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Roads? Where We're Going We Don't Need Roads!53:32 with Claudio Guglieri and David Navarro
We can’t predict the future, will there be flying cars? Hoverboards? Self-drying jackets? Can movies help us understand what the future is going to be like? If so, as designers, is it time to panic and run away? In this talk we explore what we can learn from the big screen and how that can be applied to our daily jobs with the internet. As digital designers what we do today will have consequences tomorrow, it’s a great power that comes with a great responsibility. Are you curious about how Design and Sci-Fi have crossed paths over time? How have they influenced each other? Come and join us to find out.
[MUSIC] 0:00 [APPLAUSE] 0:04 [MUSIC] 0:09 >> A mysterious world full of imaginative machines. 0:12 A world. 0:20 [SOUND] [INAUDIBLE] 0:21 [MUSIC] 0:22 >> The year is 2015. 1:04 Welcome to the future. 1:12 [MUSIC] 1:15 Hello, hello, hello. 1:21 Hey, hey, hey. 1:24 Can you guys hear me? 1:25 Hello, hello, hello. 1:28 Joe. Hey, yeah. 1:31 Okay, you guys can hear me. 1:33 I wasn't sure. 1:34 How are you? How is everything? 1:35 >> Awesome. 1:38 >> Good, awesome. 1:39 That's great. 1:39 All right, so I have a lot to tell you today and I just have 40 minutes. 1:40 I'm gonna go fairly fast, but I guess I spent here a couple of days and 1:46 most of the conferences are really technical. 1:52 They're really like development based. 1:54 So I'm just curious to know how many product designers are here in the room. 1:57 You can raise your hand. 2:02 We have one, not many. 2:04 This is surprising me. 2:07 All right, so I'm not gonna talk necessarily about design, 2:08 I'm just almost gonna talk about fantasy, and I'm gonna talk about science fiction. 2:11 So 2015, we got here. 2:15 This is really exciting. 2:20 Back in 1989, I'm actually gonna date myself, but 2:21 I went to the movie theater with my father and I watched Back to the Future. 2:26 I watched Back to the Future and I was amazed 2:30 by the amount of stuff that it was like just not there, right? 2:33 So actually, it is in a month when Marty McFly is supposed to arrive to 2:38 Hill Valley, according to the movie. 2:43 And it's just interesting to actually been able to look back, and 2:45 see myself at that time in the movie theater, and now I'm seeing myself now, 2:49 and being able to contrast where it became real and where it didn't. 2:54 Few of those things are my favorite. 2:58 Let's start with some of the things they got wrong. 3:01 For instance, we have no flying cars, which no big surprise. 3:04 There's no such thing as a self-drying jacket just yet. 3:08 You guys at London could use that. 3:11 Hover boards, this may sound spoofed, but it's not a real thing, right? 3:13 Luckily we have no such thing as holograms hitting you in the street. 3:19 And I'm extremely happy about this one, 3:24 where good France fashion is not what they depicted 26 years ago. 3:26 However, they got a few things right. 3:32 And that is actually the interesting part. 3:34 So some of the things they got right in Back to the Future were drones. 3:36 This is like 1989. 3:40 No one was thinking about drones at that time. 3:41 And now it's like a popular thing. 3:43 Especially in San Francisco. 3:44 It's just crazy. 3:45 They're falling everywhere, by the way. 3:49 Which is really dangerous. 3:50 Video conference, they weren't the first ones talking about video conferences but 3:52 again they depicted it. 3:56 I actually use it everyday. 3:57 It made telecommuting possible. 3:59 And wearables, we're just at the very beginning of the wearable technology. 4:02 So again, this was all imagined 30 years ago. 4:06 And if you think about it, try to imagine the future, yourself three years from now. 4:10 So think about the reality they had. 4:16 They had no such things as cellphones. 4:20 This is the closest they had to your mobile phone, if you go below 20% battery, 4:21 you freak out. 4:26 That was what they had. 4:27 Obviously, no such a thing as the Internet. 4:29 And because of no Internet and no social network, so 4:32 people couldn't take pictures of their food or their cats. 4:35 What else? 4:39 The future as we could see based on those examples, 4:40 it's just impossible to know what's gonna happen. 4:43 I mean that's for granted. 4:47 But the good thing about it is like movies are always trying to depict the future. 4:49 They're always trying to come up with what they think will it gonna be like in 50 or 4:53 30 years for now. 4:59 So what we've done, me and my friend David couldn't make it, 5:00 is actually watch movies. 5:04 It's not really hard talk, but we watch a bunch of films. 5:05 And we always pay attention to three things, the design, the interactions and 5:09 the platform trying to depict the future and trying to find out what this 5:12 future is gonna be like based on those movies, based on those predictions. 5:17 To talk about the future of sci-fi, 5:23 we actually have to go to the very beginning of the movie industry, right? 5:25 So only six years after the brothers Lumière invented the concept of a movie, 5:29 it was more like a short ,Georges Méliès actually created. 5:34 The first sci-fi movie. 5:39 Which is on Netflix, you guys should watch it. 5:42 It's a 12 minute where you have this- 5:45 They basically go to the moon, as simple as that. 5:52 They get in the canon, they're shot and they're in the moon. 5:54 The interesting thing about this is they have no references, right? 5:57 There was no, let's Google it. 6:00 Let's see what this guy's thinking about. 6:02 There was no such thing as that. 6:04 The only thing they had at the time was literature. 6:05 That was the only reference that they had. 6:09 That's why it's almost so straightforward. 6:12 It's kinda stupid. 6:16 How do you land when they shot you to the moon? 6:18 It's not gonna be nice. 6:20 All right, so with that in mind, we actually separated the history of films in 6:22 different blogs. 