Kategorie: Interaction Design

The World Usability Congress (WUC) was held in Graz from October 15 to 17, 2024, bringing together UX (User Experience) and CX (Customer Experience) experts from around the world. This year’s program highlighted more than 50 speakers from leading global companies such as Facebook, Amazon, IBM, while workshops and lectures covered the latest challenges and innovations in the industry.

First impression

The first impression I had of the entire congress was one of enthusiasm and excellent organization. The space was spacious and large, the workshops and lectures were divided into 4 halls and were held at the same time, so I had to choose which one to go to. The topics of the day were divided into ux strategy, ux research, leadership and masterclass. The content was accompanied by a website where you could find all the information about the schedule and lecturers, which was very useful. I knew that it was of significant benefit to have web support for such large events, but so far I had only encountered it at festivals.

Opening My Eyes to Digital Accessibility

The first impression I had of the entire congress was one of enthusiasm and excellent organization. The space was spacious and large, the workshops and lectures were divided into 4 halls and were held at the same time, so I had to choose which one to go to. The topics of the day were divided into UX strategy, UX research, Leadership and Masterclass. The content was accompanied by a website where you could find all the information about the schedule and lecturers, which was very useful. I knew that it was of significant benefit to have web support for such large events, but so far I had only encountered it at festivals. The first lecture called Incluthon really opened my eyes to what all the problems of the digital devices we use every day still are, but also how important they can be. This was not really a lecture, it was more of a demonstration of sorts. It fell under the topic of UX strategy and was conducted by Stefan Barac, Gerhard Kühne and special guest Claudio Zeni. Claudio Zeni is a person with serious visual disabilities, and he was the main demonstrator of the problem discussed. He showed us his experience of buying train tickets via app, which is minimally adapted to visually impaired people and is much more difficult for them with the set timer for buying tickets. The aim of the lecture was that when designing any service design, especially this type, all people must be taken into account and options that can be dealt with in the design should be considered, especially with the advent of AI, which can significantly help. The presentation was enlightening, not only because of its content but also because of the unexpected problems that occurred during the session itself. Due to technical problems, this presentation did not go quite as planned, with members of the audience gathering nearer the stage to hear and see better. This scenario itself-under less-than-ideal circumstances-is a call for inclusive design that accommodates all users. As someone studying communication design with minimal prior exposure to digital accessibility, this experience inspired me to integrate inclusivity into my work and future research.

Leadership in Design: Lessons from Joe Lanzisero

Another session that deeply resonated with me was a lecture by Joe Lanzisero titled Why We Do What We Do – Loving the User. A former illustrator with Disney, Lanzisero used stories and humor to talk about his career as he merged his experiences of storytelling with user-centered design. He spent a large part of his career working as an illustrator for Disney, where he realized how people connect with characters through vivid and human stories. He also talked about the important aspect of the process, both in illustration and design. You should never stop your process because it always leads you forward. Through the process, we come up with beautiful things, but also the beauty around us can be a great inspiration for the future. One of the important things he emphasized was that details matter, no matter how small they are. Every little detail that we pay attention to and devote our time to has a purposeful effect on the overall picture of the product, which is then ultimately much better and, he said, helps in making products that users can relate to. Also, what he emphasized was that we treat our users as guests. We always want to please our guests, they are not some strangers, they are first and foremost PEOPLE who come to our home, our store or our application and should always feel good, served and satisfied.

Impact

Given that I’m in Graz as an Erasmus student only for the winter semester and my design program at my home University is focused on communication design, I haven’t had too many encounters with inclusivity in digital design. Before WUC, I have never really known what Inclusive and Service Design could be. These sessions not only opened up my point of view but also inspired me regarding what I need to consider when writing and doing my Master Thesis. Accessibility and human-centered design are definitely going to be on my mind while creating an app for the Thesis but also for all the future work.

