paradigm, Moggridge's subjects are sort of bathed in this golden California glow of eternal optimistic technophilia; it's not that the design of buttons and menus isn't a moral, cultural, and aesthetic imperative (cause it is), but in Moggridge's text it just all feels a little...inevitable. It's also historically dubious. Moggridge doesn't use interviews well, and they seem to be basically his only research here.
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