6:28 Each one is defined by the type of interaction that we do. 6:30 So the first one is mechanical interfaces. 6:34 We go from 1902 to the 20s. 6:36 This is back in Germany. 6:39 We have the first film, not the first one but 6:41 the most famous the milestone of science fiction is Metropolis. 6:44 And they feature what we call mechanical interfaces because those interfaces, 6:48 well their relationship with the machine is one to one. 6:52 You pull this lever and something happens. 6:54 So the motion gets translated literally. 6:57 It's the beginning of what we have right now. 7:01 Those dashboards that we use right now is only inspiring 7:04 this really friendly user interface. 7:08 For a time, though, those interfaces have disappeared. 7:12 However, it's actually found that even movies that we see right now, they 7:16 tend to use this mechanical interfaces for especially really important actions. 7:20 So, for instance, in Oblivion when shit goes south, the guy is like, oh, my God. 7:25 Where's the lever? 7:30 Let's see if we see it now. 7:32 That's not right. 7:36 There we are. 7:39 That's the way they have to start the engine as well. 7:39 In Star Trek it has become a thing, right? 7:43 There's no such thing as Star Trek without all right let's go to warp. 7:46 That's the thing with Star Trek. 7:49 I wanted to show this example of Star Trek as an extreme example of 7:52 mechanical interfaces because I love when this mechanical guy has to go downstairs 7:58 and pull this lever. 8:03 The amount of effort he has to do to do it is almost like what if you had a bad day? 8:04 What if you're just not able to be that strong? 8:09 You have to bring all these things, it's almost like I don't know. 8:12 You have to be really strong to finally use that thing. 8:16 It's almost like you're doing it manually. 8:18 So it's still for the drama of the movie we keep that, right? 8:20 We move on. 8:23 So from 1 to 1 motion, we move to 1 to many. 8:24 And that's actually the beginning of the crazy dashboard era. 8:27 We see like these knobs, switches, toggles, everything everywhere. 8:32 At this point, it was all inspired on the military and 8:36 that's why we call this period the Submarine Period because 8:39 it really didn't matter where you were going, right? 8:42 Was it like space or the deep sea? 8:44 Everything looks like a submarine. 8:46 [BLANK AUDIO] In color, observation screen of course. 8:47 [BLANK AUDIO] The last movie or 8:53 the last series that actually made an impact in this sense. 8:57 I think this had sound. 9:00 It was a Star Trek originally from 1966. 9:04 This is probably one of the last series due to the low budget. 9:08 Where they have to figure out all this dash board just based on 9:12 buttons that really didn't make much sense. 9:16 And actually, just to bring this back to reality, 9:19 all the spectrums were actually the surplus of originally jet fighters plane. 9:22 So they basically, they had so little money that 9:28 they had to take those buttons and figure out what to do with them. 9:31 The Next Frontier, surprisingly, is not a Star Trek. 9:35 [MUSIC] 9:39 2001, amazing. 9:52 So think about this, 2001 came in 1968, came up In 1968, 9:54 and the original Star Trek series started running in 1966 but 9:59 just the difference between those is crazy, it's not just the design 10:04 of the button itself, it's also the layout, the illumination. 10:08 Something that 2001 did was basically, they brought the displays into the scene. 10:14 Before, we didn't have such thing. 10:21 It was like, you see the the girl, Lieutenant Hulu, or Zulu I think? 10:22 She's like this, what's going on, why's she touching here? 10:27 I don't know. 10:30 But they brought these crazy world displays, and 10:31 to be fair, Stan Lee, he wanted to create literally the next, 10:35 the film that it will become a reference in science fiction. 10:39 What do I mean by this? 10:44 So basically think about this, everybody was doing this. 10:46 And he was like, I wanna do what in the future it would be referenced as 10:51 space travel. 10:55 And this is before we got to the moon, so what he did was actually not working with 10:56 set designers who were doing the same thing over and over, and 11:00 actually working with engineers and industrial designers and 11:03 illustrators that used to work for NASA. 11:06 So again, the comparison that it just looks too theatrical. 11:11 It's like, what are you doing there? 11:15 It doesn't make any sense. 11:16 Where the one on top is, yeah, it's trustworthy, I could get into that. 11:17 All right, so we move on, computer interfaces. 11:24 I was born in the 80s, so 11:29 this feels really special to me because this kind of like what I grew up with. 11:30 Basically we went from this massive, ginormous machines and 11:35 then we have in 2001 as well, where you don't 11:41 necessarily see the computer just because the computer is the whole ship. 11:45 But what, I said 2001 is like Screens and Graphics. 11:50 So again, from the military world, we've start taking references, references. 11:53 We had a display finally with some like the first initial crazy 3D visualization. 11:58 And in that sense also, the first initial user interfaces. 12:04 This is the first time with 2001 that we actually had something that I could work 12:09 on that I could actually consider is this the right experience? 12:12 It's not just a button. 12:17 We need to show some information here. 12:18 And from this whole military-inspired era 12:21 we moved to what's really funny Personal Computers. 12:25 So think about it. 12:29 We spend 30 years after World War I and then after World War II, 12:29 all this cold war, where science fiction was just about going to space, and wars. 12:34 And now the personal computer is something like nobody knows about it but 12:40 it makes people really excited. 12:45 So the whole plot on the 80s is, okay, this guy who is 12:47 not a special at all, is gonna become a genius just because he has a computer, 12:53 and from his computer he could start a war if necessary, he can do everything from 12:59 that computer, and the way he does that is actually by using a keyboard. 