*ChatGPT was used to summarize and translate text from Croatian to English

Links

1. https://worldusabilitycongress.com/agenda-2024/?agenda=FS9VF8
2. https://worldusabilitycongress.com/agenda-2024/?agenda=UFKGCU

In October, I had the chance to attend two significant events that helped deepen my understanding of virtual and augmented reality (VR/AR) applications in the industrial sector. These were the AVL Octoberfest, an annual event designed to foster employee connection and relaxation, and the launch of the first VR app developed by the VR/AR department of AVL TCV. Both experiences underscored the challenges and opportunities in integrating UX design into emerging VR/AR technologies in industrial contexts.

AVL Octoberfest: A Gateway to Interdepartmental Insights

The AVL Octoberfest is an event where employees from various departments come together to unwind, celebrate, and exchange ideas. For me, this was more than just a social gathering—it became a platform to explore how VR/AR is perceived across different teams.

While conversing with employees from engineering, marketing, and product development, I learned that many were enthusiastic about the potential of VR/AR for client presentations and training simulations. However, a recurring theme in our discussions was the technology’s complexity and a lack of intuitive interfaces.

For example, engineers shared concerns about how non-intuitive designs made adopting VR tools cumbersome. This feedback was invaluable as it provided direct insight into user pain points. From a UX perspective, this highlights the need for VR/AR applications to prioritize simplicity and usability, particularly for users who may not be tech-savvy.

These conversations also emphasized the importance of cross-disciplinary collaboration. UX designers in industrial settings must consider the diverse skill sets and workflows of their users to create solutions that seamlessly integrate into existing systems.

The Launch of the TCV VR App

The second highlight was the launch of AVL TCV’s first VR app. This application allows users to simulate 3D models in a virtual environment, providing an innovative way to visualize and test industrial designs. Witnessing the app in action was thrilling; however, it also revealed significant areas for improvement, particularly in user experience.

Engineers testing the app reported feeling “lost” due to its unfamiliar interface and complex navigation. Despite its powerful functionality, the app struggled to meet the needs of its intended audience. This gap between technology and user expectations is where UX design plays a critical role.

UX to VR/AR in Industrial Applications

These experiences underscored the vital importance of UX in VR/AR for industrial settings:

1. Enhancing Accessibility: Industrial users often prioritize functionality over novelty. Designing interfaces that align with their existing workflows and expertise is key. For instance, using familiar UI elements and intuitive gestures can lower the learning curve and improve adoption rates.
2. Improving Feedback Mechanisms: In VR environments, immediate feedback is crucial to help users understand their actions and outcomes. Incorporating features like guided tutorials, contextual hints, or real-time performance analytics could address the issues engineers faced with the TCV VR app.
3. Testing with Diverse User Groups: User testing is critical, especially in an industrial setting where different departments interact with the same tool. Gaining feedback from engineers, managers, and technicians can help create more inclusive designs that cater to varied needs.
4. Iterative Design: As demonstrated during the app launch, the first iteration often exposes gaps. Using Agile methodologies to iteratively improve based on user feedback ensures the final product aligns more closely with user requirements.

Reflections and Future Aspirations

Attending the Octoberfest and witnessing the TCV VR app launch reaffirmed my belief in the transformative power of user-centered design in emerging technologies. As VR/AR continues to evolve, its potential to revolutionize industries—from manufacturing to client engagement—is immense. However, this potential can only be realized if these tools are designed with their users in mind.

As someone passionate about UX, I see this as a call to action. My goal is to explore how immersive technologies can be harnessed to create meaningful, efficient, and enjoyable user experiences. By bridging the gap between advanced technology and user needs, we can ensure that VR/AR not only meets but exceeds its promise in industrial applications.

These events have inspired me to delve deeper into the challenges of designing for VR/AR and to contribute to creating solutions that empower users, simplify workflows, and drive innovation in the industrial sector.

As a young woman from Burkina Faso and a UX designer in training, I find myself constantly reflecting on how my cultural heritage intersects with my professional aspirations. Recently, I had the opportunity to attend a screening of Dahomey, a film by Mati Diop that captures the emotional and historical journey of 26 royal treasures returned to Benin from French museums. This experience was not just a film screening; it became a profound exploration of identity, history, and the role of storytelling in design.

