Through the Myst: Creativity and Constraints

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The bivouac recently came across this War Stories video by Ars Technica in which Rand Miller recounts how challenging it was to publish the seminal interactive title Myst. Launching such a beautifully immersive interactive experience was a remarkable feat in 1993. It required creatively navigating the technological constraints of early personal computers, reminding me of embracing the constraints of technology in my interactive work around that time.

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Hyped Up On Hypercard

The bivouac had its own “war story” around the same time. The year was 1990. Apple’s HyperCard exposed many future interaction designers to the possibilities of interactive media. Simply placing invisible buttons anywhere over an image opened up creative avenues previously unavailable to storytellers and designers. Approachable and powerful, Bill Atkinson’s creation proved to be a friendly gateway to exploring code and non-linear interaction design for a wide range of designers in the late 1980s and early 1990s.

When clicked, these simple “go to” or “play” scripts were executed, taking users to other cards, flipping through a series of cards to create animations, or playing audio clips. Even though the experience was limited to simple black and white dithered images, Hypercard was its time's compelling and immersive platform with its unique combination of simplicity and creative publishing power. Indeed, hypercards preceded the commercial adoption of the World Wide Web and established the precedent of clicking on “hyperlinks” to navigate to additional information pages, which is commonplace using today’s web browsers.

Hypercard was a simple yet powerful introduction to interactive media for millions of users and designers.

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A New Age of Interactive Multimedia

In the early 1990s, at the dawn of the age of interactive media, titles like “Columbus: Encounter, Discover, and Beyond,” produced by Robert Abel and distributed by IBM, set a new bar for empowering students to study a wide range of content in new ways. The title leveraged IBM’s large format IBM Ultimedia optical disc technology and was targeted at educational institutions.

The product description is impressive and reads:

“With James Earl Jones as narrator and Joe Morton as storyteller, these interactive titles span Europe and the Americas from the early Renaissance to the 20th Century from five different cultural perspectives -- White/European, Black/African, Hispanic/Latino, Asian and Native American. The largest multimedia project ever made, "Columbus," is on permanent display at the Library of Congress, National Demonstration Laboratories for new media and technology. Using an IBM CDROM drive, a Pioneer LaserDisc Player, and an advanced concept engine, "Columbus" connects 4400 scenes, 3,500 concepts, 5 hours of video, 180 hours of self-navigable imagery, and over 900,000 soft links on three videodiscs, and one computer optical disc.” This is a testament to the significance of the project.

As a budding interaction designer still in graduate school, I was so excited to see how the team was able to leverage visuals in icon form to help users navigate through the extensive content of the project. The possibilities of placing audio, visuals, and even early QuickTime film loops together, all to enhance storytelling, were influential to see in a commercial setting.

This and a piece focused on the immigration experience at Ellis Island created by Nancy Hechinger, who at the time had her multimedia production studio, Hands On Media. The Ellis Island work influenced my decision to explore using photorealistic points of contact within my interactive thesis work.

Exploring photorealistic points of contact was key to transcending interactive environments, which relied upon metaphor and abstracted icons. Abel’s work bridged the two worlds by providing vivid photos of objects or symbolic images, even on tiny button areas, guiding users across the environment’s functional elements. Hechniger’s work, and it is hoped that my thesis work also pushed the use of interactive elements further, allowing users to be further immersed in a story’s context.

Robert Abel and his team demonstrated the power of multimedia environments in educational contexts.

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The Longest Day: An Interactive Thesis

In 1992, as part of creating my thesis work, I explored the use of photorealistic interfaces to immerse users in content. Meredith Davis guided my thesis work at the College of Design at North Carolina State University. Meredith recognized the power of interactive technology early on, and she had deep expertise regarding pedagogy. My thesis project focused on how interactive educational environments could benefit abstract, concrete, active, and reflective learners.

Content focused on the Normandy invasion. Users could explore content using a photorealistic montage of objects common to the battlefields of World War II as an interface. Different days could be selected by clicking on arrows next to the date on the header of the Stars and Stripes newspaper. Content could be explored hourly by clicking on watch hands in the interface. Active learners developed empathy with leaders of the invasion by analyzing cause-and-effect scenarios using a role-playing map. Audio content from the film The Longest Day helped users understand what it must have been like to participate in the invasion. Finally, users could reflect upon their learnings and compose letters home that included audio and video clips from the film. In this way, creative writing skills could be assessed.