13:03 Again this is the first time from this mechanical interfaces where 13:08 we bring a physical device that has a limited set of keys but 13:12 actually with unlimited possibilities. 13:17 Something interesting from this era is actually the user interface and 13:21 how directors used to tell the story. 13:24 You know when you're designing something and someone will come in, 13:27 whoever is your manager, and is like, oh it's not clear enough. 13:32 How can we make this more clearer. 13:35 And you're like, no it is totally clear. 13:36 But the reason is that you've been looking at it, right? 13:38 You have some sort of legacy. 13:40 So, the same thing happened here. 13:41 They basically talk over the interface. 13:43 Because they were afraid that people would not understand it. 13:46 So the guy is talking. 13:48 He's writing. 13:50 And then we can really illustrate. 13:51 It's almost like too stupid. 13:52 Bringing this back to reality, video games. 13:55 This is what people were playing at that point on a consumer level. 13:59 And at the same time, on this other level, on the movies, we 14:03 were already creating crazy interactions and creating crazy wireframey 3D. 14:10 So the gap, this is, Weird Science is a weird movie. 14:14 The gap is just crazy. 14:19 The interesting part about this as well is, that's where we first got a job. 14:22 You know user interfaces finally we can crack on something. 14:26 And as we move on science fiction doesn't stop there. 14:32 They go 2D is just too boring, let's just go crazy. 14:35 So actually Jurassic Park in 92 they featured this whole interface 14:38 that was actually UNIX so it was a real thing. 14:42 Anyway. 14:46 Let's go faster. 14:47 So we get to, I'm gonna need some water. 14:48 Touch interfaces, the next one. 14:51 So the same thing, the keyboard actually reduced 14:53 the amount of complexity to just one device. 14:58 I have to do this properly. 15:03 Don't wanna screw it up. 15:04 So touch interfaces, they continue in this kind of race 15:07 towards the interface ubiquity, taking it one step forward. 15:12 So touch interfaces are those where input and 15:17 output are part of the same surface, for example. 15:20 And everything, 15:23 the one to one equivalent from mechanical interfaces to touch interfaces. 15:24 It's actually those interfaces that just have one action, right? 15:29 So touch here to identify yourself and things like that. 15:32 And some people could argue that 2001 actually created or envisioned 15:37 what the iPod would be like, but if you rewatch the movie, they never touch it. 15:42 So it's just, in reality it was a projector on top. 15:46 So it's a beautiful device but it doesn't have 15:49 touch capabilities as long as we know, or as far as I know. 15:53 All right, the first movie that reportedly has touch capabilities was Tron right, 15:58 so, you guys don't remember, it's a really old movie but you actually watch that. 16:04 So Tron from 1982 shows, 16:10 back in 1982 where people where playing with crappy devices. 16:12 It shows what we called discrete actions. 16:18 So, discrete actions are isolated actions with an interface. 16:21 The same interaction you would do with let's pretend an ATM right? 16:24 So here you can see in this beautiful table he brings a keyboard he touches it 16:28 and then if he wants, he can make it disappear. 16:32 1982. 16:35 This is crazy. 16:37 It's like revolutionary. 16:38 There's like a whole community online trying to create 16:39 their own Gillinger's desk because it was that crazy. 16:42 And he was so crazy that the reality of the time was this 16:46 Four which was the first commercialized multi-touch device. 16:50 It's not mobile as you guys can see. 16:56 And then the Apple 3, which you know, it was the 80s. 16:58 It is what it is. 17:03 Thinking about the interface Tron brough something that we haven't seen 17:07 before, right. 17:11 It's just input and output in the same screen. 17:12 But then again I know I'm gonna come up or 17:15 come through as a Star Trek, kinda like geek. 17:18 By the way, this had sound, I wish we could leave the sound on 17:23 because some of the slides have sound and we're just losing those details. 17:26 You guys. 17:29 Anyway, so, Star Trek The Next Generation was a really important thing 17:32 when it comes to Interface design. 17:43 The Star Trek basically, you could even go back and see the first tablets 17:48 as they were done in the original series, where they pretend to touch this thing but 17:52 it's just something so plastic,or not even that. 17:56 But Star Trek wrote what they call LCARS. 17:59 LCARS stands for Library Computer Access/Retrieval System, but 18:03 it was also the first design language ever created for a sci-fi movie. 18:06 What do I mean by this? 18:13 Think about this whole starship with tablets, dashboard, 18:14 and some other device over there. 18:19 It's Star Trek LCARS was the first intent to create something consistent 18:21 that would just have this unique language across the whole series. 18:25 And it's funny because again if we go back to reality, we have a PalmPilot III, 18:31 and it was pretty amazing device, you could go and connect to the Internet and 18:37 actually see pictures in black and white, it was pretty awesome. 18:40 But Star Trek didn't just stop there, right? 18:44 We go to the next series, Deep Space Nine. 18:47 That's the first time we see the depiction on a sci-fi film or 18:49 series that would later become the iPad. 18:53 And what's special from this interface, which you guys whatever, same as before. 18:56 Note this was new, no one had seen this before. 19:01 They were like, what is he doing? 19:03 This was like magic at that time point in history. 19:05 But they brought or they created what it would become later Continuous Actions. 19:09 And those are actions that don't stop with one input, but require more than one. 19:14 So think about pinching, or think about swiping. 19:18 And we get to 2000, and then we just go crazy, right? 