The second edition of Human-Computer Interaction established itself as one of the classic textbooks in the area, with its broad coverage and rigorous approach, this new edition builds on the existing strengths of the book, but giving the text a more student-friendly slant and improving the coverage in certain areas. The revised structure, separating out the introductory and more advanced material will make it easier to use the book on a variety of courses. This new edition now includes chapters on Interaction Design, Universal Access and Rich Interaction, as well as covering the latest developments in ubiquitous computing and Web technologies, making it the ideal text to provide a grounding in HCI theory and practice.

In thispa per, we describe the key lessons from an earlier HCI Educators' conference, held in Limerick in 2006, on 'inventivity' - a term coined to highlight the confluence of inventiveness and creativ ity. There is a distinction between being creative andbein g artistic. HCI education, in terms of creative inventiveness, is not just about artistically pleasing user inte rfaces, but also about solutions that are innovative. We can know much about creativ ity and inventiveness. However, tobe able to teach and train students so that th ey can be creatively inventive, we believe that it would be helpful if educators themselves have personally experienced this. With this in mind, we organised the follow up conference HCIEd 2007 Creativity: Experiencing to Educate and Design. Inventivity was coined to refer to the notiono f inventing creative and innovative solutions. This term was also intended tomean that such solutionsb e more than 'creative', artistic or appealing interfaces as designed by artistic or 'creative types' of people. It was also intended to reflect the creativeness of the solutions that had to be invented. One reason for emphasising this as pect at the conference was that, in HCI design it is easy to mis interpret the focus ofHCI d esign solutions - which should notad dress just visualisation and interaction design, but also address how that visualisation and interactioncreativ ely repr esents and simplifies the complexities in work thatpe ople engage in.

This lecture covers several core issues in user-centered data management, including how to design usable interfaces that suitably support database tasks, and relevant approaches to visual querying, information visualization, and visual data mining. Novel interaction paradigms, e.g., mobile and interfaces that go beyond the visual dimension, are also discussed. Table of Contents: Why User-Centered / The Early Days: Visual Query Systems / Beyond Querying / More Advanced Applications / Non-Visual Interfaces / Conclusions

In thispa per, we describe the key lessons from an earlier HCI Educators' conference, held in Limerick in 2006, on 'inventivity' - a term coined to highlight the confluence of inventiveness and creativ ity. There is a distinction between being creative andbein g artistic. HCI education, in terms of creative inventiveness, is not just about artistically pleasing user inte rfaces, but also about solutions that are innovative. We can know much about creativ ity and inventiveness. However, tobe able to teach and train students so that th ey can be creatively inventive, we believe that it would be helpful if educators themselves have personally experienced this. With this in mind, we organised the follow up conference HCIEd 2007 Creativity: Experiencing to Educate and Design. Inventivity was coined to refer to the notiono f inventing creative and innovative solutions. This term was also intended tomean that such solutionsb e more than 'creative', artistic or appealing interfaces as designed by artistic or 'creative types' of people. It was also intended to reflect the creativeness of the solutions that had to be invented. One reason for emphasising this as pect at the conference was that, in HCI design it is easy to mis interpret the focus ofHCI d esign solutions - which should notad dress just visualisation and interaction design, but also address how that visualisation and interactioncreativ ely repr esents and simplifies the complexities in work thatpe ople engage in.

Digital technology is fundamentally altering the world we live in, but can only be truly understood in relation to the physical world we all inhabit. The most successful future products and policies will be those that take this rich digital/physical ecology seriously. The physical world is increasingly filled with digital products to the extent that the boundaries of digital and physical reality become blurred. From mundane devices such as mobile phones and washing machines, to esoteric research including tangible computation and body implants, we continually bridge two worlds literally touching buttons and dials and simultaneously interacting with the digital systems that lie behind them. The connection between pure thought and abstract information is through solid keyboard and mouse; but likewise the material world of buildings, cars and running shoes is suffused with computation through sensors, displays and flashing LEDs. How do people understand this world and how can designers create usable hybrid physical-digital products? TouchIT brings together insights from human-computer interaction and industrial design, exploring these themes under four main headings: human body and mind; objects and things; space; and information and computation. In considering each, the authors look into the underlying physical processes, our human understanding of them, and then the way these inform and are informed by digital design. The end draws together the theoretical and practical implications of this for design, including practical advice, potential tools, and philosophical underpinnings.