Just as with Rand Miller, though on a smaller scale, this thesis work involved overcoming serious technological constraints of the time. Created using Macintosh IIsi with 5MB of RAM and a 40MB hard drive, the Normandy invasion was chosen as a topic in part because the content lent itself well to a greyscale interface aesthetic. Most personal computers at the time were limited to displaying 256 colors, resulting in dithered images. However, computers could accommodate greyscale images acceptably. Similarly, the greyscale QuickTime film clips took less disk space and loaded faster. For further information on this thesis work and the golden dawn of the interactive media era, take a look at this Medium article I wrote a while back.

Upon completing graduate school, I took on a teaching position and, within a year, had shaped and was teaching some of the earliest interaction design courses of the early 1990’s. Working with various undergraduate and graduate students in programs ranging from communications design to painting and sculpture, new interactive media experiences were created with passion. Then, in 1993, Robyn and Rand Miller created Myst, raising the bar for what could be done with the interactive media. It inspired a new generation of interdisciplinary students and creatives to combine the power of computer programming, visualization, audio scapes, music, and storytelling in compelling new ways. Thanks to Rand Miller for sharing his war story and creating an inspirational example of how constraints invite creativity. And thanks for reminding the bivouac of its early 1990s “war story.”

An Overview of The Longest Day

A photorealistic interface allows users to explore the events that took place during the Normandy invasion. Days could be navigated by clicking on arrows next to the date on the Stars and Stripes newspaper and hours could be navigated by clicking on the watch in the photo.

Supporting Varied Learner Types

Active, reflective, concrete and abstract learners were all supported through various means of interacting with content. Users could develop empathy with leaders of the conflict by exploring cause and effect issues using a simple simulation environment.

Being There

Audio content from the film The Longest Day was leveraged to help users further gain a sense of what it was like to participate in the invasion through the testimony of various characters represented in the film.

A Letter Home

Users were encouraged to write a letter home which could include audio or video clips from the film. In this way, their creative writing skills could be assessed as they experiences yet another way to empathize with those that experienced the invasion.

The Longest Day: An Interactive Overview used intuitive photorealistic interaction points throughout the interface.

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A Technological Footnote:

Created using Macintosh IIsi with 5MB of RAM and a 40MB hard drive, the Normandy invasion was chosen as a topic in part because the content lent itself well to a greyscale interface aesthetic. Most personal computers at the time were limited to displaying 256 colors, resulting in dithered images. However, computers could accommodate greyscale images acceptably. Hence, the choice to create the thesis in greyscale.

Have you dealt with constraints creatively? If so, how and when?

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Ground Control to Major Tom

Reentry: An Orbital Simulator is a captivating and immersive video game that allows players to experience the intricate challenges of guiding a spacecraft through Earth's atmosphere and safely landing it. This simulator provides a realistic and educational environment where players can test their skills in controlling spacecraft during the crucial phase of reentry and landing.

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The game places a strong emphasis on physics and accuracy, making it a valuable tool for both space enthusiasts and budding aerospace engineers. Players can gain insights into the complexities of reentry, orbital mechanics, and the precise timing required for a successful landing. Reentry: An Orbital Simulator not only offers a thrilling gaming experience but also serves as an engaging educational platform for understanding the intricacies of space travel and reentry.

AI-enhanced article

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Still Hyped By "Hyper-Matrix"

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"Hyper-Matrix" is a dynamic, multi-dimensional display that combines kinetic elements, LED lights, and moving screens to create mesmerizing and ever-changing visual experiences. Created in 2012, the work is still an immersive standout amongst interactive installations at scale. The space transforms and reconfigures itself, creating a constantly shifting and engaging visual spectacle. This immersive and interactive art piece has been showcased at various exhibitions and events, garnering attention and acclaim for its fusion of art and technology.

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Jonpasang's "Hyper-Matrix" is a testament to the creative possibilities when art and technology come together, offering audiences a unique and captivating experience that pushes the boundaries of traditional artistic expression. The installation has been celebrated for its ability to engage viewers and create a sense of wonder through its dynamic and evolving visual narratives.

