The Expectation Problem of Human-like Interfaces

For more than six decades, many researchers and designers of computer programs have been inclined to make their computer interfaces appear intelligent and human-like. One of the assumptions behind this temptation is that since people already know how to interact with other people, then making a computer program act more like a person will improve the user experience. However, the experience of creating human-like computer programs together with research from the fields of design and computer science have presented challenges to this assumption.

Designing computer programs to look, sound, or behave more like humans is often talked about in terms of personification, humanization, or anthropomorphization. (These are separate concepts  but they are often conflated.)There are many pitfalls associated with such approaches, but one of the most well-documented affects is that it causes users to expect that the computer program is “smarter” than it really is.

I have captured a few quotes and references from specialists in the field and in academia about this effect:

The Reprentation of Agents, Anthropomorphism, Agency, and Intelligence by William King and Jun Ohya presents data from one of their experiments which suggests:

Anthropomorphic [Human-like] …forms may be problematic since they may be inherently interpretted as having a high degree of agency and intelligence.

In the book Make It So, authors Chris Noessel and Nathan Shedroff write:

Anthropomorphism can mislead users and create unattainable expectations. Elements of anthropomorphism aren’t necessarily more efficient or necessarily easier to use. Social behavior may suit the way we think and feel, but such interfaces require more cognitive, social, and emotional overhead of their users. They’re much, much harder to build, as well. Finally, designers are social creatures themselves and must take care to avoid introducing their own cultural bias into their creations. These warnings lead us to the main lesson of this chapter.

Lesson: The more human the representation, the higher the expectations of human behavior.

In the MIT Press bestselling book Software Agents by Jeffrey Bradshaw, Don Norman wrote the following:

If the one aspect of people's attitudes about agents is fear over their capabilities and actions, the other is over-exaggerated expectations, triggered to a large extent because much more has promised than can be delivered. Why? Part of this is the natural enthusiasm of the researcher who sees far into the future and imagines a world of perfect and complete actions. Part of this is in the nature of people's tendency to false anthropomorphizing, seeing human attributes in any action that appears in the least intelligent. Speech recognition has this problem: develop a system that recognizes words of speech and people assume that the system has full language understanding, which is not at all the same thing. Have a system act as if it has its own goals and intelligence, and there is an expectation of full knowledge and understanding of human goals.

The problem is amplified by the natural tendency of researchers and manufacturers to show their agents in human form. You can imagine the advertisements: "Want to schedule a trip, the new MacroAgent System offers you Helena, your friendly agent, ready to do your bidding." As soon as we put a human face into the model, perhaps with reasonably appropriate dynamic facial expressions, carefully tuned speech characteristics, and human-like language interactions, we build upon natural expectations for human-like intelligence, understanding, and actions.

There are some who believe that it is wrong — immoral even — to offer artificial systems in the guise of human appearance, for to do so makes false promises. Some believe that the more human-like the appearance and interaction style of the agent, the more deceptive and misleading it becomes: personification suggests promises of performance that cannot be met. I believe that as long as there is no deception, there is no moral problem. Be warned that this is a controversial area. As a result, it would not be wise to present an agent in human-like structures without also offering a choice to those who would rather not have them. People will be more accepting of intelligent agents if their expectations are consistent with reality. This is achieved by presenting an appropriate conceptual model — a "system image" — that accurately depicts the capabilities and actions.

In section 12.7 of the popular HCI textbook, Designing the User Interface, the authors write:

The words and graphics in user interfaces can make important differences in people’s perceptions, emotional reactions, and motivations. Attributions of intelligence autonomy, free will, or knowledge to computers are appealing to some people, but to others such characterizations may be seen as deceptive, confusing, and misleading. The suggestion that computers can think, know, or understand may give users an erroneous model of how computers work and what the machines’ capacities are. Ultimately, the deception becomes apparent, and users may feel poorly treated.

Because users naturally expect that human-like program are “smarter” than they really are, designers and marketers should be cautious when creating human-like interfaces. Some interfaces such as chatbots or voice interfaces make it impossible to avoid personification. In these instances, designers and marketers should set clear expectations to avoid user dissatisfaction. For example, one popular communication program "Slack" comes with a chat program called "Slackbot". Before users use Slackbot they are told "Slackbot is pretty dumb, but it tries to be helpful." Similarly, it may be in the best interest of tech companies to refrain from marketing their products as "smart" or "intelligent" to avoid making the problem worse.

