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Learn the Role of Perception and Memory in HCI and UX

by Mads Soegaard | | 63 min read
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Have you ever wondered how your brain makes sense of the world? It's a fascinating process! If you want to design helpful products and services that people love, you must first understand how they think. A large part of human interaction relies on perception, our ability to see, hear and feel our surroundings. But we also need to be able to connect these things. That's where memory comes in—it helps us connect the dots. Learn about the role of perception and memory in design through the IxDF Perception and Memory in HCI and UX course.

We often design the world based on how we experience it, but this limits our solutions. Diverse people have diverse needs. Age, ability and skill all affect how people use technology.

True universal design is a lofty goal. Yet, we can get close. We must study how people perceive the world and understand how their memory functions. This knowledge can help you build better, more accessible tools.

We gain valuable insights as we focus on how people's senses and minds work (in other words—perception and memory). This helps us support a broader range of users and our solutions can better address the limitations some people face.

Explore how a deeper understanding of perception and memory can enhance your design skills and help you create more inclusive products.

Table of contents
  1. The Basics of Perception and Memory in HCI and UX 
    1. 1. What is Perception? 
      1. How does Perception Work? 
    2. 2. Design Principles on Multi-Sensory Experiences 
    3. 3. Use Sensation and Perception in Design 
    4. 4. Use Touch and Haptics in Design 
  2. Learn How to Use Vision and Sound Senses
    1. 1. Understand The Science Behind Amazing (but Tricky) Vision 
      1. Design For Peripheral Vision 
    2. 2. Use Sound to Shape Design 
  3. Leverage Human Memory to Your Advantage
    1. 1. Understand How to Use Short-term Memory in Design
    2. 2. Understand How to Use Long-Term Memory in Design
  4. The Take Away 
  5. References and Where to Learn More 

The Basics of Perception and Memory in HCI and UX 

Human-Computer Interaction (HCI) and User Experience (UX) are fields that aim to make technology intuitive and enjoyable for people. If you understand perception and memory within these fields, you can create systems that align with how users' minds naturally work.

1. What is Perception? 

Perception is how we sense the world around us. We use our senses to notice objects and relationships. This process gives us vital information about our surroundings. Perception needs our brainpower. We use memory to recall a friend's face or a familiar smell. This lets us identify things and react to our environment.

Watch Alan Dix, Professor and Expert in Human-Computer Interaction, discuss the types of memory we have.

Show Hide video transcript
  1. 00:00:00 --> 00:00:33

    I want to talk about memory. You can argue that actually possibly it's memory that makes us who we are. Without our memories, perhaps we become a different person. So memory is clearly crucial to the sense of being a person. It's also, of course, very crucial as we design user interfaces. There are different kinds of memory, and what I've done is put them on a time scale.

  2. 00:00:33 --> 00:01:01

    So you can think of ones that operate very, very quickly to ones that operate over a very long time scale. The fastest kinds of memory are sensory memory. When you hear something, you can often repeat it back even if you didn't think you'd heard it properly. It sort of stays around in your head for a little bit. You might not even think of that as memory. It's below the point that you normally think of as real memory. And then there's what's called short-term memory.

  3. 00:01:01 --> 00:01:32

    This is for when you've... perhaps if you think about an interface you've read a number and you have to type it in somewhere else. I constantly have to do that with the two-factor authentication where you get the little text message that tells you a number that you've got to type into your user interface. And you look at the number and then you type it in. Even ten minutes later, let alone three days later, you won't remember that number. You don't want to remember that number; it's just there for a very short amount of time in remembrance.

  4. 00:01:32 --> 00:02:00

    There's also the kinds of memory you've got of your childhood. This is long-term memory, things that go back many years. Hopefully, the things you learn about in these videos will become part of your long-term memory, but probably not all of it will. They're the things that you remember pretty much forever. And in between... I call this mezzanine memory. It's an under-studied bit of memory, there's some memory that fits between the two.

  5. 00:02:00 --> 00:02:31

    So whereas your long-term memory is things that are there your whole lifetime, there's the bit about remembering that, this morning, what did you have for breakfast? Now you probably won't remember that in ten days' time, let alone in ten years' time, but you probably will remember it now. And that in-between memory I call *mezzanine memory*, and there isn't a standard word for it. And it's under studied, so the things that we say about it are going to be a little bit vaguer than things like short-term memory and long-term memory,

  6. 00:02:31 --> 00:03:00

    which are very well studied and you will see talked about a lot in books. Focusing on those three sort of more mental memories, the short-term memory, the long-term memory and that middle mezzanine memory, we can think about their different properties. So first of all, look at capacity. How much? Short-term memory, that bit where you read the number and type it in, is very constrained. People talk about seven plus or minus two chunks, five to nine chunks.

