This clip shows an excerpt of my MIX10 Keynote, where we demonstrate the power of pen and touch, combined, on a single display, to provide the user interface for a powerful painting tool, Project Gustav. The pen+touch display is prototype hardware developed for us by Wacom Technologies. The paint program and the UX design were developed at Microsoft Research. See the related video "Manual Deskterity: An Exploration of Simultaneous Pen + Touch Direct Input" www.youtube.com as well as other videos of Project Gustav on YouTube.

pen+touch stylus touch multi-touch multitouch paint program project gustav bill buxton MIX10 Microsoft Research bimanual input wasbuxton

This video was created in 1985 to accompany what might have been the first paper in the literature on multi-touch (as opposed to the first multi-touch system). The work was done 1984-5 by the Input Research Group (IRG) at the University of Toronto. The paper appeared in the proceedings of the 1985 SIGCHI conference, and was authored by SK Lee, W. Buxton & KC Smith. For more information, see Bill Buxton's web page: www.billbuxton.com

multi-touch multitouch IRG University of Toronto DGP itouch input touch tablet touch pad Bill Buxton HCI user interface wasbuxton

Bill Buxton mad professor Maya ad with eyes popping

bill buxton alias maya commercial eyes popping commercials wasbuxton

This is an overview of techniques and design issues in the use of touch tablets / touch pads in interacting with computers. The work ilwas done by the Input Research Group (IRG) at the University of Toronto in 1985. The paper appeared in the proceedings of the 1985 SIGGRAPH conference, and was authored by William (Bill) Buxton Ralph Hill & Peter Rowley. For more information, see Bill Buxton's web page: www.billbuxton.com

multi-touch multitouch IRG University of Toronto DGP itouch input touch tablet touch pad Bill Buxton HCI user interface wasbuxton

The Cross Pad, from AT Cross Ltd., was a commercially available electronic clipboard which enables users to draw on paper, and at the same time have their work captured electronically, since the clipboard was a digitizing tablet with a microprocessor and memory. This prototype demonstrated how this technology can be integrated into the workflow of the design studio, and is an example of the move to ubiquitous computing. This work was done by Bill Buxton and the Research Group at Alias|Wavefront, Toronto, in 1999.

Cross Pad cross pad paper and digital drawing 2d to 3D Bill Buxton Alias|Wavefront wasbuxton

Boom Chameleon demonstrates an approach to Virtual Reality that does not involve caves or head-mounted displays. It provides a kind of interactive 3D kiosk that can be used to view 3D designs in a manner that you would if you were walking around it with a video camera. This work was done at Alias|Wavefront, Toronto, in 1998 by George Fitzmaurice, Bill Buxton & Gord Kurtenbach with the help of Fakespace Systems. Ref: Buxton, W. & Fitzmaurice, GW(1998). HMD's, Caves & Chameleon: A Human-Centric Analysis of Interaction in Virtual Space, Computer Graphics: The SIGGRAPH Quarterly, 32(4), 64-68.

Boom Chameleon Cameleon Alias|Wavefront Alias 3D display George Fitzmaurice Bill Buxton Gord Kurtenbach wasbuxton

A prototype system for controlling 3D models on a large powerwall is demonstrated. One manipulates physical proxies, or props, on a "stage" to control the positon and orientation of the displayed objects. Likewise, there is an instrumented armature that can serve as a proxy for the lights or camera. This work was done by the research group (George Fitzmaurice, Gord Kurtenbach, Azam Khan and Bill Buxton) at Alias|Wavefront, Toronto, in 1999.

tangible interface graspable interface props powerwall 3D interaction Alias|Wavefront Bill Buxton wasbuxton

This video demonstrates a prototype user interface that enabled people to work with 3D geometry in a way that largely mirrored how people sculpt with clay. In essence, one held the model being scuplpted in the non-dominant hand, and the sculpting tool in the dominant hand. This work was done by the Research Group of Alias|Wavefront, Toronto, in 2000, by Gord Kurtenbach, George Fitzmaurice, Azam Khan and Bill Buxton

3D digital sculpting Alias|Wavefront 2-handed input HCI Gord Kurtenbach George Fitzmaurice Azam Khan Bill Buxton wasbuxton

This is a prototype system developed in 1994-5 at Alias Research by Gord Kurtenbach, George Fitzmaurice, Thomas Baudel & Bill Buxton. It uses two key interaction techniques: tool-glass (developed by Bill Buxton and Eric Bier at Xerox PARC) and radial marking menus, initially developed by Neil Wiseman in 1969 in Cambridge, and refined as Marking Menus by Gord Kurtenbach in his PhD thesis. For more details see: T3: www.billbuxton.com Toolglass: Paper: www.billbuxton.com Video: www.youtube.com Marking Menus: www.billbuxton.com and www.billbuxton.com

2 handed input user interface multi-touch pie menus radial menus marking menus Gord Kurtenbach George Fitzmaurice Bill Buxton Thomas Baudel Alias HCI computers wasbuxton

This short tape from November 2009 discusses how technologies such as surface computing, tangible devices open up new ways for interacting with computers.

