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SPACE, PLACE,
&INFORMATION LITERACY
T H E I M P O R T A N C E O F V I S U A L
A E S T H E T I C S I N T H E 2 1 S T C E N T U R Y
R E S E A R C H L I B R A R Y
S E T H P O R T E R A N D E M Y D E C K E R , G E O R G I A T E C H L I B R A R Y
What comes to mind when youview this image?
What is being communicated visually about the product?
What are some adjectives you would use to describe this image?
How does the image communicate these concepts?
Compare these images?
How do these ads differ for selling shoes?
How are these adds similar?
Is this infographic easy to read?
Visual Communication & Visual Literacy Matter
• User focused design• Communicating intuitive
user cues (toward enhanced user experience)
• Easily accessible visual cues
• Clear wayfinding in physical spaces
• ADA compliance issues and visual aesthetics
Human computer interaction Design principles and
instruction Way finding in synchronous
and asynchronous presentations (LMS)
Visual communication cue for natural starting points of discovery
Moving beyond charts and graphs
The Library Store: A new space in the library
• “Face” of the library• Proactively anticipate needs of
digital thinkers• Roving staff members• Self-service options• Open-ended and adaptable• Attractive and interactive exhibits• Problematic retail/museum model
Visual Aesthetics in the Library Store: User-focused Design & Intuitive Cues• Self check out kiosks (think
ATM screen, e.g. Donald Norman, Emotional Design)
• Interactive media exhibits – designs that entice users to touch and engage with the displays (branding, logos, signage)
• Quasi-museum atmosphere used to introduce users to the rich resources at the library and beyond (creating possible pathway through the “Store”)
• Gadget kiosks, directional kiosks, GPS services, geofencing, social media
• Rovers – branded satchel bags, signage campaign, buttons advertising services.
Keys to Enhancing Wayfinding
• Understanding User Experiences, the 5Es– Entice – what draws the user in?– Enter – how do they enter and how are they
oriented?– Engage – how do they interact with info, spaces,
people?– Exit – what happens when they leave?– Extend – what comes next, how do they return?
– By improving the visual design of spaces you can enhance the experience
ADA Compliance
• Allow students to integrate into the library environment digitally via fully accessible digital resources
• Strong use of multimedia for different learning styles/strengths (instruction videos, etc.)
• Visual as well as textual cues• Use an app to test functional accessibility of
digital resources• Consider ease of navigation - consider
appropriate use of color, fonts, text size, etc. • Librarian’s role to remain cognizant of these
design considerations to ensure greatest chance of reaching differently-abled population.
The Literature & Framework
Aesthetics as education
• Charlotte Mason described “education as an atmosphere” – education atmosphere can be expressed as information
literacy.
• Aesthetics are a way to create an education atmosphere, whether that is a physical space, teaching & learning environment or virtual design.• However it is not art.– Art is something tangible and enduring. “Aesthetic” is
generally thought of as an emotional response produced by a work of art or an artistic looking (or sounding) environment or event (Martin 1986).
Aesthetics as education
John Dewey intuitively understood this connection, “Aesthetic describes a category
of experience. Aesthetic experiences are heightened, immersive, and particularly meaningful ones” (Dewey 1934/1989).
Holistic understanding of the education atmosphere
Blink• Human beings cannot separate critical thinking and analysis
from their instinctual gut reaction. – Students cannot define between how they feel and how they think
about education content. Empirical research on emotion and cognition suggests the aesthetically pleasing objects affect our emotions positively. For that reason it encourages learning and information retention (Norman 2004; Miller 2011).
• Research suggests that aesthetics aid in the self-control over their education atmosphere, and this compounds with the research in the fields of behavioral economics that show that self-control is limited (Norman, 1988; Hassenzahl, 2004; Tractinksy, 2004; Gailliot 2007, Vohs 2007; Muraven, Tice & Baumeister 1998).–The Atmosphere matters, the space, the design, the virtual
presence.
EvolutionAtmosphere matters:
Beauty is the moving experience associated with information processing by aesthetic judgment adaptations when they perceive information of
evolutionary historical promise of high reproductive success. The classic example of evolutionary aesthetics is that humans on average find
symmetry attractive in potential mates. And in fact, even today, facial symmetry is correlated with reproductive health, and so it is plausible
that rapidly detecting and being attracted to facial symmetry is an aesthetic judgment adaptation that could have led to relatively higher
reproductive success (Thornhill & Gangestad 1993). Evolutionary aesthetics also convincingly explains a wide range of other responses,
including an aversion to slithering snake-like objects and a preference for landscapes that provide protection and vantage points. A central tenet of evolutionary aesthetics is that adaptations are shared by essentially the
entire species and so to the extent that an adaptation explains an aesthetic response, it does so universally (Ulrich 2008, pg.3)
Intuition• Aesthetics are closely tied to cognition:– There are three levels of emotional design, parallel to
the brain’s three levels of processing: the visceral level, the behavioral level, and the reflective level” (Miller, 2011).
– Visceral design is focused on the immediate appearances and embraces the emotion and the moment, including aesthetic metrics such as feel, look, and even color. Think about what the color red communicates, anger, warmth, and fire; this is all part of the aesthetic experience and is elemental (Norman 2004; Miller 2011) (Aslam, 2012).
• Aesthetics are inherent to human beings as a species and contribute to overcoming negative emotional responses in an education atmosphere.
Cognitive Load Theory
• Extraneous cognitive load is the cognitive demands of navigating instructions and information to be learned (Miller 2014).
–This demand can be diminished through design.
Pretty things• Depending on the message to be communicated designers
choose different colors, and this is key to aesthetic design and an education atmosphere (Aslam, 2012).
• Two Japanese researcher, Karuso and Kashmira (1995, 1997). set up two identical ATM machines that were completely functional. However there was one key difference. On one machine the buttons were aesthetically designed and the machine was much more attractive than the other. In all three studies, 1995, 1997, and 2004 when it was replicated in Israel, the subjects repeatedly had much less trouble using the more attractive machine. The attractive machines actually worked better because of the design.
Salesmanship
Mark Boulton (2005) a usability expert uses the example of car design. Cars sell because of the design. Take a moment to picture two cars, one
attractive, and one built for utility. The attractive car made you smile, or crave to be behind the wheel,
and it made you feel or connected you to a memory or a dream. These images are seared into our subconscious, and good design and attractive
objects create an emotional response (Boulton, 2005).
Okay, but how?
Nature, a neat trickCognitive psychologist have
shown that interacting with nature reduces cognitive load and increases ability to focus attention, and even more
surprisingly pictures of nature can improve performance (Miller
2014).
Questions?
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