19:22 2004 we see The Island by Mark Coleran as the designer who actually created 19:26 the whole motion. 19:30 And we start also seeing some specific design language. 19:31 You know? This is not military anymore. 19:35 This is getting more friendly and friendly. 19:36 And, again, back to reality. 19:39 Two years later, Jeff they presented what was 19:41 the first mainstream multi-touch device. 19:45 And people were going bananas. 19:48 Because it was just amazing. 19:50 But, we were looking at that way before. 19:51 Then sci-fi continued evolving. 19:54 James Bond did, again, another table. 19:55 We got it. 19:58 And Mark Coleran actually created, or he came up with the concept of fantasy 19:59 interfaces, which by embracing this whole complexity and 20:04 crazy details it would serve a story in a certain way. 20:08 But the reality is, that it got so popular that it went everywhere. 20:12 So you will see, in tons of movies, 20:15 and we have our fair share of Sci-Fi interfaces as well. 20:16 And when I started working this was what I was looking at, 20:20 too advanced, it was crazy. 20:24 And it just it goes everywhere, and suddenly, and luckily on 20:29 the web, it faded away because it didn't quite make sense. 20:33 But just on Sci-Fi it hasn't stopped since then. 20:39 So only transparent screen got it even worse. 20:43 And we get to a point where you think towards 20:46 the of the interface, where we have remove, we have a keyboard. 20:52 We have a whole room, we're going to reduce it to a keyboard. 20:57 We put the keyboard as part of the display. 21:00 Now the display is transparent. 21:03 Like it almost makes you think like do we actually need a display at all? 21:05 And if we don't have a display at all do we need to touch anything? 21:09 And that takes me to the next. 21:13 The next part, which is gesture based interfaces, same as before, 21:16 there's always a prehistory of every single interaction right? 21:19 The Day the Earth Stood Still, 21:23 it has these gestures that are almost like activate and deactivating. 21:25 There's not much of a gesture interface, but to be fair, it's the beginning of it. 21:29 It's Forbidden Planet. 21:34 The lady is calling the robot. 21:35 It makes total sense. 21:38 Johnny Mnemonic, that's a classic from the late 90s, where this is 21:42 a simple gesture to dismiss something but there's not much of an interaction, right? 21:47 So gestures, we can see them in two different worlds. 21:52 When interacting with screens and this is the amazing. 21:56 This is top-edge technology. 22:05 The power globe. 22:09 Look at that guy. 22:14 Is there a road racer? 22:16 [LAUGH] Anyway, you see how basically, 22:17 we're translating gestures in the real world to the screen. 22:21 That's just virtual reality right there. 22:27 All right, and then we see them also in the virtual world 22:30 as we could see them in the owner. 22:33 And finally, Johnny Mnemonic almost combined those two but 22:37 this was just warming up. 22:41 These movies they didn't make it big. 22:43 It was actually one that you probably know 22:46 that was the gap that made this whole gesture thing popular. 22:49 That was Minority Report. 22:53 How many of you have seen A Minority Report inspired interface through 22:54 your carrier? 22:59 There's yes, yes. 23:02 Some of them there. 23:03 Some like crazy, crappy corporate video. 23:04 Someone just like dragging things around. 23:06 Like why? 23:08 [LAUGH] Minority Report was amazing. 23:10 But again, if you compare this to almost ten years before it's not that different. 23:13 The whole concept of interacting with the screen is the same, and 23:22 even worse this only got to us like eight years later. 23:26 And even to this point, I don't know if any of you guys have an Xbox, but 23:31 as much as I like it, I wouldn't trust, I wouldn't fly a plane with that thing. 23:35 It would just be like suicidal so it still is really 23:39 far the time that we will be able to rely on these interfaces. 23:45 But anyway we were translating real gestures to a screen. 23:49 What if we translated to the real world? 23:52 And that is the amazing world of holograms. 23:55 Again, this comes back in time big time. 23:59 This is Things To Come 1936. 24:02 They already have this hologram projector and then we see them in many other 24:04 movies but this is the equivalent of this 1 to 1 interaction. 24:08 The prehistory of the hologram where it's almost just like 24:12 at display you can interact with it you just want to. 24:15 So a display is like we've seen a revolution with this in some of the movies 24:20 like Prometheus, maps everywhere, maps in Prometheus, maps in Avatar, 24:23 maps in The Hunger Games, even though here they have some crazy interaction as well. 24:27 But it's just using this as three dimensional display which has value at, 24:32 it just up to some point is not really amazing. 24:38 However, when we start treating those as objects is when the awesomeness comes in. 24:41 So think about those holograms where you can like use them in 3D and 24:47 actually perform very specific action. 24:51 Or when you actually can like, well in this case almost like a massive iPad, but 24:54 almost like as well. 24:58 And this is the one where they basically, 25:01 like they use it with a real purpose, which again is a little far from reality. 25:06 The key part here and there's like a threshold in Sci-Fi 25:11 design is that, the technologic advantages. 25:16 We get to a point in technology where everything is possible. 25:21 You can like have a 3D model that lets you 25:25 believe that what you're looking at is real. 25:29 And that's from our film perspective the point where you have to step back and 25:31 say, hey, people are gonna be confused, we need to make it look like an interface. 25:36 So they've been pushing the accelerator for 40 years, and 25:40 I was like, oh, hold on, that doesn't look like an interface anymore. 25:43 Let's make it as a wire frame and 25:48 that's how movies like Iron Man they depict reality. 25:51 And even they also look at reality. 