Tag Archives: industrial design

Headrest jack

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The jack mechanism in the intercept van is worth noting for its industrial design. Kusanagi has four jacks on the back of her neck in a square pattern. Four plugs sit on the headrest of her seat. To jack in, she simply leans back, and they seat perfectly. She leans forward, and the cables extend from the seat. Given the simple back and forward motion, it takes all of a second. Seems simple enough. But I’ve committed a blog post to it, so of course you can guess it’s not really that simple. I can see two issues with this interface.

How do the jacks and plugs meet so perfectly?

Of course, she’s a super cyborg, so we can presume she can be quite precise in her movements. But does she have eyes/cameras on the back of her head, or precision kinesthetics and a perfect body memory for position? Even if she does, it would be better would be to accommodate some margin of error to account for bumpy roads or action-packed driving maneuvers.

How to do this? One way would be a countersink so that a sloppy approach is corrected by shape. The popular (and difficult-to-source) keyhole for drunk people uses this same principle. Unfortunately, in the case of this headrest jack, the base object is Kusanagi’s neck, which is functionally a cylinder. The cones on the back of her neck would have to be unsightly large or a miss would splay the plugs and force her to retry. Fortunately, the second issue leads us to another solution.

keyhole

How does she genuinely rest against the seat when she doesn’t want to jack in?

Is that even an option here? How does she simply lean back for a road trip nap without being blasted awake by a neon green 3D Google Map?

If it was a magnetic connection, like Apple’s MagSafe power connectors, the jacks and plugs could be designed such that magnetic forces pull them together. But unlike MagSafe, these jacks could be electromagnets controlled by Kusanagi. This would not only ensure intended connections, but also help deal with the precision issues raised above. The electromagnets would snap the plugs into place even if they were misaligned.

MagSafe

An electromagnetic interface would also answer the question of how this works for taller or shorter cyborgs hoping to use the same headrest jack.

An automated solution

This solution does require complex mechanics in the body of the rider. That’s no problem for the Ghost in the Shell diegesis, but if we were facing a challenge like this in the real world, implanting users with tech isn’t a viable solution. Instead, we could push the technology back on the van by letting it do the aiming. In the half a second she leans back, the van itself can look through a camera in the headrest to gauge the fit, and position the plugs correctly with, say, linear actuators. This solution lets human users stay human, but would ensure a precision fit where it was needed.

Four a day

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An electronic quit smoking device displaying refill options, a countdown timer, and various indicators.

After Korben’s alarm clock starts the music and lights the lights, it also drops his daily allotment of cigarettes into place inside vertical glass tubes in a small dispensary mounted on the wall. Each tube has a purple number printed across the top, reinforcing the limit. A robotic voice tells reminds him to only have “four. a. day.”

fifthelement-4aday

The dispensary is loaded with warnings to get him to quit. Across the top we read 4™ REFILLS. Just below that is a white imperative, QUIT SMOKING. To the right another legend reinforces the principles spoken aloud, 4™ A DAY. A legend across the bottom, written in glittery red capitals reminds him that, TO QUIT IS MY GOAL. Behind the glass tubes is something like a Surgeon General’s warning about the dangers of smoking.

On the right is a small LCD panel with a mysterious readout at the top of 1:::1…1..1, a counter in the middle reading 00:04 (it looks like just after midnight in military time, but we know from his alarm clock it’s just after 02:00), and a temperature readout that confirms the temperature that the clock displays, 27.5° C. Below this panel is a small set of four buttons: two horizontal ones that sandwich two triangular ones pointing in opposite directions. Korben presses the lowest button to pick up the first cigarette, and the #1 cylinder of glass slides up. A smaller “vase” of glass holds the cigarette upright for Korben to grab.

A shirtless man talking on a phone while pointing at a control panel on the wall.

The LCD panel

The top readout is a mystery, and the middle might be a counter of number of cigarettes remaining for the day or in the refill, but why it’s in 24-hour notation is another mystery. The temperature doesn’t make much sense here. Better might be the variable information that the addicted smoker really wants: How soon until I can get my next fix. A clock showing that time would be useful, and give the smoker something to fixate on instead of the cravings. A countdown clock might be information that the smoker wants, but it would focus his attention on the device rather than on his willpower.

To quit is my goal

Really, it’s beyond the scope of this blog post to try and state the authoritative psychology of quitting smoking, but it does seem like this device accomplishes one common strategy well, which is reminding smokers of their goal. There it is, in glittery red, in a first-person voice.

But it doesn’t do everything well. Another strategy to quit is for smokers to have reminders of the negative consequences of continuing to smoke, and the device only kind of does this with the warning label. The fact that it’s behind the glass tubes is nice since to get at the cigarettes the smoker wants, he is faced with that text. But, it’s only text, and easy to simply not read. The fact that the cylindrical glass distorts the text makes willful ignoring even easier, since it hinders readability. Better would be a visceral, instantly-recognizable image, like Australia mandated on their cigarette packaging in 2011. The disturbing nature of these images would be enhanced by the cylinder’s distortions.

Cigarette warning packaging highlighting the effects of smoking, including blindness, mouth and throat cancer, and the dangers of secondhand smoke to children.

On the other hand, one strategy is to eliminate the triggers that remind a smoker about cigarettes, and this dispensary does exactly the opposite. By being prominently displayed on the wall, being associated with waking up, and having the word “smoking” appear in high-contrast capital letters at eye level, it pretty much acts as a trigger to remind Korben about smoking. Better might be a hideaway dispensary, similar to his bed, refrigerator, or shower in the apartment, which hide themselves away when not in use.

