Design and the Digital Divide. Alan F. Newell
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10.3.5 Handicapping environments
10.3.6 Human computer interface “bandwidth”
10.4 Pitfalls of not considering the needs of people with disabilities
10.5 ECHO and ARCHIE—instantiations of the ordinary and extra-ordinary concepts
10.6 Take-home messages
11 User Sensitive Inclusive Design
11.1 Universal Design/Design for all
11.2 The “Accessibility” approach
11.3 User-centred and participatory design
11.4 Building on Design for All and User Centered Design
11.5 User Sensitive Inclusive Design
11.6 Engaging with users
11.7 Mutual inspiration between researchers and users
11.8 The “User Centre”—a social space for older users
11.9 Formal experiments with older and/or disabled users
11.10 Subject experts and clinicians
11.11 A focus on aesthetics
11.12 A focus on extraordinary users
12 The Use of Professional Theatre
12.1 Awareness raising
12.2 Using professionals
12.3 The UTOPIA trilogy
12.4 Evaluation of the trilogy
12.5 “Relative Confusion”
12.6 “Relatively PC”
12.7 Using live theatre, film and a combination of both
12.8 Theatre in requirements gathering
12.8.1 Smart house technology
12.8.2 Digital television applications for older people
12.8.3 New technology in the work place
12.8.4 Smart houses and multiple stakeholder
12.8.5 Adaptive interfaces
12.9 The use of professional actors to simulate users with dementia
12.10 The value of theatre
13 Attacking the Digital Divide
13.1 The challenge
13.2 The characteristics of older and disabled people
13.3 Build on capacities
13.4 Beware of jet packs
13.5 Technology-led research
13.6 Exploit unconnected research
13.7 Relationships with users
13.8 Hostility
13.9 Interdisciplinary teams
13.10 The need for professionalism in this research and development
13.11 Cognitive decline
13.12 Evaluation techniques
13.13 Other digitally disadvantaged groups
13.14 The challenges faced by older people will not go away
13.15 Concluding thoughts
Acknowledgments
The author would like to express his gratitude to the following.
To the funding agencies and other bodies who funded the research: Engineering and Physical Sciences Research Council, National Research and Development Corporation, Scottish Higher Education Funding Council, Scottish Home and Health Department, Tayside Regional Council, Department for Trade and Industry, Department for Education and Skills, NCR (Dundee), Digital Equipment Corporation Europe (and Dave Lawrence), House of Commons, European Commission, Independent Broadcasting Authority, British Broadcasting Corporation, Intel, Palan-type Organisation, , Winston Churchill Travel Trust, Leverhulme Trust, Alzheimer’s Association of America, Spastics Society, Whitetop Foundation, TSB Foundation, and Private Donors.
To Barbara Johnson, Louisa Cross, and their administration team, and Derek Brankin and his technical support team.
To my academic colleagues who contributed to this research, including: Norman Alm, John Arnott, Alistair Cairns, Peter Gregor, Jesse Hoey, Janet Hughes, Stephen McKenna, Iain Murray, Adrian Pickering, Graham Pullin, Ian Ricketts, Annalu Waller, Vicki Hanson, Marianne Hickey, and Robin King.
To my research colleagues, including: Rob Baker, Andrew Lambourne, Colin Brookes, Andrew Downton, Alex Carmichael, Graeme Coleman, Anna Dickinson, Lorna Gibson, Paula Forbes, David Sloan, Bernadette Brophy-Arnott, Linda Booth, Liz Broumley, Hilary Hood, Richard Dye, Bill Beattie, Mike Smith, Andrea Szymkowiak, Greg Filz, Andy McKinley, Maggie Morgan (of Foxtrot Theatre and MM Training), Jon Brumfitt, Stefan Langer, Helen Peddie, Mark Rice, Phillipa Riley, Andrew Swiffin, Dave O’Mara, Andrew Wright, Alan McGregor, and Isla Beard (Palantypist).
To my national and international colleagues, including: Arleen Kraat, Penny Parnes, Rick Foulds. Gregg Vanderheiden, Thijs Soede, Pat Demsco, Eric Hollnagel, Alex Mihailidis, Sherri Hunnicutt, Janice Light, Peter Hutt, Leela Damodaran, Stephen Brewster, Steven von Tetzchner, David Goodall (of Soundsmove), Mike Smith, and Oli Mival.
To the Universities of Southampton and Dundee, and Principles Hamlin, Graham Bryce and Sir Alan Langlands.
To Her Majesty Queen Elizabeth the Queen Mother and Dr. Mary Dowager Countess of Strathmore, and Baron (Jack) Ashley of Stoke for their support for our research.
To licensees: Possum Controls, Lander Software, and Don Johnson, Mayer Johnson Co.
To Norman Alm, Maggie Newell, Gregg Vanderheiden, and Mickey Milner for reading and commenting on drafts of this book.
Alan F. Newell
June 2011
Foreword
Creativity researchers have found that persistence pays off and that fresh perspectives yield insights. Alan Newell’s 40-year professional career confirms these findings, and in addition makes other compelling claims. Readers of his thoughtful and compelling historical review will also learn about some further claims about creativity, such as: empathy triggers innovations and theater changes minds. I was charmed by these claims, which were embedded in Newell’s anecdote-filled history of his contributions.
Professional memoirs are valuable, not only to those whose work is mentioned and those whose research is aligned with the author’s, but also as a guide to young researchers in related fields. The lessons of a lifetime are a precious gift to readers who are trying to decide about careers, choose research domains, or respond to their passions