  7. 00:03:00 --> 00:03:30

    Basically, it's not a lot. You just remember very small bits for a very short amount of time. Your long-term memory, that lifetime memory is big. You can remember all sorts of things. You could tell me about your childhood, perhaps the first film you ever watched, or certainly the most recent film you ever watched. And tell me all sorts of details about it. Perhaps things that you learned in school. How big it is, it's hard to know. There's a limit in terms of the number of neurons in your head,

  8. 00:03:30 --> 00:04:01

    but that's a very, very big number. And this bit in between, this mezzanine memory is so under-studied, I won't even guess how large it is because this just isn't being studied well enough. The short-term memory, it's both small, you don't remember much, and it decays very rapidly. So you pick it up... So you look at that number on your phone, you type it in, and unless you keep repeating it in your head, you will forget it within 30 seconds or so. It goes.

  9. 00:04:01 --> 00:04:33

    So it's very, very fast. So if you want to keep it around, you'll have done this, just like repeating something to yourself: 596243, 596243, 596243. And you repeat it until you type it in. So if you're scared of forgetting it. The lifetime memory, the long-term memory – you can remember your childhood. You probably can't remember your childhood when you were very, very young, like under about three or four years. That's called infantile amnesia, there are different words for it. But that's for different reasons. Not that you can't remember it.

  10. 00:04:33 --> 00:05:04

    It's I think, because your brain changes in different ways. This mezzanine memory, this bit in the middle, is the minutes-to-hours bit. It's the remembering why you're watching this video in the first place, that you started watching it, the things I said a few moments ago. But also perhaps your breakfast, the things that lay over that period. Both the short-term memory and the mezzanine memory, most of the time it's implicit. You not even aware you're doing it. These longer-term memories, some of those are implicit, but actually, you probably got

  11. 00:05:04 --> 00:05:30

    a whole load of strategies that you learnt at school about committing things to long-term memory, a lot of which is about rehearsal and repetition. So if you think about the same thing, the same memory you've had, if you talk to somebody, you will often put them into long-term memory. There are some dreams I can remember, but they're normally because I told somebody about them straight afterwards. And so by telling them that I rehearsed them and laid them down into long-term memory.

  12. 00:05:30 --> 00:06:01

    So that's about how you remember it. And then there's the mechanism, the underlying neurological mechanisms that store it. Short-term memory is about electric changes happening in your brain. So they're not currents in the sense of wires, like they are in a computer. They're ionic changes, but they're basically electrical activity in the brain. It's the things you detect if you put one of those brain caps on with lots of little electrodes on. And the short-term memory is governed by that. Your moment-to-moment thinking, but also short-term memory is driven by those.

  13. 00:06:01 --> 00:06:31

    When those go away, short-term memory goes away. So it's neuron firing. Long-term memory is about physical changes in the connection patterns within your head. That's why when you have an anaesthetic, which basically knocks out most of that electrical activity, when you wake up again, your long-term memories are intact because they're about actually where the connections between the neurons are and the synapses, which is where they connect in, how big they are. And actually the synapse,

  14. 00:06:31 --> 00:07:04

    the point where one neuron touches another neuron actually gets physically bigger to make them stronger connections. So there's a physical layer to the way in which long-term memory is stored. That's why it's long-term, and there's arguments that you never forget it; it's always there. So even if you think you've forgotten something, it's actually just that you don't have the right path to it. And this bit in between, again, this mezzanine bit – under studied, but it's probably stored by something called long-term potentiation, which is the fact that when a neuron fires its chemical structure changes

  15. 00:07:04 --> 00:07:32

    and that change can take a while to revert back to, shall we say, a neutral state. That "while-ness" can be anything from minutes to hours. My guess is, I said this is widely unknown because it's not been well studied, is that would be the mechanism by which those are stored. So it's something that if you're not under anaesthetic, actually you often can remember things immediately before. You might forget a little bit, but you remembered it before

  16. 00:07:32 --> 00:07:56

    because it's in that chemical change which lasts quite a period. Whereas the electrical activity all goes. So three kinds of memory, very, very different properties. And in an interface actually those properties you'll use very differently. From copying that number in short-term memory to perhaps learning how to use an interface, which is a long-term memory thing.