A Cultural Awakening

Growing up in Burkina Faso, I’ve always been surrounded by the vibrant tapestry of African cultures and traditions. Yet, like many others, I am also aware of the scars left by colonialism—scars that have stolen pieces of our heritage and identity. Watching Dahomey brought those themes to life in ways I hadn’t experienced before.

The treasures in the film were more than artifacts; they were symbols of a people’s history and pride. Diop’s creative decision to give these objects a voice—allowing them to narrate their journey home—felt deeply symbolic. It was a reminder of how our stories, whether told through artifacts or digital interfaces, have the power to heal, educate, and inspire.

Lessons for a UX

As a designer, I was captivated by how Dahomey presented its narrative. The film didn’t just inform; it engaged and evoked emotions. This is something I strive for in my own work—creating user experiences that are not just functional but also meaningful and resonant.

The film used storytelling techniques that could easily translate to UX design:

• Empathy as a Foundation: The emotional depth of the film invited the audience to step into the shoes of those affected by the loss of cultural artifacts. Similarly, in UX, understanding the user’s emotional and practical needs is key to creating impactful solutions.
• Immersive Storytelling: The film’s ability to bring history to life through creative narratives can inspire designers to build immersive, narrative-driven digital experiences, especially for education or cultural preservation projects.
• Context Matters: Diop’s deliberate focus on the people of Benin, their struggles, and their triumphs reinforced the importance of context. In design, too, understanding the user’s environment and cultural background can make or break the success of a product.

A Personal Connection

The themes of the film resonated with me not only as a designer but as a Burkinabé. Burkina Faso, with its strong film heritage (home to the famous FESPACO festival), shares similar challenges and opportunities when it comes to reclaiming and celebrating its identity. Watching Dahomey felt like a call to action—to use my skills as a designer to bridge the gap between tradition and modernity, to preserve and promote our stories in innovative ways.

One of the most moving moments in the film was seeing how the people of Benin responded to the treasures’ return. It reminded me of the collective pride and healing that comes from reclaiming what was lost. It also made me think about how design can facilitate such moments—whether through digital archives, interactive storytelling platforms, or apps that bring cultural knowledge to younger generations.

Beyond the Film

Attending the screening also provided a chance to connect with others who share a passion for using media and technology for social change. I had conversations with filmmakers, historians, and technologists, each bringing a unique perspective on how to address issues of cultural restitution and identity.

This networking experience reminded me of the importance of stepping out of my comfort zone. Just like the treasures in the film, I realized that I, too, am on a journey—one that involves rediscovering my identity and finding ways to use design as a tool for change.

Reflections

Dahomey was more than a film for me; it was a mirror reflecting the possibilities of what we can achieve when we combine art, history, and technology. It showed me that design is not just about creating products—it’s about telling stories, fostering connections, and making the invisible visible.

As I move forward, I carry with me the lessons from this experience. I am inspired to explore how UX design can preserve and amplify African narratives, ensuring that our stories are told and our voices are heard. Just like the treasures in Dahomey, I believe we all have a role to play in reclaiming and redefining our identities—for ourselves and for future generations.

KIZ RoyalKino Graz

At this stage of my studies, I decided to delve into topics that resonate with me and help identify the best subject for my master’s thesis. To achieve this, I sought experiences that could guide me toward discovering my strengths and interests. One such experience was attending the World Usability Congress—a pivotal event that marked my journey of self-discovery and growth.

I chose to participate as a volunteer, a decision driven by my desire to gain a broader perspective on the congress and acquire firsthand experience. As an interaction designer, my primary goal is to create meaningful products for users. However, I often find myself held back by shyness. Volunteering presented an opportunity to push beyond my comfort zone, meet new people, and engage in meaningful conversations. This experience not only helped me grow as a professional but also enriched my understanding of the user experience (UX) field.

Stepping Out of My Comfort Zone

On October 15, 2024, I attended my first talk by Catharin Walker Eure from Nike. Her presentation, The Exciting Landscape of Generative AI for User Experience, was an eye-opener. She introduced various AI tools that can significantly enhance UX research and design while cautioning against their misuse. Her insights were invaluable, and I eagerly noted tools for different applications:

• Education and E-learning UX Research: Userlytics, Learnosity, and sentiment analysis tools like MonkeyLearn.
• Automotive Industry: Motive AI, Affective, and CarUX.