Microsoft Natural User Interface NUI Surface tangible devices Bill Buxton Human-Machine interaction future wasbuxton

This video shows an approach to drawing in 3D that is based on a traditional drawing technique used in the automotive industry called "tape drawing", where one "draws" by laying photographic tape on the wall. In this tape, a digital version of the technique is used to draw 3D models. This work was done in 2000 at Alias|Wavefront, Toronto. Ref: Grossman, T., Balakrishnan, R., Kurtenbach, G., Fitzmaurice, G, Khan, A. & Buxton, W. (2001). Interaction techniques for 3D modeling on large displays. Proceedings of the 2001ACM Symposium on Interactive 3D Graphics, 17-23..

3D Tape Drawing Alias|Wavefront Alias graphical input 2 handed input Tovey Grossman Ravin Balakrishnan Gord Kurtenbach George Fitzmaurice Azam Khan Bill Buxton wasbuxton

This shows some examples of performance, or "go" animation, on the desktop, using MIDI controllers. It shows how techniques from music recording, such as muti-tracking, can be applied to animation. Rather than just describe a motion, via animation curves or key frames, the user is able to show the motion directly, using a physical controller. This work was done in 1996 by the Research Group at Alias|Research, Toronto, by George Fitzmaurice, Gord Kurtenbach, Thomas Baudel and BIll Buxton.

MIDI desk-top Motion-Capture 3D animation Power Animator Alias|Wavefront George Fitzmaurice Gord Kurtenbach Thomas Baudel bill Buxton wasbuxton

This is work done withn the research group at Alias|Wavefront (now part of Autodesk). It was done in 1999 by Jos Stam, one of the stars of computer graphics. It illustrates real time computational fluid dynamics in both 2D and 3D. The 3D simulation is controlled by a 3D camera that captures the user's free-hand gestures in space, and enables the gestrues to "stir up" the particles of virtual smoke in a virtual volume.

Navier-Stokes computational fluid dynamics interactive graphics Alias|Wavefront Autodesk Jos Stam Bill Buxton wasbuxton

Bill Buxton Exploding Head Alias commercial for Maya

bill buxton alias maya commercial head exploding commercials wasbuxton

This video demonstrates a novel bimanual technique for drawing on large wall-sized displays. The technique is exploits the skills used in a drawing technique used in automotive styling called Tape Drawing. Traditionally, this was done by laying photographic tape on a wall in order to draw automobiles free-hand, ful scale. Here, we mimic the traditional tape using computer graphics, but still let the artist draw on the wall, thereby preserving their traditional skills. This work was done at Alias|Wavefront, Toronto, in 1999, by Ravin Balakrishan, George Fitzmaurice, Gord Kurtenbach and Bill Buxton. Ref: Balakrishnan, R., Fitzmaurice, G., Kurtenbach, G., & Buxton, W. (1999). Digital tape drawing. Proceedings of the ACM Symposium on User Interface Software and Technology (UIST'99), 161-169.

Digital Tape Drawing tape drawing Alias|Wavefront automotive design Ravin Balakrishan George Fitzmaurice Gord Kurtenbach Bill Buxton wasbuxton

This is a demonstration of a novel system to support annotation of digital documents using syncrhonized pen, ink, and pointing. The system enables the user to mark up a document, as well as gesture and point, with a pen, while speaking, and have all of this recorded and then mailed with the document. The resut is that recipients got a message that provided natural "over the shoulder" presentation of the sender's comments. What is remarkable is that this work was done in 1989, and yet, while being of significant potential value, this capability is still not available on today's systems. This video was produced in 1989 and was circulated as part of the ACM SIGGRAPH Video Review 45, Copper Gilloth and Bill Buxton, editors.

wang freestyle wang laboratories multi-modal communication pen computing annotation voice messaging rich media wasbuxton