Our five senses help us perceive—sight, touch, hearing, taste and smell. We also have proprioception. This is our sense of body position and self-movement. We face a constant flood of information. Perception filters this to stop us from feeling overwhelmed and helps us understand the world.

How does Perception Work? 

Perception increases our awareness of the world. It helps us react.

  • We use it in communication: It tells us how loved ones feel.

  • It guides our behavior: It shapes our views of people and groups.

We perceive the world constantly but rarely think about it. Light hits our eyes and becomes an image instantly. Our skin senses subtle pressure to let us feel objects. All of this happens without effort.

2. Design Principles on Multi-Sensory Experiences 

How you design for the senses goes beyond the obvious—sight, sound and touch. True sensory design weaves various ways users perceive the world to create richer experiences. Let's explore some key principles:

  1. Know your senses: Understand how senses work. Research how the brain processes sight, hearing, smell, taste and touch. Consider how sensory disorders and unique sensory experiences might influence your design choices.

  1. Senses are a team: Our senses never work alone. Our brains constantly combine information from multiple senses to guide how we react to the world. Test how your sensory design elements work together—they might create unexpected results.

  1. Do research: Hunch-based design won't cut it. That’s why it’s vital to collect user insights on how they interact with your product through multi-sensory methods, and a wealth of scientific literature guides your choices if formal research isn't feasible.

  1. Target carefully: Always start with a clear goal for each sensory element. Haptic feedback, distinct sounds or even subtle visual cues should all have a defined purpose.

  1. Spark synesthesia-like effects: Our brains naturally seek connections between senses. Words can evoke 'taste' while colors can have a 'feel.' Tap into these associations to make the digital experiences more real and engaging.

  1. Uncover hidden effects: Your design choices might trigger unintended sensory responses. Be mindful of this. Words, colors and patterns can all impact some users.

  1. Design without sight: Temporarily 'turn off' your focus on sight. How would your product work if users relied on sound, touch or smell? This exercise sparks innovation and reveals how reliant we often are on visuals.

  1. Provide balance: Sensory overload is a very real concern, and if you combine too many elements, it may well distract users and ruin their experience. So, always find the right balance—and remember, sensory details should enhance, not obstruct.

  1. Create a strategy: Don't treat sensory features as an afterthought—you’ve got to plan them from the start and align with your overall product vision. These elements are going to have a big impact on how users feel about your brand if done well.

3. Use Sensation and Perception in Design 

In this video, Alan Dix discusses what sensation and perception are all about.

Show Hide video transcript
  1. 00:00:00 --> 00:00:32

    I'd like now to distinguish two words, which sometimes you'll probably hear me use interchangeably, but actually have a subtle difference: sensation and perception. In one sense, there's the things that we really hear, and shall we say, the immediate senses. This is what in psychology is called sensation.

  2. 00:00:32 --> 00:01:00

    So with your eye, the photons actually come into the back of your eye, hitting your retina and the nerve cells, noticing those and creating a signal. When you hear, little hairs in your ear are getting wiggled by the sound and then passing that into your brain. So that is the raw sensation. That's the absolute raw sense of what's there.

  3. 00:01:00 --> 00:01:30

    However, our brains do lots of work with that. They process what are those raw sensations in order to give that sense of that feeling of actually what's there. There's a couple of examples of this you can think of. So, for instance, if you... Looking at your room, just glance at the room you're in, you'll have a sense that you can see it all, but actually your eyes dance around and builds it up slowly.

  4. 00:01:30 --> 00:02:03

    So that raw sensation at any one moment is probably that everything in the periphery is fuzzy. But you don't see that. What you believe you see is something that's sharp everywhere. Because if you ever need to know about a bit of the room your eye will glance to it and it will become sharp at that moment. So your perception of the room and your visual perception is that it's large, it's everywhere, and you can see it all. Your actual sensation is much, much tighter than you can see clearly.

  5. 00:02:03 --> 00:02:33

    Because these differ and because they are about the meaning of the world... We are *meaning-giving creatures*; we're trying to find meaning and sense in this world. You can sometimes use this creatively to create effects, but you could also sometimes get, shall we say mistaken effects because of this. And optical illusions use this very much in order to fool your eyes because your eyes are trying to create sense of the world and you can sometimes fool them.