These tools expanded my perspective on how AI can support and transform the UX design process, encouraging me to explore their potential applications in my future work.

Masterclass and Meaningful Exchanges

The following day, October 16, 2024, was a turning point in my journey. I attended several talks, but the highlight was a masterclass led by Claudia Bruckschwaiger titled Conceptual Design – The End of Fear for Decisions. The session was advanced, challenging me to think critically about decision-making in design. I learned valuable strategies for conducting user testing in corporate settings and, perhaps more importantly, how to advocate for better design practices within my teams.

Later that evening, I attended the gala dinner—a vibrant event filled with opportunities to network and interact with experts in the field. The gala revealed a new side of me: someone capable of approaching others, asking thoughtful questions, and genuinely listening.

One of the most impactful exchanges I had was with Claudio Zeni and Gerhard Kühne. They introduced me to innovative solutions for people with disabilities, such as virtual reality glasses designed for blind individuals. Until that moment, I hadn’t realized the extent to which technology could empower and transform lives. Listening to their experiences and learning about their work reminded me that in design, there are no limits—only opportunities to make a difference.

Growth Beyond the Topic

While the primary purpose of this exploration was to find a direction for my master’s thesis, the experience transcended that goal. The World Usability Congress became an adventure—a journey of personal and professional growth. I gained not only new knowledge and tools but also a deeper appreciation for what design can achieve.

The conversations, workshops, and exchanges inspired me to think beyond my immediate goals. They reminded me of the broader role of designers in shaping a more inclusive and innovative world. For me, this journey isn’t just about learning; it’s about contributing to the design community and discovering what we can collectively achieve.

Final Reflections

The World Usability Congress was more than just an event; it was a catalyst for self-discovery. It helped me identify areas for improvement, such as stepping out of my comfort zone, and introduced me to tools and practices that will guide my future work. Most importantly, it reaffirmed my belief in the limitless potential of design to solve problems and create meaningful experiences.

As I continue this journey, I am excited to explore new horizons, embrace challenges, and contribute to the ever-evolving field of UX design.

Recently, I had the opportunity to visit the Natural History Museum in Graz, located in the Joanneumsviertel. It’s a museum known for its extensive collection of natural history artifacts, ranging from fossils to live exhibits, and it offers a unique blend of scientific information and interactive experiences. For someone like me, who is focused on the role of interactivity in public education for my master’s thesis, this visit was an inspiring and thought-provoking experience.

In this blog post, I’ll reflect on how my visit to the museum relates to my ongoing research and how it has sparked new ideas for incorporating interactive elements into educational spaces.

Exploring the Museum: A Blend of History and Technology
The museum itself houses a staggering 2.1 million objects, including 1.1 million animals, 650,000 plants and fungi, 200,000 fossils and rocks, and 100,000 minerals. One thing that stood out to me was the diversity of the exhibits—not just in terms of the specimens, but in how they were presented. The museum is divided into several areas, including a main exhibition house in the Joanneumsviertel and other specialized locations like the House of Biodiversity and a study center.

What made the museum especially interesting was the way it integrates modern interactive elements into its exhibits. For instance, there were various touchscreens, video stations, quizzes, and mini-games designed to engage visitors of all ages. The use of these interactive tools helped to bring the information to life, allowing visitors to engage with scientific concepts in a more immersive and hands-on way.

Observation of Visitors and Their Interactions
One of the most insightful parts of my visit was observing how other visitors interacted with the exhibits. It was fascinating to see how people—especially children—were drawn to the interactive components. Instead of passively looking at static displays, they could actively engage with the material. For example, touchscreens allowed visitors to explore different animal species or geological formations at their own pace, and the quizzes added a gamified element that made learning fun.

I paid particular attention to how different people used these interactive stations. Some immediately gravitated toward them, eager to try the mini-games or watch the educational videos, while others preferred to observe first before engaging. It became clear to me that offering a variety of interaction types—both digital and physical—is key to capturing a wider audience. This is something I want to explore more in my own research: how different types of interactivity appeal to different types of learners and visitors.