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Final Fantasy Holographic Interfaces

There are many excellent examples of holographic interfaces interspersed throughout the film “Final Fantasy: The Spirits Within.” I’d encourage interaction designers looking for inspiration to watch the film. Thankfully, someone took the time to make a summary video from the Huds and Guis section of Vimeo, which is available below.

New York Times Budget Puzzle

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Frustrated with the way Congress is handling the nation’s budget? Take a look and try to balance the budget for yourself.

This is a great example of how to empower users to relate to an abstract concept...our federal budget deficit. Its minimalistic approach and small details, like representing 1 billion dollars with small blue squares that tally up in real time depending upon decisions users make, is a nice touch. 

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Apple's Accordion Fold Interface

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This Bivouac Interface Hall of Fame entry from Apple is an outstanding example of reducing perceived complexity and helping pull users through otherwise overwhelming transactions.

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By collapsing most of the information entered in one section of the form into a strata, Apple keeps users grounded but reinforces a sense of progress throughout the checkout process. Along the way, a yellow prompting box appears next to the unfilled required fields, indicating what users must enter to continue. Stratification of information in clear zones serves as landscape "mile markers," allowing users to sense how far along they are in completing the tasks.

From Luke Wroblewski on A List Apart. Thanks to Arjun for passing this one along.

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The Magic of Iteration

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I received an Apple Magic Mouse as a birthday gift. Since then, it has proven the power of offering users a thoughtfully designed ecosystem and the need to pay attention to even the smallest parts of that ecosystem.

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Companies offering extensive ecosystems are empowered to shape hardware and software touchpoints in powerfully integrated ways. Volumes have been written about how Apple has thoughtfully enhanced its user experience for years. But something else inspiring here has to do with focus and iteration.

Sometimes, the folks in Cupertino manage to release things that are not accompanied by a special press event, which nonetheless has a deep impact on our day-to-day user experiences. The "magic" of the Magic Mouse is one of those thoughtful additions that slipped into the ecosystem. While I don't use all the features offered by the Magic Mouse, I continue to find that just having the ability to scroll through deep web pages with the flick of the index finger is magic enough.

This kind of seamless hardware and software integration builds loyalty. Powerfully "sticky" parts of the user experience sometimes come in small packages. Many result from numerous iterations and refinements in the marketplace. In a world where new-to-market offerings are so highly valued, it serves us well to click "pause", to double-click if you will, to pause, and recognize when outstanding incremental innovations do come along.

Here's to paying attention to the little things. Indeed, there is magic in the details at Apple.

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Painting a Richer Brand Image

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Focus on function is a critical factor in bringing compelling products to market. But when products deliver on both functional and emotional levels, doors open to more powerful experiences. Take the "Expression of Joy" theme for the launch of the 2009 BMW Z4. The company is tapping into its rich history of merging art and vehicle design. Moving beyond the “Art Cars” of the past, clever engineering allows drivers to use a Z4 to paint broad strokes as they drive on a warehouse-sized canvas, all while demonstrating the vehicle’s performance. With the new Z4 iPhone app, users can virtually paint their rich picture of the offering.

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The "Expression of Joy" theme and event associated with the 2009 Z4 launch elegantly complement the Freude am Fahren or Sheer Driving Pleasure themes related to BMW. This provides the company with a broader canvas upon which to cast the value of its offering, avoiding tiresome comparisons of performance statistics alone. There are no mundane comparisons of 0-60 mph times here. Cornering capabilities are artfully conveyed in a colorful new way, to be sure.

The BMW Z4 and Audi A4 iPhone applications that accompanied each vehicle's launch differ dramatically due to the creativity of the Z4 “Expression of Joy” launch theme. Both allow users to visualize the vehicles. However, the Audi app explores the "performance angle" in a somewhat predictable way, allowing users to tilt the iPhone to navigate a virtual A4 through a slalom course. Ironically, the task is a bit difficult to master and not necessarily an impression one wants to leave aspiring A4 drivers with.

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By contrast, the BMW Z4 iPhone app allows users to instantly experience the joy of being at the controls of a "300 horsepower paintbrush". The joy and free-form nature seen through the warehouse artist driving event translates well through the small device screen. Unencumbered by driving the virtual Z4 on a blank canvas is delightful. The Z4 app represents an excellent instance of design thinking and a unique way to experience and promote a product. The app content and the iPhone’s technical capabilities maximize the emotional impact of the interaction. Rather than forcing users to master the application, it empowers and frees them to be creative. Users can even download their creations. Now, that's an impression worth leaving.

