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Started reading
May 29, 2018
a function of the same architectural and ambient world that “fades away” within it.
What is the exact design principle here
These structures, they proposed in their landmark work, departed from the utopian, totalizing pretensions of modernist architecture and expressed a democratically inclusive response to “common values” and “existing conditions.”
Comparison here is that apps have been formed by populism
The intricate maze under the low ceiling never connects with the outside light or outside space. This disorients the occupant in space and time.
Now, as then, casinos’ “commercial vernacular style” responds to popular needs or desires for escapism as part of a larger effort to guide those needs and desires.
What role does escapism play in app addiction
applied behaviorism.
“Machines should not be hidden or camouflaged by attention grabbing décor, which should be eliminated to the greatest extent possible so as to allow the equipment to announce itself.”17 As
Design for apps same way
and “equipment congestion,” whereby machines are “crammed tightly together” so that players feel contained amid their crush. Emphasizing that gamblers “prefer a jammed and convoluted layout,”
Design screens so attention should not be broken
“structured chaos”
architectural maze pulls patrons forward by truncating their line of sight.
Design so the user cannot tell how long the task is and they will stay longer
Modulating Affect: Sensory Atmospherics
When it comes to lighting, he explains that human “perceptual systems” must expend extra energy to process the imbalance of intensity that occurs when ceiling and wall lighting sources are markedly brighter than ambient levels (see fig. 1.3, left column).
I think this has more to do with conditioning and repetition. People become addicted to their phones without, and tech companies cannot control the environment. But do they play off the envoroment?
Like light, sound must be neither too heavy an assault on the senses, nor too soft; above all, it must not be deflected (see
This seems to sudgest that simpler more pleasing designs are more addictive, and business hurts creating addictive habits
That “single point,” in the case of machine gambling, is the device’s screen—and it is less a point of spatial reference than it is a point of exit from space. “I go into a tunnel vision where I actually do not hear or see anything around me,”
The same thing is happening on the phone
Learning from Las Vegas, we saw earlier, called for an architecture that could respond to the escapist sensibilities of its patrons.
accordance with the affect-based orientation of contemporary capitalism whose spatial applications we considered in the previous chapter, designers of gambling machines have paid increasingly close attention to gamblers’ physical, sensory, and cognitive propensities.
“ludocapitalism”
“player-centric” approach
Very simmilar to human centric desugn
“If you play slow, it deals slow,” he explained.
Is The ability to respond to how a user user the app addictive?
waste time
It seams as if the point in this chapter is that designing for addiction means keeping the attention of the user and avoiding all actions that break that attention. Ironically, this would also be considered good design, so what is the difference?
Like interior designers, machine designers strive to balance ambient intensities as a way to hold players in the balanced affective state of the zone.
WMS has recently introduced banks of machines with “emotive lighting” choreographed according to game outcomes, to reinforce play.
This definitely applies to app addiction, though I’m not sure how yet.
in order to immerse gamblers in the experience of play and thereby increase their productivity, it was essential to augment slot machines’ “affective grip” (to use Nigel Thrift’s expression) by establishing a congruence between machine functions and the human sensorium.
This is the word we want to use for “addictability”
Just as graphic designers’ color palette and pixel count have increased exponentially, in the span of a single decade sound engineers have gone from using as few as fifteen sounds per game to an average of four hundred unique “sound events,” each calibrated to encourage play while remaining in the background.
Sound, when properly configured, “can actually energize the player, keep him there longer,”
“to add a new and better track to the traditional sound, but not to clash with it.”
When you design, be carful to consider the other apps users are using