The educational value of these interactive exhibits also became apparent. Visitors seemed to retain more information when they were able to manipulate objects on a screen or participate in an activity. It’s one thing to read about fossils or minerals in a textbook, but it’s another to be able to zoom in on a high-resolution image of a specimen and explore its details or even simulate a fossil excavation in a mini-game.

Inspiration for My Master’s Thesis: Interactivity in Educational Spaces
This visit was particularly valuable for my master’s thesis, which focuses on how interactive design can be used to educate the public about complex topics, like biodiversity and conservation. The Natural History Museum in Graz gave me a lot of inspiration for how museums can implement these elements successfully.

I’ve been reflecting on how these interactive stations could be translated into different settings—like zoos or aquariums, where I’m researching alternatives to traditional animal exhibits. Imagine an exhibit where, instead of seeing a captive animal, visitors interact with a touchscreen that shows the animal in its natural habitat through high-quality video or even virtual reality. They could learn about the animal’s behavior, its role in the ecosystem, and the threats it faces in the wild without ever needing to keep it in a cage.

Another exciting idea is how gamification can be used in educational settings. During my visit, I saw several examples of interactive quizzes and mini-games that made learning fun. This is something I’d love to explore further in my research—how introducing game-like elements can make learning about complex subjects, like conservation or animal behavior, more accessible and engaging.

What I found particularly insightful was how the museum tailored the interactivity to different age groups. The touchscreens and games were perfect for younger visitors, while more in-depth video content and quizzes appealed to adults. This layering of content, where different forms of interaction cater to different levels of knowledge, is something I want to explore more as I consider how to design educational exhibits that reach a broad audience.

Key Takeaways and Future Research Directions
One of the most important takeaways from my visit was realizing that interactivity is not just about technology—it’s about creating meaningful experiences for visitors. Whether it’s through touchscreens, games, or videos, the goal should be to immerse visitors in the subject matter and encourage them to actively engage with it. I’ve seen how this can work in a museum setting, and I’m excited to see how I can apply these principles to other spaces, like zoos or aquariums, where the focus can shift from passive observation to active learning.

For my thesis, this visit has reinforced the idea that technology can be used as a tool to deepen engagement without relying on outdated models like captivity or static displays. By creating interactive experiences that are informative, fun, and dynamic, we can foster a deeper connection between the public and the natural world.

Overall, my visit to the Natural History Museum in Graz was not just a fun and educational day out—it was an essential step in gathering inspiration for my research. The museum’s use of interactivity and its focus on making complex topics accessible to all kinds of visitors showed me what’s possible when we think creatively about how we share scientific knowledge. I’m excited to keep exploring these ideas and to see how they evolve as I continue working on my thesis.

Futher Reading
Eine Community für Naturfreunde · iNaturalist
BOLD – The Barcode of Life Data Systems
Naturkundemuseum und Studienzentrum: 20 Museen und 1 Zoo in Graz und der Steiermark

A few days ago, I listened to a really powerful podcast featuring John Hargrove, a former SeaWorld killer whale trainer turned whistleblower. Hargrove spent over a decade living his childhood dream of working with orcas, but what he experienced behind the scenes at SeaWorld eventually pushed him to speak out against the inhumane treatment of these animals. He was also one of the main voices in the Blackfish documentary that exposed the reality of orca captivity.

This podcast struck a personal chord with me, especially since my current research is focused on animal welfare and the ethical challenges zoos and marine parks face. Listening to Hargrove’s firsthand account of his experiences made me think even more deeply about how captivity affects not only animals‘ physical well-being but also their mental health. In this blog post, I want to reflect on what I learned from Hargrove’s story and how it’s shaping my own research on finding better, more humane ways to educate people about animals without confining them to small tanks or cages.

Hargrove’s Journey: From Dream to Disillusionment
Hargrove shared that his obsession with becoming a killer whale trainer started when he was just six years old. After visiting SeaWorld, he was captivated by the shows and the trainers swimming with these giant creatures. That passion stuck with him all the way into adulthood, and by 19, he was living his dream, working at SeaWorld as a trainer.