Tracking menus are a type of menu, developed in 2002, where the menu is sort of like the tracking symbol for the stylus or mouse. The "only" difference is that the menu only tracks when the actual mouse tracking cross hits the edge of the menu. When the tracking cross moves over top of the menu, rather than against the edge, it works like any other menu. Sounds simple, but it brings a lot of new capability, especially to pen-based systems like the Tablet-PC. They were first used in Alias Sketchbook Pro. Ref: Fitzmaurice, G., Khan, A., Pieké, R., Buxton, W. & Kurtenbach, G. (2003). Tracking Menus. Proceedings of the ACM Symposium on User Interface Software and Technology (UIST'03), 71-79.

Tracking Menus Alias|Wavefront Sketchbook Pro George Fitzmaurice Azam Khan Rob Pieké Bill Buxton Gord Kurtenbach wasbuxton

This video introduces the notion of what we called "graspable" user interfaces. More recently, these have also been called "props based" or "tangible" interfaces. It is a style of UI in which key components are manifest in graspable physical props whose physical form relates to their function. The tape shows the use of rapid prototyping / sketching interaction to explore the concept. It is also notable in that it used one of the early table-top systems, the Active Desk developed at the University of Toronto, that are now becoming more common - such as with Microsoft Surface. This work was undertaken by George Fitzmaurice, William (Bill) Buxton, and Hiroshi Ishii as part of the Input Research Group (IRG) at the University of Toronto, as well as additional work at Alias Research, Toronto. Refs: Fitzmaurice, GW, Ishii, H. & Buxton, W. (1995). Bricks: Laying the Foundations for Graspable User Interfaces Proceedings of CHI'95, 442-449. Fitzmaurice, G., & Buxton, W. (1997). An Empirical Evaluation of Graspable User Interfaces: towards specialized, space-multiplexed input. Proceedings of the ACM Conference on Human Factors in Computing Systems (CHI'97).New York: ACM, 43-50.

graspable interface tangible active desk tabletop computing two-handed input 2-handed props bricks sketching interaction George Fitzmaurice wasbuxton

This is work that came out of the research group at Alias|Wavefront (now Autodesk) in 2000. The work was done by Jos Stam, one of the heros of computer graphics. It uses real time computationalfluid dynamics to demonstrate an interactive virtual cloud chamber. Here, one can stir up the particles, but also use your fingers to draw geometry that forms barriers. One can then see how the constraints of the barriers affect the flow of the fluids. What is rather cool is that Jos actually had an interactive version of this demo running on a Palm Pilot PDA!

Navier-Stokes computational fluid dynamics cloud chamber Jos Stam Bill Buxton Alias|Wavefront computer graphics interaction simulation physics wasbuxton

The term Natural User Interface, or NUI, has come into our vocabulary, and it is used as a means to identify a new approach to user interface design that is distinct from the GUI, or Graphical User Interface. But before using a new term, it is worthwhile diving in and trying to understand what lies behind it. Hence, in this short clip, I present a few examples that try to touch on the essence of the term "Natural", as used in the term, NUI. The main message is that no technology or interaction technique is "natural" per se. Rather, it is the user intent, expectation, and context (physical, cultural and social) that are most important in giving meaning to the term. Rather than technological or inate in the human, what is "natural" has to do with the specific skills (motor-sensory, cognitive, social, cultural, and emotional) that the user has acquired through a life-time of living in the everyday world. Hopefully this clip provides a start in terms of understanding the significance to designers and technologists of this perspective.

NUI Natural User Interface bi-manual action two-handed input pen and touch stylus and touch mobile devices annotation Bill Buxton Chameleon Microsoft Research User Experience Design Yves Guiard Kinematic Chain wasbuxton

This demonstrates the Ligne Claire, a marking-based technique for drawing splines. With it, one can edit, or modify a drawn line by drawing the change over it, rather than manipulating control points, etc. This research behind this work was done by Thomas Baudel, with this version done in 1996 by Baudel while working at the Research Group at Alias|Research, Toronto. Ref: Baudel, T. A Mark-based Interaction Technique for Free-Hand Drawing. Proceedings of the ACM UIST94 Conference on User Interface Software and Technology, 185-192.