As a designer, I personally gravitate toward the principle 4 of calm technology as a means of avoiding some of the problems stated above. Principle 4 states that machines shouldn't act like humans, and humans shouldn't act like machines.

Apple Watch Dimensions Diagrammed

The new Apple Watch was announced last Tuesday and so far Apple has not released any materials identifying its dimensions, so I spent the afternoon today analyzing Apple videos and Apple's PR photos to try to derive it's dimensions.

The only front facing photo of the watch on Apple's site is the watch next to an iPhone 6. It was clear that it was a 6 and not the six plus because of the app icon to phone ratio. Knowing the dimensions of the iPhone. I was able to estimate the size and dimensions of the new watch as shown below:

Apple Watch Dimensions MM and IN

If you exclude the crown, the dimensions end up being about 36 x 42 mm (1.4 x 1.6 inches). The inner screen appears to be about 40 mm (1.5 inches). 

Apple Watch Dimensions Side

From the side, the dimensions are 9 x 42 mm (.37 x 1.6 inches) without the sensor ring at the bottom. Counting the sensor ring, the total height is about 11.5 mm (.45 inches). That means that the Apple Watch is approximately 67% wider than the new iPhone 6. I suspect that the rounded corners should make the watch seem much thinner than it actually is.

In order to better understand the size of the watch, I have compared it to a credit card, an iPhone 6, and an iPhone 3g. 

Apple Watch compared to credit card
Apple Watch compared to iPhone 6 and iPhone 3g

What makes a great designer?

Tomorrow, I start teaching an intro to graphic design class at my Alma Mater — Brigham Young University. I was thinking about the class outcomes and the lasting influence I want the class to have on the students. The ultimate outcome of the class is to help the students become great designers. A great designer is not only good at their craft, but he or she is also a good person. All of the stated class outcomes ought to create a path to become a great designer. 

But what makes a great designer?
I am sure there are many ways to answer this question, but I just thought about a few fundamental attributes that all designers must develop to become great.

Resources
A designer is only as good as his or her resources. Good designers constantly collect physical and mental resources. Physical resources include the tools of the trade as well as collections of inspiring things. Access to quality paper and drawing instruments, and high performing computers and software, and printers are the basic tools of the trade. Great tools don't make good designers, but great designers need great tools. A great designer will constantly seek after the most inspiring and uplifting designs in order to learn from them and to be inspired by them. Sites like Pinterest can be a great resource for filling the mental and spiritual well.

Mental resources include pure talent, inspiring ideas, or a natural intuitive eye for beauty. Some people are born with more innate talent than others, but as long as one has some innate talent, he or she can nurture that talent through hard work.

Hard Work
One will not be great without a lot of hard work and a willingness to stay up late and work on weekends. The designer Bradley Munkowitz, whose work I admire, finished every work week by working Friday night until sunrise on Saturday morning for a year. 

The great inventor Thomas Edison is reported to have said that genius is 1% inspiration and 99% perspiration. This is a great quote that can help procrastinators gain perspective. But, for those who have mastered the habit of being proactive, they may gain more inspiration from Edison's rival, Nikola Tesla, who said,

If Edison had a needle to find in a haystack, he would proceed at once with the diligence of the bee to examine straw after straw until he found the object of his search. I was a sorry witness of such doings, knowing that a little theory and calculation would have saved him ninety per cent of his labor.

So even though hard work is a necessary habit of a great designer, one will progress faster if they combine good practice with good theory. Both are necessary. One's resources are worthless unless one works hard to put them together in new and inspiring ways.

Passion
I don't think a designer will ever learn to work hard unless he or she is passionately motivated to constantly improve themselves and their communities. A satisfied person is an unmotivated person. Only unsatisfied needs and desires can truly motivate a person to do whatever is necessary to progress.

In the book Built to Last, Jim Collins analyzed visionary companies and found that they did not focus primarily on beating their competition. According to Collins,

Visionary companies focus primarily on beating themselves. Success and beating competitors comes to the visionary companies not so much as the end goal, but as a residual result of relentlessly asking the question "How can we improve ourselves to do better tomorrow than we did today?" And they have asked this question day in and day out - as a disciplined way of life - in some cases for over 150 years. No matter how much they achieve - no matter how far in front of their competitors they pull - they never think they've done "good enough".

Just like the visionary companies in Jim Collins study, designers must always have a bit of dissatisfaction with the results of their work. If a designer wants life satisfaction from their craft, then they should not focus too much on the results of their work, but they should focus on the process of design. Paradoxically, the calm of constant improvement comes with a bit of dissatisfaction that fuels personal progress.