  6. 00:02:33 --> 00:03:04

    So here's two optical illusions, both of which are based on linear perspective. There's the Ponzo one. So if you look at that picture, it's a ladder with two blocks, and it will look as if the block at the top is bigger than the block at the bottom. The reason for that is your meaning bit of your brain is saying, "It's doing, the ladder's doing this," so it's probably sloping away from you. If it's sloping away from you, then something that takes the same amount of visual space

  7. 00:03:04 --> 00:03:33

    further away must be bigger. On the right is the Müller-Lyer illusion. So the Müller-Lyer illusion is two lat[eral] lines and then two arrowheads and one has got arrowheads going in and one's got arrowheads going out. And if you look at it, you probably will see the one with the arrowheads going out as being a longer line than the one at the bottom. In fact, they're absolutely the same size and the same length.

  8. 00:03:33 --> 00:04:02

    However, your eye sees the one at the top longer because it looks a bit like the back edge of a box – so, again, in terms of perspective, if the line's going... It's like looking at the back of the box whereas the ones at the front is more like if you're seeing the front end of the box. And of course, again, your eye is saying that probably means the one on top is further away. Although it takes the same amount of distance on the back of your eye, that probably means it's actually larger. Now all that's happened, when I say "probably", you're not reasoning this out.

  9. 00:04:02 --> 00:04:30

    This is all happening tacitly, unconsciously. You've got no idea it's going on. And it's very hard, even though you know those two are the same length to actually be able to see that. Now, it was thought for a long time that a lot of us... and some of these illusions really are very basic; they're built into our – shall we say – our most primitive base being, the things that we've had for, you know, 10-20 thousand years,

  10. 00:04:30 --> 00:05:06

    probably longer as part of the way we see the world. And it was thought in particular the Müller-Lyer illusion was one of these. Something that's very, very basic. I know I found problems with this for many years because linear perspective, it's actually hard to think, shall we say, what in the wild corresponds to linear perspective. And sure enough actually, what's been realized relatively recently is that most subjects of psychological experiments are what's been called WEIRD.

  11. 00:05:06 --> 00:05:30

    By "WEIRD", it's White, Educated, Industrialized, Rich and Democratic. So basically, think of US psychology students as subjects of most psychology experiments – or British ones for that matter. So you actually end up with a very select set of people

  12. 00:05:30 --> 00:06:01

    for which we believe everything is true of. And of course, actually that turns out not to be true. Crucially, an awful lot of things which appear to be very fundamental psychological effects turn out to be *cultural*. And crucially, this thing about the Müller-Lyer illusion is one of the ones that is not the same. So if you have a... there is a relatively small number of experiments where this is the case, but there are some experiments that have been done with people who have been brought up in

  13. 00:06:01 --> 00:06:32

    the middle of forest jungle environments, but without built straight lines, concrete and brick structures. And when that's the case, the Müller-Lyer illusion doesn't work. They see the two lines as the same length. This is a learned effect that's happened from childhood, where because you live in a built environment, you end up with particular illusions. So these are partly about sensory perception, but perception is based partly on

  14. 00:06:32 --> 00:07:00

    – shall we say – built-in parts of your brain. But also the culture in which you live changes the relationship between raw sensation and perception. So, you know, optical illusions can fool you. However, actually, if you think about it... So there's the kind of optical illusion like Müller-Lyer, but also you've probably seen those trick photographs where you think something's bigger than it is

  15. 00:07:00 --> 00:07:30

    or you see something and it says, what's this? And you've got no idea. And then there's some small tweak and it's zoomed out and "aha, of course". Now the interesting things about those is partly it's a perception thing that your eye can get fooled. But they're often deliberately chosen at a very unusual eye position. So you may take a photograph of something so that certain things line up, that then make it confusingly look like something else. And you only have to perhaps move your head a little bit.

  16. 00:07:30 --> 00:08:00

    You know, if it was a real thing that you were looking at, you would move it, you would move your head. And suddenly it would all make sense. Our perception systems are designed for the real world. They're not designed for static images on screens. We've learned to deal with them – I said culture comes in here. So our brain is trying to make sense of this all the time. And that can sometimes mean you can get these optical illusions that can be confusing. But also that can work to our advantage because we're trying to make sense.