Ligne Claire Sketching pen-input Alias|Wavefront Thomas Baudel Bill Buxton wasbuxton

This is a demonstration of using MIDI devices to do so-called 'stop animation" with a 3D graphics package. MIDI sliders are used to control the pose of a character, and the MIDI transport controls are used to record those poses as key frames. The scrub wheel on the transport control can then be used to scrub along the time line of the animation being created. This can be used to specify the location where the next keyframe is to be set, for example. The effect is the ability to do set the pose at a sequence of keyframes, and navigate through, and test and edit the result, using simple techniques, and common technology. This work was done by the reserch Group of Alias Researc (later Alias|Wavefront), in Toronto, Canada, in 1995, using a modified version of the Power Animator software, the predecessor to MAYA.

Power Animator 3D animation stop animation pose control character control Alias Wavefront Bill Buxton HCI user interface design User Experience MIDI wasbuxton

Boom Chameleon is a spatially-aware touch-sensitive display. It is mounted on an articulated boom, to create a kind of virtual video camera that lets you take snapshots, view and annotate 3D models. Annotations are like virtual videos, where you can record both the current view as you move the display around the model, simultaneously recording your spoken comments, while at the same time capturing what you are pointing at with your finger on the screen, and even what you are annotating (drawing with your finger) using digital ink. This work was done jointly by Alias|Wavefront and the University of Toronto Input Research Group in 2002. Ref: Tsang, M, Fitzmaurice, G., Kurtenbach, G., Khan, A. & Buxton, W. (2002). Boom Chameleon: SImultaneous capture of 3D viewpoint, voice and gesture annotations on a spatially-aware display. Proceedings of the 2002 ACM Symposium on User Interface Software and Technology (UIST'02), 111-120. Summary in (2003) ACM Transactions on Graphics (TOG), 22(3), 698.

annotation 3D touch virtual 3D camera Alias|Wavefront chameleon Michael Tsang Azam Khan Gord Kurtenbach Bill Buxton George Fitzmaurice wasbuxton

This is a digital dub of a 7 minute, 45 second 16 mm film produced in 1971 by the National Research Council of Canada, in Ottawa. It demonstrates not only one of the first ineractve computer systems for animation, one used for production, it was also an outstanding example of early user-centred design. The system was developed by Marceli Wein and Nestor Burtnyk, both of whom won Academy Awards for this influential work. For some additional information, see also: Burtnyk, N. & M. Wein, M. 1976. Interactive Skeleton Techniques for Enhancing Motion Dynamics in Key Frame Animation, Communications of the ACM, 19(10), 564-584 .

computer animation animation history key frame animation Nestor Butnyk Marceli Wein NR C Canada HCI UX interaction Bill Buxton wasbuxton

Hydra is a desktop video-conferencing system that employs what could be called "video surrogates" in order to provide the same kind of spatial cues that are found in face-to-face conversation. Each of the remote people occupies a specific location on one's desk, and the placement on the desk is maintains an "around the same table" spatial geometry as all people were in the same room. By integrating each person into a single physically and distinct unit, the camera is not a camera, but a surrogate eye. The speaker is not a speaker, but a surrogate mouth, The microphone is not a microphone is not a microphone but asurrogate ear, and the ear, mouth and eye are all attached to the body, which is where the monitor is. This arrangement supports gaze awareness, turn taking, eye contact and parallel conversations (due to the discrete audio channels and the "cocktail party effect"). Furthermore, none of the remote people's image appears on the computer screen - leaving it free for shared work. In this manner, a strong sense of telepresence is provided. This work was done in 1991-92 jointly by Abi Sellen and William (Bill) Buxton of the Ontario Telepresence Project at the University of Toronto, and by John Arnott and his team at the Arnott Design Group of Toronto. Ref: Sellen, A., Buxton, W. & Arnott, J. (1992).Using spatial cues to improve videoconferencing. Proceedings of CHI '92, 651-652.

Ontario Telepresence Project desktop video-conferencing desk-top videoconferencing Hydra video surrogate cocktail-party effect Bill Buxton wasbuxton