Surgeon General’s Warning

The other problem is habituation. After repeated exposure to this device on a daily basis, Korben will begin to disregard the signal. A more persuasive system would change, such that the consequences and goals are kept fresh on Korben’s mind. To make sure it hits home at the right time, I would get rid of the extraneous buttons and have one “time-release” button, that requires him to press and hold it for a few seconds to get at the cigarette. During this enforced moment of boredom, the device can flash a new message and dissuasive image, giving Korben a moment to consider this and whether he really wants to keep pressing the button for his cigarette. The LCD panel would need to display these instructions first, and then switch to showing the time at which the next cigarette will be available.

A device displaying the message 'SMOKING CAUSES BLINDNESS' with a digital screen indicating daily goals beside a series of tubes visible in the front.

Alien Astrometrics

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When David is exploring the ancient alien navigation interfaces, he surveys a panel, and presses three buttons whose bulbous tops have the appearance of soft-boiled eggs. As he presses them in order, electronic clucks echo in in the cavern. After a beat, one of the eggs flickers, and glows from an internal light. He presses this one, and a seat glides out for a user to sit in. He does so, and a glowing pollen volumetric projection of several aliens appears. The one before David takes a seat in the chair, which repositions itself in the semicircular indentation of the large circular table.

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The material selection of the egg buttons could not be a better example of affordance. The part that’s meant to be touched looks soft and pliable, smooth and cool to the touch. The part that’s not meant to be touched looks rough, like immovable stone. At a glance, it’s clear what is interactive and what isn’t. Among the egg buttons there are some variations in orientation, size, and even surface texture. It is the bumpy-surfaced one that draws David’s attention to touch first that ultimately activates the seat.

The VP alien picks up and blows a few notes on a simple flute, which brings that seat’s interface fully to life. The eggs glow green and emit green glowing plasma arcs between certain of them. David is able to place his hand in the path of one of the arcs and change its shape as the plasma steers around him, but it does not appear to affect the display. The arcs themselves appear to be a status display, but not a control.

After the alien manipulates these controls for a bit, a massive, cyan volumetric projection appears and fills the chamber. It depicts a fluid node network mapped to the outside of a sphere. Other node network clouds appear floating everywhere in the room along with objects that look like old Bohr models of atoms, but with galaxies at their center. Within the sphere three-dimensional astronomical charts appear. Additionally huge rings appear and surround the main sphere, rotating slowly. After a few inputs from the VP alien at the interface, the whole display reconfigures, putting one of the small orbiting Bohr models at the center, illuminating emerald green lines that point to it and a faint sphere of emerald green lines that surround it. The total effect of this display is beautiful and spectacular, even for David, who is an unfeeling replicant cyborg.

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At the center of the display, David observes that the green-highlighted sphere is the planet Earth. He reaches out towards it, and it falls to his hand. When it is within reach, he plucks it from its orbit, at which point the green highlights disappear with an electronic glitch sound. He marvels at it for a bit, turning it in his hands, looking at Africa. Then after he opens his hands, the VP Earth gently returns to its rightful position in the display, where it is once again highlighted with emerald, volumetric graphics.

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Finally, in a blinding flash, the display suddenly quits, leaving David back in the darkness of the abandoned room, with the exception of the small Earth display, which is floating over a small pyramid-shaped protrusion before flickering away.

After the Earth fades, david notices the stasis chambers around the outside of the room. He realizes that what he has just seen (and interacted with) is a memory from one of the aliens still present.

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Hilarious and insightful Youtube poster CinemaSins asks in the video “Everything Wrong with Prometheus in 4 minutes or Less,” “How the f*ck is he holding the memory of a hologram?” Fair question, but not unanswerable. The critique only stands if you presume that the display must be passive and must play uninterrupted like a television show or movie. But it certainly doesn’t have to be that way.

Imagine if this is less like a YouTube video, and more like a playback through a game engine like a holodeck StarCraft. Of course it’s entirely possible to pause the action in the middle of playback and investigate parts of the display, before pressing play again and letting it resume its course. But that playback is a live system. It would be possible to run it afresh from the paused point with changed parameters as well. This sort of interrupt-and-play model would be a fantastic learning tool for sensemaking of 4D information. Want to pause playback of the signing of the Magna Carta and pick up the document to read it? That’s a “learning moment” and one that a system should take advantage of. I’d be surprised if—once such a display were possible—it wouldn’t be the norm.

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The only thing I see that’s missing in the scene is a clear signal about the different state of the playback:

  1. As it happened
  2. Paused for investigation
  3. Playing with new parameters (if it was actually available)

David moves from 1 to 2, but the only change of state is the appearance and disappearance of the green highlight VP graphics around the Earth. This is a signal that could easily be missed, and wasn’t present at the start of the display. Better would be some global change, like a global shift in color to indicate the different state. A separate signal might compare As it Happened with the results of Playing with new parameters, but that’s a speculative requirement of a speculative technology. Best to put it down for now and return to what this interface is: One of the most rich, lovely, and promising examples of sensemaking interactions seen on screen. (See what I did there?)

For more about how VP might be more than a passive playback, see the lesson in Chapter 4 of Make It So, page 84, VP Systems Should Interpret, Not Just Report.