  17. 00:08:00 --> 00:08:07

    So this is something you can think about in design, both things that can go wrong, but also things that can go right.
Video copyright info

Copyright holder: Michael Murphy _ Appearance time: 07:19 - 07:37 _ Link: https://www.youtube.com/watch?v=C67JuZnBBDc

Imagine you try to capture the essence of reality through your senses. Sensation and perception play pivotal roles in this process. Sensation gathers raw data from our environment through our senses. Perception interprets this raw data within the brain.

However, perceptions can—sometimes—deceive us. Real-world applications complicate these processes. Our senses interact and our past experiences influence our perceptions. Add the complexity of processing visual information and it becomes astonishing that observers can agree on a shared experience. Here's an example to help you understand this:

Let’s think about a shopping app that highlights sale prices in blue. While effective for most people, users with color vision deficiency well may not notice this, as the blue blends into the background for them. This example shows how design based on one perception can mislead others with different sensory experiences.

There are a few reasons why this matters in design:

  • Optical illusions: Illusions like the Ponzo or Müller-Lyer trick make our brains think that we see lines of different lengths or objects of different sizes, when they’ve actually got the same length and the like. You should be aware of these effects, as visual choices can mislead users unintentionally.

Images of the Ponzo Illusion and Muller-Lyer Illusion.

Two popular optical illusions include the Ponzo Illusion and Muller-Lyer Illusion.

© Interaction Design Foundation, CC BY-SA 4.0

  • Experience matters: Even seemingly basic perception isn't universal. People raised in different environments might see the world in subtly different ways. Consider the diversity of your audience when you make design choices.

  • Our brains seek meaning: We try to find patterns and make sense of things. You can use this to guide user perception and make experiences feel intuitive. However, it also means users can misinterpret seemingly clear visuals if you don't consider alternate viewpoints.

It’s vital to be aware of the fluidity of sensation and perception to deliver successful experiences. Consider the potential for misinterpretation due to illusions, personal histories and our pattern-seeking brains—and the users’ brains that might misinterpret something are the same brains that can (mis)judge your design. As you understand these complexities and anticipate diverse user responses, you can craft designs that guide perception effectively to create intuitive and inclusive products for all.

4. Use Touch and Haptics in Design 

Touch is our sense of feeling things through physical contact—and it can be extremely sensitive. In design, this mainly refers to how users interact with touchscreens. Haptics is the technology that simulates the sense of touch. Think of subtle vibrations or bumps on your phone. Haptics add a physical dimension to digital interactions.

Imagine a map app. A button zooms in on your location. Traditionally, you'd see the view change visually. Now, add a subtle haptic “click” as you press zoom. This adds another sensory layer. It confirms the action and makes the interaction more satisfying.

Use these five guidelines to add touch and haptics to the design:

  1. Purposeful: Don't add vibrations for fun. Haptics should have a clear role—to provide feedback, guide actions or enhance immersion.

  2. Subtle: Users may feel annoyed if you overdo haptics. Small, precise vibrations usually work best.

  3. Make meaningful pair: Match haptic effects to what happens on-screen. A heavier 'bump' might indicate an error, while a light series of taps could mimic typing.

  4. Flexible: Provide options to adjust or turn off haptics. Some users might feel distracted or even physically uncomfortable.

  5. Device specific: Haptic effects feel different on phones versus smartwatches. Test thoroughly on your target device.

Learn How to Use Vision and Sound Senses

Eyes and ears help us take in most of the world. When we design things, it's important—and then some—to understand how people see and hear. This helps us create websites, products and even spaces that are easy to use and provide a pleasing experience. If you think about color, shape, sound and how they grab attention, you make things work better for everyone.

1. Understand The Science Behind Amazing (but Tricky) Vision 

Light enters our eyes and hits special cells at the back. These cells send signals to our brain. Our brain turns them into the images we see. This sounds simple, but our brains do a lot of extra work.

Our brains fill in the gaps of what we see. This is why optical illusions work. People see things differently so you must be careful when you design—your user might be colorblind or have low vision. Shapes and colors can mislead if we don't plan well. Good designers think about these differences. They make sure their work is clear for everyone. For example:

  • Color: Color theory explains how colors trigger deep emotions in humans. Reds might mean love or danger, blues calm or sadness—it depends on the person. You must know these complex associations, especially since they shift across cultures.