25:55 Moving on, we continue with this crazy Tin Man voice-user interfaces. 26:01 I actually find this really interesting. 26:06 Hey guys, this has sound. 26:08 We thought sound is gonna be just moving mouth, so let's give it a shot. 26:10 All right, so this one doesn't just the next one. 26:16 So voice interfaces it's like a cheap trick right? 26:21 It's like the easiest thing from a production perspective it has no cost for 26:24 anyone to do a robot, I'm a robot. 26:30 And that's all about it, right? 26:32 And because of that, it's been used from the very beginning of Sci-Fi but 26:34 the complexity that introduces if we tried to make that real, it's just ginormous. 26:40 There's just no way we could do it. 26:45 Reality has always been playing catchup. 26:47 We have a prehistory of voice interfaces. 26:50 And that is- 26:53 [INAUDIBLE] >> Hallmark. 26:58 [LAUGH] >> Yeah. 27:04 >> It's not really interaction, right? 27:07 It's like saying something, and it's like, yeah I got it. 27:09 But, it's not like you can ask them anything back. 27:11 Then we have from the 2000. 27:14 We have like crazy indicators that have like a really 27:15 normally was a girl voice telling you how the starship is going. 27:19 >> [INAUDIBLE] 27:22 >> [INAUDIBLE] 27:31 >> And the next one 27:42 is actually when they get angry at you. 27:43 So, I actually like this one a lot. 27:44 >> Only by your time. 27:50 [INAUDIBLE] >> Think can tell, 27:55 it's like what's the problem? 28:03 Come on just open it, and the next one is when there is emphatic conversation. 28:04 So I like to think about C-3PO because he is the most unloved droid in 28:10 the history of movies, no one cares about this guy but he cares about everybody. 28:17 >> [INAUDIBLE] 28:21 >> [INAUDIBLE] >> I don't even know 28:31 what you're doing here C3PO who made you and why are you in my house. 28:35 Anyway, the final one is when actually voice interaction becomes really natural, 28:40 it doesn't get more natural than talking to another person. 28:47 The problem with talking to another person is that they're self-aware of their 28:49 existence and that implies way more things, right? 28:53 >> [SOUND] [INAUDIBLE] 28:58 >> What are you talking about? 29:03 >> [INAUDIBLE] >> Okay, I will [INAUDIBLE]. 29:06 >> I love that movie. 29:09 So like that machine doesn't see herself as a machine or itself as a machine. 29:10 Anyway voice-user interfaces have been the cheap trick 29:14 on Sci-Fi and it's just so powerful that again we're still playing catchup. 29:19 With that said I wanna move to a set of conclusions based on this crazy timeline 29:27 we have not a lot of time but I'm gonna go fairly fast. 29:31 Sci-Fi and [INAUDIBLE PHRASE or FOREIGN] are like two different worlds. 29:36 That's for granted. 29:43 However they cross paths through history, 29:44 sometimes Sci-fi looks at reality and got inspired by the current new age thing and 29:47 some of the times the reality wasn't enough so 29:52 actually it was Sci-Fi that we were looking at just to define what was next. 29:55 So with that in mind lets talk about platforms. 30:00 Science fiction has a pretty good score or 30:05 record like ratio of like actually depicting what's to come next, right? 30:09 So again, this is the first time we see such thing as a video call 30:14 in a movie 1929, I think in Metropolis. 30:19 And we now know there is nothing we can do without it, right? 30:25 So what are we talking right now, 30:29 that we could actually draw a line and try to depict it in the future? 30:33 That is Virtual Reality. 30:39 So Virtual Reality, right now every single agency is looking for VR developers. 30:42 It's the thing, everybody wants to put their company on a cardboard, and 30:47 try to imagine this world [INAUDIBLE]. 30:50 So, we've seen this already, right? 30:53 We've seen it in Tron, we've seen it in Johnny Mnemonic. 30:55 This is actually being developed, I'm not gonna question right now 30:59 how far is it gonna get, especially for advertising purposes. 31:02 But there's actually already research like The Void, the first VR theme park, 31:07 that is actually using virtual worlds built on top of real worlds. 31:13 So it's like a massive augmented reality campus, 31:18 where you can basically do those things that they don't let you do in reality. 31:22 In terms of augmented reality that means like basically projecting things 31:27 on your world. 31:30 We've seen, of course, there is no need to talk about this it's like a massive trend. 31:31 And now we're especially starting to see these real interfaces with HoloLens or 31:35 with a future edition of Microsoft. 31:40 So, that is where we are right now. 31:43 But what's coming next, like are we gonna lose our jobs? 31:46 Probably yes, but 31:51 let's not freak out. 31:55 >> [INAUDIBLE] 32:01 >> That's it, 32:05 it's amazing music, amazing movie. 32:10 All right, so what is real? 32:15 It hurts me to admit that this might be a possibility because I 32:18 don't know anything about neurological development or anything like that. 32:22 But If we look at science fiction these days, I think we could actually save 32:26 a lot of money if we actually figured out how to send these signals to the brain. 32:32 Let's start putting screens up top of our head and 32:36 actually just translate that to feelings. 32:39 It's like haptic feedback without the input. 32:41 Imagine just how would you feel, what if you could feel the internet? 32:45 What if you could go to a website and actually feel what they want you to feel? 32:51 Is it like, does it feel soft? 32:56 Does it feel rocky, for whatever the reason? 32:58 The possibilities there are just crazy. 33:03 And there are these Apple Force Touch, it's amazing but 33:05 it's haptic in the sense that it gives you a response, but it truly 33:09 is not giving you much of a response that you could interpret in different ways. 33:15 So, your brain as interface, that is 50 years from now. 33:19 Hopefully, we'll be retired. 33:25 But that is what's to come, right? 