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International Conference on Applied Human Factors and Ergonomics

AHFE 2017: Advances in Ergonomics in Design pp 462–468Cite as

Inspædia: Changing the Landscape of Cultural Reflection and Influence Through User Experience Design

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Part of the book series: Advances in Intelligent Systems and Computing ((AISC,volume 588))

Abstract

This article presents and encourages use of Inspædia, the online platform for inspiring collaborative and interactive intelligence. Inspædia’s launch will take place in Los Angeles and will have the 8th AHFE as its backdrop. GET INSPIRED is the provocative and motivational call to action that appears when inspædiers (collaborative visual storytellers) access the online platform at www.inspaedia.com. This is the possible future that inspædiers, when using the platform, feed with new content, new relationships between content, collections of favorite things and navigation trails, helping to collaboratively generate (individual and collective) inspiration, as well as enriching new knowledge by proactively contributing to “BEING innovation”.

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Notes

  1. 1.

    Inspiration comes from the Latin noun inspiratio and from the verb inspirare. Inspirare is a compound term resulting from the Latin prefix in (inside, into) and the verb spirare (to breathe) [3].

  2. 2.

    Herbert J. Walberg considered that the nature of insight in science or in art encouraged common cognitive skills: imagery, language and memory [4]. Mihaly Csikszentmihalyi and R. Keith Sawyer distinguished the creative processes in science from creative processes in art and they identified two types of creative insight – fast and slow [5] – which correspond to two different types of problems: insight problems, which encourage analogical thinking and are the most common in design [6, 7], and long time-frame processes, which mainly involve the reconceptualization resulting from combination and abstraction operations [8].

  3. 3.

    [533c] (…) I do observe it, Ion, and I am going to point out to you [533d] what I take it to mean. For, as I was saying just now, this is not an art in you, (…) but a divine power, which moves you like that in the stone which Euripides named a magnet (…). For this stone not only attracts iron rings, but also imparts to them a power whereby they in turn are able to do the very same thing as the stone, [533e] and attract other rings; (…). In the same manner also the Muse inspires men herself, and then by means of these inspired persons the inspiration spreads to others, and holds them in a connected chain. For all the good epic poets utter all those fine poems not from art, but as inspired and possessed, and the good lyric poets likewise; [534a] just as the Corybantian worshippers do not dance when in their senses, so the lyric poets do not indite those fine songs in their senses, but when they have started on the melody and rhythm they begin to be frantic, and it is under possession (…) that the soul of the lyric poets does the same thing, by their own report. For the poets tell us, I believe, that the songs they bring us are the sweets they cull from honey-dropping founts [10].

  4. 4.

    [244c] otherwise they would not have connected the very word mania with the noblest of arts, that which foretells the future, by calling it the manic art. No, they gave this name thinking that mania, when it comes by gift of the gods, is a noble thing, but nowadays people call prophecy the mantic art, tastelessly inserting a T in the word. So also, when they gave a name to the investigation of the future which rational persons conduct through observation of birds and by other signs, since they furnish mind (nous) [11].

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Acknowledgements

CITAD – Centro de Investigação em Território, Arquitetura e Design, Universidades de Lusíada, Portugal; CIAUD – Centro de Investigação em Arquitetura, Urbanismo e Design, Faculdade de Arquitetura, Universidade de Lisboa, Portugal; CAPES, Programa Ciência sem Fronteiras, Brazil; Programa de Pós-Graduação em Design, UFRGS – Universidade Federal do Rio Grande do Sul, Brazil; Faculdade de Ciências e Tecnologia, Universidade Nova de Lisboa, Portugal; NOVA-LINCS, Portugal. This research is financed by a fellowship from CAPES/Brazil Ref. A025_2013 and by national funds from the FCT – Fundação para a Ciência e a Tecnologia, Portugal, within the scope of the project UID/AUR/04026/2013.

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Authors and Affiliations

  1. Centro de Investigação em Território, Arquitetura e Design, (CITAD), Universidades Lusíada, Rua da Junqueira, 188-198, 1349-001, Lisbon, Portugal

    Paulo Maldonado, Leonor Ferrão & Pablo Ermida

  2. Faculdade de Arquitetura, Centro de Investigação em Arquitetura, Urbanismo e Design (CIAUD), Universidade de Lisboa, Rua Sá Nogueira, Polo Universitário, Alto da Ajuda, 1349-055, Lisbon, Portugal

    Paulo Maldonado & Leonor Ferrão

  3. Programa de Pós-Graduação em Design, Universidade Federal do Rio Grande do Sul, Avenida Oswaldo Aranha, nº 99, 6º andar - sala 607, Porto Alegre, RS, 90035-190, Brazil

    Paulo Maldonado & Pablo Ermida

  4. Departamento de Artes Visuais e Design, Escola de Artes, Antiga Fábrica Leões, Universidade de Évora, Estrada dos Leões, 7000-208, Évora, Portugal

    Paulo Maldonado

Authors
  1. Paulo Maldonado
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  2. Leonor Ferrão
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Correspondence to Paulo Maldonado .

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Editors and Affiliations

  1. Faculdade de Motricidade Humana, Universidade de Lisboa, Cruz Quebrada, Portugal

    Francisco Rebelo

  2. Federal University of Pernambuco, Recife, Pernambuco, Brazil

    Marcelo Soares

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Maldonado, P., Ferrão, L., Ermida, P. (2018). Inspædia: Changing the Landscape of Cultural Reflection and Influence Through User Experience Design. In: Rebelo, F., Soares, M. (eds) Advances in Ergonomics in Design. AHFE 2017. Advances in Intelligent Systems and Computing, vol 588. Springer, Cham. https://doi.org/10.1007/978-3-319-60582-1_46

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  • DOI: https://doi.org/10.1007/978-3-319-60582-1_46

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