This is a digital copy of a 1963 16:41 min 16mm film film demonstration of Ivan Sutherland's classic Sketchpad system. Sketchpad, and its associated thesis (see reference below), is one of the most influential theses in computer science, and it laid the foundation for a very large part of what we take for granted today (and then some) from the perspective of how we interact with computers. This work was done at a very special place, MIT's Lincoln Lab, on a very special computer, Wes Clark's TX-2, amongst a group of highly competent and creative people. It was a perfect storm and Sutherland rode it beautifully. For more information on Sketchpad, see: Sutherland, I. (1963). Sketchpad: A Man-Machined Graphical Communication System . PhD Thesis, MIT. www.cl.cam.ac.uk Sutherland, I. (1963). SKETCHPAD: A Man Machine Graphical Communication System, Proceedings of the AFIPS Spring Joint Computer Conference , 329-346. www.aci.com.pl For more general information on Lincoln Lab, including Sketchpad, see: Buxton, William: Resource Page on Early HCI Research by the Lincoln Lab TX-2 Group billbuxton.com Buxton, William (2005). Interaction at Lincoln Laboratory in the 1960's: Looking Forward -- Looking Back . Panel Introduction. Proceedings of the 2005 ACM Conference on Human Factors in Computing Systems, CHI'05 , April 3-7, 2005, 1163-1167. billbuxton.com

Ivan Sutherland Computer Graphics TX-2 CAD Lincoln Lab MIT interaction computer history light pen Bill Buxton wasbuxton

A large part of my work has to do with studying compound rather than individual atomic tasks. The reason is that in our day to day life, that is the way that we think of things. We generally do not decompose tasks into their constituent elements, so interaction techniques should better reflect how we think and work. This is an early example of some early work (1982), which compares a number of different approaches to articuluating selection/positioning tasks. In this sense, this study reflects the approach to design that still underlies my work, and is the foundation of my book, Sketching User Experiences," namely, the need to explore multiple options before making a design decision. a key word in the title of this study is "informal". That is, at this stage of exploration, just like sketching, one does quick informal probes rather than expensive time-consuming formal studies. What is frightening about this video is, on the one hand, how young I was, and on the other, how little my message has changed. Sigh. If you are interested in the evolution of ideas, you might want to view this video in chronological order, relative to how the ideas emerged: The shorthand graphical technique for entering musical notes in a score: Paper: billbuxton.com Video: www.youtube.com This study in selection-positioning tasks: Paper: billbuxton.com GEDIT: Paper: www.billbuxton.com Video: www.youtube.com

sketching interaction graphical interaction comparative studies compound tasks marking menus pie menus Bill Buxton human computer interaction User Experience input techniques Input Research Group IRG University of Toronto wasbuxton

This video demonstrates an early prototype of a hand-held digital device where one navigates through the information displayed in a manner somewhat analogous to how one looks at the world through a camera's viewfinder: one pans left/right & up/down to change the firection of view, and moves in to get a close-up and out to get an overview. In order to avoid arm fatigue, or uncomfortable positions, or always moving images, a "clutch" button is included so that one can engage or disengage the navigation. Effectively, this enables one to reset the origin of the coordinate space. Refs: Fitzmaurice , George W. (1993). Situated information spaces and spatially aware palmtop computers. Communications of the ACM, 36(7), p.38-49. Fitzmaurice, George, Zhai, Shumin & Chignell, Mark (1993). Virtual reality for palmtop computers. ACM Transactions on Information Systems, 11(3), p. 197-218.

mobile devices document navigation camera viewfinder metaphor George Fitzmaurice gesture-based interaction spatial motor-memory wasbuxton

This short clip demonstrates a paint program that is implemented on a large drafting-table format display called The Active Desk. The software is a version of a paint program called Studio Paint, developed by Alias Research (later Alias|Wavefront) in toronto Canada. The Active Desk was originally developed around 1992 at the University of Toronto, in conjunction with the Arnott Design Group of Toronto. this demo was shot in 1995 the the Research Group at Alias|Wavefront. One of the key points that ithis video makes is that to engineer the future tomorrow you have to have lived in it yesterday. Prototypes such as this are an example of doing so. This system gave us the ability to gain experience with technologies that are only now, in 2010, starting to appear in a form that has a chance of going mainstream.

digital paint programs digital desktop surface computing digital drawing board digital drafting table Arnott Design Group Alias Wavefront Research Bill Buxton Studio Paint wasbuxton