33:27 And again the picture in movies already like in Avatar where you actually, 33:29 the guy is basically laying down in the station, and he's running with his body. 33:34 Or for example, this is a real thing, it's almost magically where 33:40 we take further reality through holograms and we add this crazy world on top. 33:46 And it is the founder of Magic Leap who actually said, 33:52 the human brain is still the best display ever made. 33:54 If you can trade the human brain, there's nothing else from that, 33:57 forget about responsive. 34:03 That is truly responsive. 34:04 And in that sense, one good example is actually 34:06 Demolition Man where, if you guys remember. 34:11 I think this has sound too. 34:14 Anyway, when the guy had sex with Sandra Bullock for the first time and 34:19 it's this crazy experience. 34:23 It's like what am I doing? 34:25 The interesting fact is, this is at the early stages of being developed, right? 34:29 So, this is actually a real product think, where you could put this thing 34:34 in your forehead, and just you have two basic stimulus. 34:40 One is energy and the other one is calm. 34:43 So we're at the very beginning of what's gonna be a revolution. 34:46 And it's scary as shit. 34:51 And I'm gonna feel like, yeah, it's risky. 34:53 But for now, you can just feel energy or feel calm just like coffee. 34:58 But the possibilities of this, as soon as it comes out. 35:03 It's gonna be pretty crazy. 35:06 All right, lets move on Science fiction and interactions. 35:08 So, a sentence that I really like from 35:12 the best interface is no interface is this one from Golden Krishna. 35:16 Embrace typical processes instead of screens. 35:19 Focus on what matters to you as a human instead of trying to learn 35:24 what these machine wants you to learn. 35:29 So, if you guys go to the Apple Genius Bar, 35:32 it's full of people that don't know how to use the iPhone. 35:35 So, you see, my father would go, and he's, how do I set up my Email? 35:37 So we're forcing those guys to learn a language that 35:44 they shouldn't have to learn. 35:46 They don't welcome this English. 35:48 They just wanna check their email. 35:49 So think about bringing that back to 35:51 almost like what's human instead of what the language of the machine is. 35:56 This have sound too? 36:02 Let's see. 36:03 [SOUND] 36:05 [INAUDIBLE] 36:11 >> Have you guys seen this movie, Her? 36:23 Okay, so that is [INAUDIBLE], he's updating his OS. 36:25 How crazy is that? 36:30 I don't know if you've updated to IOS 9, I haven't just yet. 36:33 But that is him actually okay, 36:37 I'm gonna update my OS to the next 10 and he just feel almost like too human. 36:39 Right, it just feels so natural. 36:43 If you guys have the time you should watch this movie. 36:44 And on the contrary, you have other movies actually doing things like this. 36:47 So movies are displaying both sides, right? 36:57 What is possible or what is ideal in the world? 37:01 And what's trendy or what is just visually really appealing? 37:05 But in reality, even in this movie, he is using his body. 37:12 He's in this 3D world kind of thing with full of holograms he can use or not. 37:16 This is an odd analogy. 37:22 He's not using a mouse like, oh my god, kill that guy, kill that guy. 37:23 He's actually moving saying, you go that way or not. 37:26 So, we get back to this, Les actually tried to stay human. 37:29 The human body is the next computer interface because in the future, 37:38 hopefully, there will be such thing as an interface. 37:44 I think there's gonna be a bigger separation between 37:46 the tools that we use to create and the tools that we use to consume. 37:49 And from the tools that we use to create, that might not have all done much. 37:53 But those that we use to consume, there is just no point anymore having a computer. 37:58 And with that sense, we won't become cyborgs, 38:04 but we definitely will interact more naturally with technology. 38:07 And how will we do that? 38:11 Voice commands just the way you will do it normally, remember this guy? 38:12 Right now, we could somehow mirror that to Siri a little bit, she's sassy. 38:16 Micro gestures, we have this thing in the movies. 38:21 And then Project ATAP by Google is doing this 38:25 micro gestures where you can just do this and increase the volume. 38:28 But let's take this forward. 38:33 What if you could define the interaction that you have with 38:35 a machine based on your emotions? 38:38 Because at the end of the day, 38:41 you express your emotions through your facial expression. 38:41 You show you're unhappy or happy. 38:44 If we are able to read those subtle indicators, 38:48 we gonna be again that is gonna be truly responsive. 38:53 And again, based on expressions you can see this example of minority report. 38:59 Where the advertisement is so personalized, this is so 39:05 scary that hopefully we won't get there. 39:07 But as soon as they know who you are, 39:10 they're gonna serve you something like banners in the real world, not great. 39:13 And let's talk about enhanced humans. 39:20 We depend too much on this. 39:23 This is crazy, I do as well. 39:25 I go below 20 and I'm freaking out. 39:27 People go with these chargers are like cables. 39:30 Where this device is amazing. 39:34 We're getting to a point where it almost has a counter effort on that. 39:38 It's almost making us a little bit more dumb in certain ways, right? 39:44 I don't ask people where to go anymore. 39:51 I just look at my screen, I don't socialize. 39:53 This is getting awkward, I'm gonna look at my screen. 39:56 So we're actually getting far from where we should be. 39:58 Imagine we don't have these crazy apps. 40:01 Open your car with your phone. 40:04 Why would I open my car with my phone? 40:06 It's too much work. 40:08 Think when we get to this point where the only thing you need is yourself and 40:10 there's no such thing as a device. 40:15 Because everything is a device. 40:17 If you wanna open the door, you just open the door. 40:18 And you don't need to deal with this authenticated process of 40:21 do they know who I am? 40:24 It doesn't matter. 