Sandmen have a clean-up crew to quickly rid the city’s floors of the unsightly corpses they create when they terminate runners. Logan summons one through the CB function of his SandPhone, telling dispatch, “Runner terminated, 0.31, ready for cleanup.”
Minutes later, Cleanup arrives. This crew floats around the city in a slow-moving hover platforms, that look a little like a vertical knee raise machine with anti-gravity pads and a faulty muffler. The controls aren’t apparent, but the operator maneuvers the platform over the cadaver to spray it with a fast-acting solvent that emits out the base.
This is the surface question of the Cleanup platform interface. If the operators don’t move, how are they controlling the platform? Of course it could be a brain interface, but that’s an easy answer. There are at least three alternative types of input that could explain what we see on screen.
Force-sensing resistors or strain gauge that read the amount of force being applied to a stationary surface and act accordingly. The grips could be outfitted with force strips for each finger giving a high degree of complex input.
Gaze interactions, where eye tracking equipment registers glances, blinks, pupil dilation, and eyelid spread over time as controls.
Subvocal recognition allow a user to move their throat and mouth as if they were speaking, and even without actually producing any sound, register it as speech input.
Each of these technologies permit input via movements that are difficult to detect through observation, but facilitate rich enough input to pilot a personal vehicle through 3D space. Sadly, this level of sensory sophistication is not in evidence anywhere else in the film, so we’ll just have to chalk it up to a nifty tech for our real world toolboxes.
And though these technologies are cool, they don’t answer any of the experience or service design questions from the perspective of the Übercomputer. Why it is good for the operator to appear perfectly still in the first place? Is there some reason why they need to be dehumanized or robotic? It can’t be that they’re doing something horrible. Sandmen do the actual killing (and as we see do it gleefully, cruelly) and are highly visible, clearly human participants in the system?
Not everyone is comfortable giving over to the flimsy promise of Carrousel [sic]. Some citizens run, and Sandmen find and terminate these cultural heretics.
Sandmen carry a device with them that has many different uses. It goes unnamed in the movie, so let’s just call it the SandPhone. It is a thick black rectangle about 20cm at its long edge, about the size of a very large cell phone. Near the earpiece on one broad side is a small screen for displaying text and images. Below that is a white line. The lower half of this face is metallic grill that covers a microphone. On the left edge is a momentary button that allows talking. Just above this is a small red button. When not in use, the device is holstered on the sandman’s belt.
The SandPhone lets the Sandman receive information through a display that can show both image and text. The Sandman sends back information and requests by voice in a CB radio metaphor.
The first time we see the device is when Logan and Francis are attending Carrousel. Somehow, on his belt it catches his attention. With the crowd too loud for sound, and no evidence it’s light, my bet’s on haptics. Realizing he’s got a message, he picks it up, presses the edge button and the screen displays two lines of text:
RUNNER: GREAT HALL ENTRANCE WEST.
He then puts the device to his face as we would a cell phone and shouts, “Affirmative!” as loud as he can.
Running with the device outside the Great Hall, Logan uses the SandPhone as a detector. By holding it flat out in front of him he hears a rhythmic pulse. Turning it this way and that, he listens for the change in pitch. It rises when he is pointing towards the targeted runner.
When he and Francis have terminated the runner, he snaps the device off his belt, and pressing the edge button, he reports back to dispatch, “Runner terminated, 0.31. Ready for cleanup.” Then by placing the device near the head of the dead runner, the device displays on the screen the last photographic image of him on file. Since the face on the SandPhone screen does not match the face he sees before him, Logan lifts the device to his face and, holding the edge button, requests an identity check of dispatch. Instantly he pulls the device away from his face to show the text:
IDENT. AFFIRM NEW YOU #483 FACE CHANGE.
Much later in the film we see Logan alert dispatch to the location of the underground hideout by reaching down to the holstered device and pressing the white line button on its face. Its screen pulses green, and his position is highlight on the runner board (see below) at dispatch. Minutes later the location is raided by Sandmen.
The first thing to note is that this is pretty close to a modern smart phone. He receives images and text messages, can talk to dispatch, and it has a biometric capability for identifying citizens. It’s tempting to paint this as visionary, but keep in mind that the first mobile phone was demonstrated in 1973, three years earlier, so it’s likely that the film makers were riffing off of the demo technology they’d heard about or maybe even seen in person.
We evaluate an interface’s design by how well it helps its user achieves his goals. (Even if those goals are anethma. That’s how we judge an interface.) In this case, the SandPhone helps Logan get the information he needs, when he needs it, across multiple channels. It doesn’t distract him with other functions. It’s context aware and doesn’t apparently have battery issues.
There are improvements of course.
We should make sure his hands are free by making the information available as an augmented reality display instead of a handheld device. This would also give him the information privately rather than display it for anyone (notably members of the resistance) to see it. Wayfinding would be more sensible as an overlay to his vision through this device.
Some surface tweaks might also be made, such as giving him a means of text input so he wouldn’t have to shout above the roar of Carrousel. Some silent means of input would help for when he needs to provide silent input as well. First I thought optical inputs might be ideal, given the augmented reality, but we don’t want his eyes distracted like that, even for the duration of glances. Instead some other gestural input—perhaps a face twitch or subvocal input—that lets him keep the rest of his body tense and ready for action.
Citizen biometrics should be a background fact, given the penopticon of Dome City. The information would come to him when he gets his assignement. But turn those same biometrics around on Logan, and his body could request reinforcements before he even thought to do so manually. When his heart rate elevates and galvanic skin response lowers, dispatch would know something was up, and route backup immediately.
A strategic interaction designer would even ask why he has to chase runners at all, when predictive algorithms could guess which citizens were likely to run and take action to forestall their rebellion. But then we’re into Minority Report, and this needs to stay Logan’s Run.