Objed was the main sound or timbre editing tool developed by the Structured Sound Synthesis Project (SSSP) at the University of Toronto. In more modern times, Objed would be called a "voicing program". We didn't call it that, for the same reason that the invetors of television didn't use that term to describe what they had built either. The interesting thing here is that the entier SSSP system was object oriented, and had pretty interesting inheritance properties, that even today are not common in music systems. RELATED VIDEOS: SSSP Overview: www.youtube.com Score Editing with Scriva: www.youtube.com Live Performance with Conduct: www.youtube.com Performance Excerpt: www.youtube.com SSSP Closing Thoughts: www.youtube.com Coda - The Katosizer: www.youtube.com Refs: Buxton, W., Patel, S., Reeves, W. & Baecker, R. (1982). Objed and the Design of Timbral Resources. Computer Music Journal 6(2), 323-44. billbuxton.com

computer music timbre editing voicing programs sound synthesis SSSP digital synthesizers Bill Buxton input devices graphical interaction user experience University of Toronto Dynamic Graphics Project music editors music composition wasbuxton

was the main score editing tool developed by the Structured Sound Synthesis Project (SSSP) at the University of Toronto in the late 1970s. It was an object-oriented tool used for composing and editing music, including orchestration. It enabled a range of different styles of graphical music notation. Remember the date. This was several years before the Macintosh came out, and even more years prior to MIDI. RELATED VIDEOS: SSSP Overview: www.youtube.com Sound Editing with Objed: www.youtube.com Live Performance with Conduct: www.youtube.com Performance Excerpt: www.youtube.com SSSP Closing Thoughts: www.youtube.com Coda - The Katosizer: www.youtube.com Refs: Buxton, W., Sniderman, R., Reeves, W., Patel, S. & Baecker, R. (1979). The Evolution of the SSSP Score Editing Tools.Computer Music Journal 3(4), 14-25. billbuxton.com Buxton, W., Patel, S., Reeves, W., & Baecker, R. (1981). Scope in Interactive Score Editors. Computer Music Journal 5(3), 50-56. billbuxton.com

computer music SSSP digital synthesizers Bill Buxton input devices graphical interaction user experience University of Toronto Dynamic Graphics Project music editors music composition wasbuxton

This is a digital dub of an 11 minute 16 mm film from 1971, made by the National Research Council of Canada in Ottawa. It demonstrates one of the first interactive digital systems for music composition and real-time sound synthesis. The lead on the project was Ken Pulfer, and key programming was by Peter Tanner. NRC 1971. The Music Machine. 11 minute 16 mm film produced by the National Research Council of Canada. The system, whose development started in 1969, used a mouse, chord keyboard, and a 61 note organkeyboard to enter and edit music. The music appeared in (albeit crude) common music notation on an interactive graphics display. This was the first computer that I ever saw (in 1971), and the first that I used. Yet, with few hours of instruction, I could work on my own, and in a week I was able to complete the score for a short documentary film. This system has had a huge influence on almost all of my work since, as I describe in the following article. Buxton, W. (2008). My Vision Isn't My Vision: Making a Career Out of Getting Back to Where I Started. In Thomas Erickson & David McDonald (Eds.). HCI Remixed: Reflections on Works That Have Influenced the HCI Community. Cambridge, MA: MIT Press, 7 - 12. billbuxton.com For additional information, see also: Pulfer, JK 1968. Digital Display Hardware for Man-Machine Communication Studies. Canadian Information Processing Society Quarterly Bulletin. 8(6), 18-23. Pulfer, JK 1971. Man-Machine Interaction in Creative Applications <b>...</b>

Computer music NRC Computer graphics Computer History Bill Buxton Sound synthesis HCI UX User Interface User Experience early mouse chord keyboard Ken Pulfer Peter Tanner electronic experimental music electronica wasbuxton

There is often a tendency in design to take what works on one platform or form factor, and apply it to another, without adequately considering how suitable it might be to do so. This clip is obviously a playful way of making the point that everything is best for something and worst for something else. And, while the design that I present is patently absurd (although some people who have seen this clip thought that I was serious) the question to ask is this: in retrospect, how different is this than what we saw in early hand-held devices, onto which we tried to map the interfaces that had worked well on the desktop? I say this not to criticize past design. Hind-sight is 20:20. There is a natural evolution to things. All of us go up blind alleys and make mistakes along the way. That is how we learn. Such things were not mistakes. Rather, it is better to think of them as a very expensive education. The question that then arises is this: as a discipline, having paid the full tuition, did we learn the lesson? From much of what I see, I seriously wonder. Hence this clip. We are in a period where a number of new form factors and devices are emerging. In designing for them, it is perhaps more important than ever to know the lessons of the past so as to be better able to know when to, and when not to, apply the different techniques in our repertoire. And if you find a bit of humour and absurdity in this, keep in mind that this is serious fun. In retrospect, many of our collective <b>...</b>

User Experience Design UX Microsoft Surface Mobile navigation user interface HCI touch interface Bill Buxton wasbuxton