  • Lighting: Our brains respond to light, and soft, warm tones create coziness, while bright, cool light evokes focus. You can use light to set the desired mood for a space.

  • Layout: Layout affects us at a subconscious level. Spaciousness, grid systems and natural elements each evoke different feelings. You can use these elements carefully to create a space that supports the desired experience for the user.

Design For Peripheral Vision 

Peripheral vision lets you see what's outside your direct focus. It's less sharp than your central vision but helps you spot things in your surroundings and guides your attention.

It's important to understand peripheral vision for a good user experience because users scan interfaces with both central and peripheral vision. Design elements need to consider both to avoid missed content and frustration.

Let's say a user clicks a button and gets an error message on the far side of the screen. They missed it because it was outside their central vision. This is a common problem—and one that can frustrate users a great deal—when the design doesn't consider peripheral vision. So, follow these tips to design for peripheral vision:

  • Center important items: Place key elements where users can most likely see them directly—and that means in the screen's center.

  • Use visual cues: Employ color, size and contrast properly, to make important items stand out in peripheral vision.

  • Use white space: Separate elements to reduce visual clutter and aid peripheral scanning.

  • Consider subtle animation: Guide attention to key items with brief flashes or gentle movement.

  • Test with users: Verify your design is usable in peripheral vision with real user feedback.

  • Maintain consistency: Use familiar design patterns throughout your product for ease of use.

  • Offer clear tutorials: Help users learn the interface to maximize efficiency.

2. Use Sound to Shape Design 

Sound brings the experience to life in games, movies and virtual reality. But even in simpler apps and websites, the right sound can make the digital world feel more tangible and engaging. Here's a breakdown of how designers use sound in design:

  • Feedback and confirmation: Clicks, beeps and swooshes tell us whether an action was successful (or not!). This is essential in digital products where we lack the physical feedback of the real world.

  • Emotional connection: Music sets a mood. A suspenseful soundtrack in a game builds tension. A meditation app with gentle, calm music and natural sounds can help users relax and focus on breathing.

  • Alerts and notifications: Unique sounds help users distinguish what needs their attention. Think about how Facebook Messenger uses the distinctive notification tone.

  • Accessibility: Sound cues can guide users with vision impairments. Think of a navigation app with a distinct rising tone to indicate "You're heading in the right direction."

  • Immersion: Realistic sound effects or spatial audio in games and VR experiences make the world feel believable—and users can get so much more into it, and out of it.

Follow these tips to use sound effectively in design:

  • Purposeful: Sound should serve a clear goal—feedback, ambiance, etc.

  • Subtle and unobtrusive: Overly loud or repetitive sounds can quickly annoy the users.

  • Matches the experience: A playful sound effect might fit a children's app but feel out of place in a banking site.

  • User control: Provide options to mute or adjust the sound volume.

Leverage Human Memory to Your Advantage

Our brains aren't perfect memory machines—there’s the potential for misremembering things, for instance. But if you understand how memory works, you can create products and experiences that feel more natural and easier to use. This means less frustration for users and better results for your designs.

Timeline displaying seconds representing sensory memory, minutes representing short-term memory, and lifetime representing long-term memory from left to right

Human memory has three facets: sensory, short-term and long-term.

© Interaction Design Foundation, CC BY-SA 4.0

1. Understand How to Use Short-term Memory in Design

Short-term memory serves as a vital processing hub—in the short term, indeed. It takes in sensory memories of interest and holds them for up to a minute. This duration can extend to a few hours with rehearsal, such as repetition.

Watch Alan Dix discuss sensory memory and how it works in this video.  

Show Hide video transcript
  1. Transcript loading…

Short-term memory operates on limited capacity. Renowned psychologist George A. Miller explored this in his seminal work, "The Magical Number Seven, Plus or Minus Two." His experiments suggest we can hold between five and nine items in our short-term memory.

"Chunking" is one of the ways to extend this capacity. In this method, you group individual items into larger, more manageable units. For example, if you group the digits into pairs, a 12-digit phone number becomes so much easier to remember. This results in six chunks—a manageable number within the typical memory span—rather than twelve separate digits.

You can also apply chunking to visual and alphanumeric data. Think about a bar chart in a presentation. Each bar represents a chunk of information. It simplifies complex data into digestible pieces. This technique allows visual designers to present information that short-term memory can quickly process.