But over the years, Hargrove began to see a much darker side to the world he had idolized. He explained in the podcast how he and other trainers were initially blinded by SeaWorld’s polished image. They believed they were helping these animals and educating the public. However, as Hargrove advanced in his career, he started noticing things that didn’t sit right—whales showing signs of stress, aggression, and physical damage from living in such confined spaces. He described this realization as a slow and painful process, as the truth about how the whales were being treated became impossible to ignore.

What really hit me was when Hargrove talked about how SeaWorld’s corporate interests often took precedence over the well-being of the animals. He gave specific examples of how the park neglected the whales’ needs, such as refusing to spend money on repainting the tanks, despite the whales peeling off and ingesting the paint out of boredom. Yet, they were willing to spend over a million dollars on fancy new LED lights to make the shows more visually appealing for the audience. It’s shocking, and it reveals how these parks prioritize profit over the very animals that draw in their revenue.

The Reality of Orca Captivity: More Than Just Physical Harm
One of the most heartbreaking parts of the podcast was when Hargrove described the psychological toll that captivity takes on orcas. He compared their lives in tanks to human solitary confinement, which, after hearing it, makes total sense. Orcas are incredibly intelligent and social animals, but in captivity, they’re often isolated, cramped into tiny spaces, and have almost no stimulation. Hargrove shared that the whales often become so bored and stressed that they self-mutilate by rubbing their bodies against the concrete walls of their tanks until they bleed. This was something I hadn’t fully grasped before—just how much of their behavior in captivity stems from deep psychological distress.

Hargrove also talked about his personal relationship with one of the orcas, Takara. He spent years working with her and described the emotional pain he felt when she was subjected to artificial insemination, something he was powerless to stop. He recounted how he would apologize to her during the procedure, knowing it was wrong, but also feeling trapped in his role as her trainer. This part of the podcast really hit me hard because it showed that even those who love these animals feel helpless in the face of corporate decisions that prioritize profit over ethics.

The Impact on My Research: Rethinking Education and Captivity
Listening to Hargrove’s experiences has made me reflect on the larger issue of how we educate people about animals. For many of us, zoos and marine parks are places we go to learn about wildlife, but how much can we really learn when the animals are confined to spaces that are nothing like their natural habitats? Hargrove made a great point: the animals we see in these parks aren’t behaving as they would in the wild. They’re stressed, unhealthy, and often medicated just to keep them alive. So, what kind of educational value is there in that?

This podcast has sparked even more ideas for my own research, particularly around how we can use technology to create more ethical alternatives. I’ve been thinking a lot about how virtual reality (VR) and interactive exhibits could replace traditional animal parks. For example, instead of seeing an orca perform tricks in a tank, why not create a VR experience where people can observe orcas in the wild, learning about their behaviors, social structures, and the environmental threats they face? This way, people could gain a deeper understanding and appreciation for these animals without contributing to the harmful practice of captivity.

Another area I’m now interested in exploring is legislation. Hargrove was an expert witness for the legislation that banned orca breeding in California, and it’s inspiring to see how real change can happen when the public becomes aware of the issues. My research could potentially focus on how design can not only educate people but also advocate for policy changes that protect animals from exploitation.

Moving Forward: A New Vision for Animal Welfare
Listening to Hargrove speak about his journey from being a passionate trainer to a vocal advocate for orca welfare really resonated with me. His story reminded me of the ethical dilemmas that come with trying to balance animal welfare with public education. As I continue my research, I’m more convinced than ever that there’s a better way to achieve both goals—one that doesn’t involve keeping animals in captivity.

I’m excited to explore how technology, design, and storytelling can offer new ways for people to connect with wildlife. Whether it’s through VR experiences or interactive exhibits in museums, I believe there’s huge potential to educate the public in a way that’s both engaging and ethical. Hopefully, by rethinking how we approach animal education, we can inspire a new generation of people to care about conservation—without needing to imprison animals for it.

Further Reading
World Orca Day: The cruel reality of marine parks | World Animal Protection UK
Mistreatment towards orcas, dolphins at SeaWorld leave them distressed – The Lancer Feed
Fate of orcas in captivity – Whale and Dolphin Conservation