40:26 Granted, it will cause some privacy issues when it comes to phone calls in the middle 40:28 of a street. 40:31 And from there we can take it really far. 40:36 Continuum is a great series, because it displays like lots of different space and 40:39 projections. 40:44 But anyway, this whole thing takes it to the future. 40:44 And this project by Google, 40:47 where you can actually have almost like an augmented reality on your lenses. 40:49 A little bit becoming cybers, but the possibilities are there and 40:55 we need to take this back to what we can do right now. 41:00 How can we make communication more human? 41:03 How can we make an interaction that we do as designers more human unless like, 41:06 oh you haven't introduced the right password and you're like, oh my god. 41:11 What is the right password? 41:16 I don't care, I don't need to worry about my password anymore. 41:17 Anyway in the future hopefully we'll be able to do what Terminator 41:20 does and be able to pick up your clothes just looking at this through reality. 41:27 All right so let's push technology to 41:33 get closer to us rather than us getting closer to technology. 41:36 Now, the last point, I wanna talk about design a little bit and science fiction. 41:39 We've seen the evolution and kind of like the interest between design and reality. 41:44 He admitted. Actually, he went to New York in the 20s. 41:49 He got inspired by this whole like crazy amount of buildings and 41:52 he created the Metropolis city based on that. 41:56 During the mechanical interfaces era, they look at military advantages and 41:58 basically mimic those, so you have a movie on the left, and then a real submarine. 42:06 It's just the same thing. 42:11 We move on Home Computers. 42:12 Again, you have like movies looking at reality a little bit. 42:14 Not getting too far from it, because video games were catching up. 42:17 It's an amazing video game. 42:20 And during the Touch Interface era is when this got, gets pretty big. 42:23 So like we already have an iPad in the 90s and that was the reality, 42:28 an amazing device. 42:34 I'm not even gonna get to gestures, that's just too far. 42:37 It's not worth it, the only thing we have right now is turn on, turn off. 42:40 I have serious problems getting to use my Xbox with Kinect. 42:44 So what's next? 42:51 Where do we go from here? 42:53 Science fiction, and this is really important, is all about, or 42:55 Sci-Fi design is all about serving the story. 42:59 All the designers that are working on science fiction, they work for 43:01 the director. 43:04 So beyond telling the story is just for the geeks, right? 43:05 Even Michael Okuda on Star Trek he said, oh, 43:09 I designed these LCARS to be complex enough that if someone pays attention, 43:11 they think they can learn how to fly a starship. 43:16 But no one asked him to do that, right. 43:19 It was just like, well I wanna do that. 43:21 But in reality, as long as they serve a story, it's done. 43:23 Their job is done. 43:27 But user interface design is not about telling a story necessarily. 43:28 I know we have this whole discussion, we're storytellers, we're not, 43:33 we're just trying to help the user. 43:36 We help them to consume content and execute actions. 43:37 So it's okay to get inspired as long as we add this tiny guy to the equation. 43:42 User Experience Design, we need to make sure everything makes sense. 43:47 And again let's look 43:50 at this [INAUDIBLE]. 43:55 >> Spock is like what are you doing? 44:00 >> [INAUDIBLE] >> [LAUGH] They changed it [INAUDIBLE]. 44:03 They push it too hard. 44:10 It doesn't make much sense. 44:12 It doesn't matter. 44:13 Like it's just serving a story but it's almost like what the fuck is this? 44:14 Anyway when it comes to trends, right. 44:19 Trends are really appealing and we're designers so this is our fold. 44:22 We like to stick to trends we like to, 44:26 all right now everything is about flat design so let's just do it. 44:28 Who, you know I'm gonna create a camera icon and 44:33 just gonna see how 3000 people did it on Drupal already. 44:35 The thing about trends is like, from a user experience, 44:40 everything is familiar, so like there is no wall there. 44:43 Everything feels like, I've seen this before, I could get used to this. 44:47 But when we actually don't follow trends, there's a pro and a con right? 44:51 The pros are eventually you're not 44:56 attaching yourself to a trend that might get outdated soon. 45:00 And the cons is no one knows what you're doing. 45:03 You have to explain the whole thing again. 45:06 So from that perspective it's important that even though it's okay to get 45:09 inspired, you should not make [INAUDIBLE] decisions based on aesthetics, 45:13 and that's pretty obvious. 45:18 And in movies let's talk about trends in movies. 45:20 This is funny, Minority Report 2002, Ender's game. 45:22 Ender's game is like Minority Report on drugs, 45:26 the guy is just crazy, it's like Minority Report with ten layers of explosions. 45:30 It's this same thing. 45:35 And you know it's actually 11 years later, we're still doing the same thing. 45:37 Why? Because we know it. 45:43 It's still kind of cool. 45:44 So a decade later this is still some sort of innovative. 45:45 And if you look at a bunch of interfaces from science fiction to be honest with 45:51 you it's almost really hard to know why is that guy different than that guy. 45:56 Probably that is, this table in Oblivion is amazing designer or 46:05 Pacific Rim, compared to Star Trek. 46:11 It does look the same. 46:14 So, they took this trend of, okay, we have the possibility of doing 3D so 46:16 real that it looks just like a real object, but let's go with this white and 46:21 glory approach to make sure people understand it's an interface. 46:26 But the evolution in the last 15 years has been fairly small. 46:30 So, as an example I would like to show you two different clips 46:36 of two different movies, performing the same action. 