Chunking Technique 

Benefit for User Experience 

Examples 

Group information into categories

Improves user's ability to process and retain information

Website menu with categories like "Home," "About," Products," and "Contact" 

Break down complex data into digestible pieces 

Reduces cognitive overload and frustration 

Product comparison table with features listed in columns to make selection easier 

Allows users to focus on what matters most 

Creates a more user-friendly experience 

Signup form broken into sections (personal info, address, payment) 

2. Understand How to Use Long-Term Memory in Design

Long-term memory serves as our mind's vast storage system—and we retain memories that we make conscious efforts to remember. This effort includes practices like how you study for tests or make meaningful connections. These connections help form long-lasting memories.

For instance, you make a vivid impression if you experience a static shock—it’s a painful experience that creates a strong emotional memory after just one occurrence. This shows how potent emotional and physical experiences are for memory retention.

We also use long-term memory to define our identities. It holds our experiences, knowledge and skills that inform who we are. This storage allows us to retrieve important information about our values and past experiences. It plays a crucial role in shaping our behavior and decision-making.

In design, especially in information visualization, the focus often remains on the immediate interaction. Users rarely store the details of a design in long-term memory. Instead, they remember the insights or understanding they gain from it. This selective memory is what makes sure that we keep hold of only the most relevant information.

Follow these five tips to leverage long-term memory in design:

  • Emotional design: Create designs that evoke strong emotions for better memorability—we’re talking about impressions and feelings here. Products that generate joy, surprise or nostalgia can forge lasting memories and deepen brand connections.

  • Storytelling: Use narratives to make complex information so much more relatable and memorable. Stories that resonate with users can enhance recall and engagement with your brand or product—and they’ll associate something much more profound than just data with it; humans really do love tales.

  • Repetition and familiarity: Employ consistent visual elements, slogans, or sounds across various platforms to reinforce memory. Familiar branding makes it easier for users to recognize and remember your product.

  • Priming and cues: Use visual or auditory cues to trigger specific actions or memories. It’s an approach that helps users quickly recall their interactions with your interface.

  • Personalization: Tailor experiences to individual users so you forge deeper emotional connections and create memorable interactions for them. Platforms that adapt to user preferences or history—like Netflix or Amazon—demonstrate the effectiveness of this strategy to enhance long-term brand loyalty.

The Take Away 

The IxDF Perception and Memory in HCI and UX course will help you gain deeper insights into what we discussed. You’ve got to understand how users perceive and remember information to design effective interfaces. This course goes deep into the cognitive processes that shape human interaction with technology. You'll explore the major human senses and the role memory plays in processing and storing information. In this course, you'll learn about:

  • The role of perception in human-computer interaction.

  • The dynamics between sensation and perception.

  • Insights into touch and haptics, as well as vision and hearing.

  • Understanding memory, including its structure and limitations, to design more effectively.

Professor Alan Dix, a leader in the field of Human-Computer Interaction, brings his expertise to this course. As co-author of a best-selling textbook on HCI and Director of the Computational Foundry at Swansea University, his insights provide invaluable learning opportunities.

This course is ideal for you if you are a:

  • UX designer seeking deeper theoretical insights.

  • Project manager aiming to create intuitive products.

  • Software engineer interested in the cognitive aspects of HCI.

  • Entrepreneur dedicated to standout product design.

  • Marketer looking to deeply understand customer interactions.

  • Newcomer to design considering a switch to HCI or UX design.

Participate in the "Build Your Portfolio: Perception and Memory Project" to apply what you've learned through practical exercises. These activities allow you to create case studies for your portfolio and showcase your skills to potential employers or clients.

References and Where to Learn More 

Enroll in the IxDF Perception and Memory in HCI and UX course. It's included in an IxDF membership. Sign up to become a member. 

Read our topic definitions on Perception and Memory.  

Learn about what types of memory do we have? 

Learn how to use sensation and perception when we design. 

Read National Institutes of Health (NIH) research titled From Perception to Attention. 

Perception and Memory in HCI and UX
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Topics in This Article

Perception Human Memory Human-Computer Interaction (HCI) Visual Design Spatial Audio Immersion in Extended Reality (XR) Virtual Reality (VR) UI Animation Color Theory Color Grid Systems Illusions Rule of Thirds User Experience (UX) Design
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