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Rather than BMW’s “expression of Joy” launch theme, Audi's tagline for the A4 launch was "The category changing A4. Progress is beautiful." The A4 is a beautiful vehicle. But when you see a company like BMW balancing artful expression and design so well, not to mention creating a football field-sized canvas for expression, BMW categorically changes how they dialog with potential customers. Progress is beautiful indeed.

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Let's Tango!

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The Tango!, an Augmented and Alternative Communication (AAC) device created by Blink Twice, helps speech—or hearing-impaired children with communication and self-expression. Users create and customize sentences using touchscreen pictograms and text, which the device then reads aloud. A built-in camera allows users to build upon vocabulary. The device is also useful as a tool for teaching English.

The device also has a USB connection for expanded functionality, CompactFlash, and SD, with the keyboard option. Cellular connectivity is planned for later models. Current prices for the units are still very high at approximately $6899. Blink Twice hopes to make prices more accessible by meeting quantity orders in the future.

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Old School in New Schools

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A recent trip to Los Angeles reminded me of all the hours I spent creating and learning with Sim City 2000. These memories are timely, given that this month's Wired Magazine special edition, "The New World of Games," is Guest-edited by Sim City's creator, Will Wright.

There will always be a special place in my heart for the Sim City 2000 release. While the game title has evolved over the years, the particular release, with its meticulously detailed, pixel-pushed, dimetric city views, gained my respect when I first launched it. Although Sim City 2000 may now be considered “old school,” I sometimes wonder about the benefits it could offer to today's “new school” students.

While we continue to debate the merits and potential adverse effects of gaming, particularly on our youth, the Sim City series indicates where we should focus more on our “gaming” development efforts. By using Sim City 2000 in classes, students could learn by building something rather than destroying it, which is all too often the focus of too many gaming titles these days. They could explore cause-and-effect relationships quickly, reducing the repressive effects associated with the fear of failure. Students build something else by resolving infrastructure tensions that arise as new commercial zones require larger power plants or underground pipe systems that must be modified to accommodate subway stations. This is significant in today’s “who shall we blame next” society.

After recent events like the Katrina disaster and the California power crisis, developing empathy for the scores of government workers doing a good job is sorely needed. We are training through play by allowing students to experience even a tiny part of what it is like to build and manage a functional city. Bonds must be passed to balance the books. As cities grow, citizens must be alleviated by adding green belts, amusement parks, and other services. Weighing decisions like inviting military bases (a potential source of income) to a city must be carefully considered. Perhaps a spark will be ignited for those who find it most engaging, drawing them into public service. And there is something magical in that process. Aligning youth with the skills and interest to serve is critical to recovering faith in our public institutions. It gets passionate and skilled people into positions that can make a difference. And who would have thought this could all begin with a simple game?

As I looked down during the approach to LAX, I smiled inside and wondered what the city beneath the city looked like. I have to thank Will Wright for knowing it was there and thinking about all the small and large decisions that have gotten the city to where it is today. It is easy to question why things are the way they are, but reflecting upon the cities I built reminds me that urban planning is a tricky business, even in the virtual world. I can only hope that Los Angeles Version X.X is on its way to being incrementally better and more robust than the current version…just like each successive Sim City I built turned out to be.

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A Classic Educational Software Experience

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The classic Broderbund title "Just Grandma and Me" reminds me of one of the simpler days of interactive media. Hypercard-like in its simplicity, this clever and engaging title leverages delightful animations and sounds, which encourage kids to explore all of the nuances and details in the interactive illustrations. The written text of the story is interactive as well. Sentences can be read to children, or they can click on those tricky words to have them sounded out individually.

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There are many learning websites for kids today, to be sure. However, this title, produced before SpongeBob SquarePants and the like, paved the way for all that has followed while keeping the quality bar high. There is little doubt that even Grandma would approve of this one.

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Apple iSight

This entry makes it into the Interface Hall of Fame on the merits of its physical interface. The front ring of the camera can be rotated to close a white shutter. This clearly indicates to users the status of the camera, assuring them of privacy at a glance.

Apollo Command Module Console

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The Apollo Command Module display console is a classic collection of interaction design touchpoints. Note how functional elements are grouped into zones. Controls were designed to meet military specifications and resist unintended activation by weightless astronauts floating about the Command Module.