46:41 >> [INAUDIBLE] >> That is. 46:45 >> [INAUDIBLE] >> So he's checking the, 46:54 I'm just gonna go back. 46:59 He's checking these girl names, oh she went to Harvard. 47:02 The interface you guys can see that he's. 47:05 >> She went to Harvard. 47:07 >> It's fairly minimal. 47:08 And if we got to the next one, Iron Man two. 47:11 >> [INAUDIBLE] 47:14 >> All right, so, we're checking this girl online. 47:30 What is going on there? 47:34 It's the amount of noise around those 47:35 pictures is just crazy but it works with a trend, right. 47:40 It's glowing, it's wire framing, I get it, it looks, I get the point. 47:44 This guy has devised a multi-touchscreen in a coffee table. 47:48 That's amazing. 47:53 But even though this is not a really old movie, 47:54 it's from 2010 I think, it already starts feeling dated. 47:56 It feels really like, eh. 48:02 The round corners. 48:05 The lines. 48:06 The amount of information, it's beautiful. 48:07 It gets the point across. 48:10 I wish I would have done this. 48:11 But is dated since the trend is becoming dated. 48:12 Now if we look at this other example, the only trendy style 48:18 thing that you can see here is this whole glowy hologram world. 48:22 Right, it's like, it is trendy right now, let's be honest. 48:26 So like this whole holographic projections, but the information is pure. 48:29 I think we can take a look at this interface as I can take a look at 48:35 the interface on 2001 and is still in ten years we're like, yeah, it is what it is. 48:38 It's just a picture. 48:46 There's no much you can criticize from it. 48:47 So, if we take this back to interactive design and 48:51 then act on it later, we have gone through some crazy trends. 48:55 And we are reacting. 48:59 We are like, this is too detailed! 49:00 This whole 2000 crazy tech era. 49:02 All right. 49:04 So people don't understand it. 49:06 How can we make this easy to understand? 49:07 Let's bring it back to reality. 49:10 Let's make it familiar. 49:11 Let's try to make my mom understand this whole interface. 49:13 So, if she's gonna read a book in this new device called iPad, 49:18 maybe we should create a bookshelf. 49:21 A book should look like a book. 49:24 It's just a reaction, right? 49:26 Because obviously my mom would not know how to deal with this thing. 49:27 But hey, we built it for a long time. 49:32 We're starting to hate this thing. 49:36 Ugh! It looks too much like a book. 49:37 I know this language, why does it have to look like the real world? 49:39 It's not the real world. 49:42 I want to download a PDF, 49:43 like why do I have to think about this document shaped as a PDF? 49:45 There's no real reference to it. 49:50 So, let's take it back. 49:52 And now we're gonna embrace the digital language of flat design. 49:54 But the reality is from an aesthetic perspective, we're reactive to it. 49:59 We're like [NOISE] it looks to flat. 50:04 Or it looks too real, not flat. 50:06 And flat has gone through some really ugly periods, extremely ugly. 50:08 But I was just looking at it. 50:13 It's like, oh my god. 50:13 Are we doing this? 50:16 We've been doing this thing for eight years or three years. 50:17 But it is now becoming mature because the core of material is actually a more 50:21 flat design, is to embrace the digital language, right? 50:25 We know what it is, we just have to, like, serve it the best way we can. 50:29 So, as long as we guide ourself, you know, by user needs and 50:34 not, we don't react to the previous no, it's too [INAUDIBLE], never again. 50:39 I feel like there's room for every single trend out there, 50:44 meaning every single style depending on the product. 50:47 But how can we stop reacting to previous trends? 50:51 I'd like to bring a quote by Massimo Vignelli, 50:55 who was an amazing groundbreaking hero. 50:59 He says, I like to design to be semantically correct, 51:03 syntactically consistent, and pragmatically understandable. 51:06 I like it to be visually powerful, intellectually elegant, 51:10 and above all, overall, timeless. 51:14 That's just amazing. 51:17 It's just amazing because not many people are trying that, because it's 51:19 really easy to stick to a trend and say, well, yeah, it's a flat icon. 51:24 Hashtag flat. 51:29 But if you can get through that and 51:31 actually make sure it serves the product that's where it becomes timeless. 51:34 And this guy has more than enough things to prove his theory. 51:38 The manual, New York City Transit Authority manual. 51:42 It was designed in 1972. 51:47 That was 40 years ago and it's still, it's totally valid. 51:51 You see it, you love it, you understand it, you go with it. 51:56 You know this poster, this like, apart from these trains, 52:00 they're timeless comeback. 52:04 It's coming but I could have seen this design any time now and 52:06 I would be as amazed as I am. 52:09 Or like American Airlines. 52:11 The way he explained Massimo Vignelli this logo is remarkable because he says 52:14 it's Helvetica which he happens to love a lot. 52:19 It's American Airlines. 52:23 What's more American than red and blue? 52:25 So I decided to make one word red, one word blue. 52:28 I mean an eagle, what the fuck? 52:32 It's super American. 52:34 It's awesome, it works. 52:36 Or Bloomingdale's. 52:38 It's just timeless. 52:40 It's amazing because he didn't think, all right in the 70s people are going through 52:41 this crazy to realistic to it and it will last for five years. 52:45 This could actually be seen in 20 years and 52:50 is going to be as relevant as it is today. 52:52 Being able to see through the current trend is essential 52:56 to create something timeless. 53:00 And even though we said before The Future is Unknown and that's for granted. 53:01 There's nothing we can do to predict it. 53:09 There definitely a certain cues that we have seen 53:11 already that we could follow to actually make sure that our work is future-proof. 53:14 So we have the technology, you guys are the people, 53:18 so let's make sure we make it happen and I wrap it up with that. 53:22 Thank you so much. 53:26 >> [APPLAUSE] 53:27
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