Technology in Cars
How to improve the experience of interacting with a car
Interfaces and experiences
Defining the next generation of interaction with electric/exploration vehicles
- Could lead on to interaction with space transport question next year
- Would assist in gaining placement at JLR
"How a better user experience with electric vehicles could catalyse the transition to sustainable transport"
"How a positive experience and interface within electric vehicles could catalyse the transition to sustainable transport"
"The role of graphic design within car user interfaces"
"The role of graphic design in improving car interfaces"
"The role of graphic design in improving the experience of using electric cars"
How important UI in cars in general is
"How graphic design in electric vehicle interfaces can catalyse the transition to sustainable transport"
Research sources: articles, websites, UI books, primary vehicle research, collaboration with automotive interface designers (McLaren, JLR, Tesla)
"Client" requirements: Car manufacturer e.g. Tesla, JLR requires an interface design which offers a positive and memorable user experience in order to gain a better brand reputation and sell more cars. This, whether by design or not, helps to advent sustainable transportation.
Laura Mulvey, John Storey and Richard Dyer all offer an interpretation of cine-psychoanalysis and gender in film. Laura Mulvey, as a pioneering feminist film theorist, argues that films are designed to play to the male gaze by both offering a male for the viewer to reflect on, and offering a female for the viewer to gaze upon and objectify. John Storey discusses and simplifies Mulvey's view in a way appropriate for the media, which is a textbook for undergraduates. Richard Dyer takes an alternative approach in his own essay, and proposes an argument: why does Mulvey assume the viewer is always a heterosexual male? Dyer, who is a well-respected academic specialising on queer rights brings about the point of the audience potentially being homosexual or female, and identifies that the male form and body are also displayed and objectified on film. He also makes the point of heterosexual male-on-male desire being suppressed in film by the male actors being overly "aggressive or threatening" in order to divert attention away.
Mulvey's main points:
1. Males are active/viewers, females are passive/performers (men look and women exhibit)
2. Both genders are playing to the male desire
3. Women don't have a penis and so have less power and desire than men (Castration fear)
4. The male figure cannot bare the burden of objectification
Dyer's counter points:
1. The male form is also displayed and objectified by female and queer audiences
2. Males in film have historically uses overly aggressive behaviour to divert attention from other males