The Apollo Command Module display console stands as an iconic example of mid-20th-century interaction design, shaped by the practical needs of spaceflight and the rigorous demands of mission-critical environments. Far from being a random array of switches and dials, the console was methodically organized into zones based on function—communications, guidance, environmental controls, and propulsion—making it easier for astronauts to find and operate controls quickly under pressure. This functional zoning mirrored the mental models and task flow of the crew, a vital principle in modern interface design.

Each control and indicator was engineered to meet strict military specifications (MIL-SPEC), ensuring high reliability and resistance to environmental extremes. In the unique microgravity setting, these design constraints took on particular importance. Buttons were recessed or guarded to prevent accidental activation from floating limbs or tools, and toggle switches featured safety locks or detents. Knobs had tactile feedback and consistent resistance, allowing astronauts to operate them by feel when visual attention was elsewhere.

This thoughtful layout and robust construction made the console resilient and highly usable in one of the most unforgiving environments imaginable. The Apollo Command Module console can be seen as a forerunner of today's human-centered design philosophy, where ergonomics, task clarity, and operational safety converge. Its legacy continues to influence cockpit and control panel design in aviation and spaceflight. Would you like a diagram of the Apollo console layout to go with this?

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The Apollo Guidance Computer (AGC), developed for NASA's lunar missions, introduced a unique and efficient user interface that relied on a system of "verb-noun" commands. This approach allowed astronauts to interact with the onboard computer using a numeric keypad and a display unit known as the DSKY (Display and Keyboard). Each command was composed of a verb, representing the action to be performed, and a noun, identifying the data or object of that action. For example, entering "Verb 06 Noun 20" would instruct the computer to display the spacecraft's velocity. The system was compact, highly structured, and optimized for the cognitive demands of spaceflight, where simplicity and clarity were essential.

This verb-noun structure allowed astronauts to perform a wide range of complex operations—from navigation to system diagnostics—using a consistent, modular language. Each verb and noun had a specific two-digit code, making it easier to memorize and reference. The design cleverly minimized ambiguity and reduced the risk of input errors, which was critical in the high-stakes environment of space missions. Despite the AGC’s limited memory and processing power by modern standards, its interface empowered astronauts to operate one of the most advanced pieces of technology of its time with remarkable precision and confidence.

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Sony Tiles Interface Prototype

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The Sony tiles interface research prototype offers an intriguing mixture of physical touchpoints and virtual functional modules.

Thanks to Juho for the heads-up.

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HAL 9000

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An essential entry in the Interface Hall of Fame, the HAL 9000 and its associated information displays remain impressive nearly 40 years after their creation. And that's no lie. Thanks HAL.

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Final Fantasy Surgical Interface

While many critics panned "Final Fantasy: The Spirits Within" as overhyped and having an unsatisfying storyline, it is hard to deny that, at a visual level, the film certainly has its moments. The characters have compelling technology to tap into, including Dr. Aki Ross's surgical laser, complete with a holographic interface. Check out the film if you are interested in animated features. The film features some noteworthy vehicles, uniforms, and clothing.

Marumushi newsmap

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Notable for its powerful real-time visualization of the most popular news stories being read according to Google News statistics.

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iPod + iTunes

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Apple is often cited for simplicity and for getting the balance right regarding device vs. service interaction through iTunes. The combination of the iPod and iTunes keeps device use simple, and service encounters through iTunes are rich and powerful. The exceptionally well-executed controller of the iPod version shown below offers all critical points of control within the arch of a user's thumb and allows for ease of use even while the interface is not viewed directly.

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Aliens Sentry Gun UI

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The sentry gun interface from the film Aliens makes the designbivouac Interface Hall of Fame. It does a good job of reinforcing the story and function of the remote sentry guns through clips of the simple but clear interface in action. The interface conveys gun temperature, ammo levels, and the fact that there are four sentry gun units, adding clarity and suspense to the film.

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Red Planet (HAC Flexible Display)

The HAC flexible display device enabled the team in the film Red Planet to overlay accurate position information with a view of their surroundings to gain their bearings once they crashed on Mars. The flexible display-equipped HAC units resemble the Tube concept put forth by a team of designers from IDEO in their 2010 technology forecasting project conducted for BusinessWeek.