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With this “re-buttonization,” as The Wall Street Journal describes it, demand for Rachel Plotnick’s expertise has grown. Plotnick, an associate professor of cinema and media studies at Indiana University in Bloomington, is the leading expert on buttons and how people interact with them. She studies the relationship between technology and society with a focus on everyday or overlooked technologies, and wrote the 2018 book Power Button: A History of Pleasure, Panic, and the Politics of Pushing (The MIT Press). Now, companies are reaching out to her to help improve their tactile controls.

Rachel Plotnick on...

• Researching the history of buttons
• The renaissance of physical controls
• Working with companies on “re-buttoning”

You wrote a book a few years ago about the history of buttons. What inspired that book?

Rachel Plotnick: Around 2009, I noticed there was a lot of discourse in the news about the death of the button. This was a couple years after the first iPhone had come out, and a lot of people were saying that, as touchscreens were becoming more popular, eventually we weren’t going to have any more physical buttons to push. This started to happen across a range of devices like the Microsoft Kinect, and after films like Minority Report had come out in the early 2000s, everyone thought we were moving to this kind of gesture or speech interface. I was fascinated by this idea that an entire interface could die, and that led me down this big wormhole, to try to understand how we came to be a society that pushed buttons everywhere we went.

Rachel Plotnick studies the ways we use everyday technologies and how they shape our relationships with each other and the world.Rachel Plotnick

The more that I looked around, the more that I saw not only were we pressing digital buttons on social media and to order things from Amazon, but also to start our coffee makers and go up and down in elevators and operate our televisions. The pervasiveness of the button as a technology pitted against this idea of buttons disappearing seemed like such an interesting dichotomy to me. And so I wanted to understand an origin story, if I could come up with it, of where buttons came from.

What did you find in your research?

Plotnick: One of the biggest observations I made was that a lot of fears and fantasies around pushing buttons were the same 100 years ago as they are today. I expected to see this society that wildly transformed and used buttons in such a different way, but I saw these persistent anxieties over time about control and who gets to push the button, and also these pleasures around button pushing that we can use for advertising and to make technology simpler. That pendulum swing between fantasy and fear, pleasure and panic, and how those themes persisted over more than a century was what really interested me. I liked seeing the connections between the past and the present.

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We’ve experienced the rise of touchscreens, but now we might be seeing another shift—a renaissance in buttons and physical controls. What’s prompting the trend?

Plotnick: There was this kind of touchscreen mania, where all of a sudden everything became a touchscreen. Your car was a touchscreen, your refrigerator was a touchscreen. Over time, people became somewhat fatigued with that. That’s not to say touchscreens aren’t a really useful interface, I think they are. But on the other hand, people seem to have a hunger for physical buttons, both because you don’t always have to look at them—you can feel your way around for them when you don’t want to directly pay attention to them—but also because they offer a greater range of tactility and feedback.

If you look at gamers playing video games, they want to push a lot of buttons on those controls. And if you look at DJs and digital musicians, they have endless amounts of buttons and joysticks and dials to make music. There seems to be this kind of richness of the tactile experience that’s afforded by pushing buttons. They’re not perfect for every situation, but I think increasingly, we’re realizing the merit that the interface offers.

What else is motivating the re-buttoning of consumer devices?

Plotnick: Maybe screen fatigue. We spend all our days and nights on these devices, scrolling or constantly flipping through pages and videos, and there’s something tiring about that. The button may be a way to almost de-technologize our everyday existence, to a certain extent. That’s not to say buttons don’t work with screens very nicely—they’re often partners. But in a way, it’s taking away the priority of vision as a sense, and recognizing that a screen isn’t always the best way to interact with something.

When I’m driving, it’s actually unsafe for my car to be operated in that way. It’s hard to generalize and say, buttons are always easy and good, and touchscreens are difficult and bad, or vice versa. Buttons tend to offer you a really limited range of possibilities in terms of what you can do. Maybe that simplicity of limiting our field of choices offers more safety in certain situations.

It also seems like there’s an accessibility issue when prioritizing vision in device interfaces, right?

Plotnick: The blind community had to fight for years to make touchscreens more accessible. It’s always been funny to me that we call them touchscreens. We think about them as a touch modality, but a touchscreen prioritizes the visual. Over the last few years, we’re seeing Alexa and Siri and a lot of these other voice-activated systems that are making things a little bit more auditory as a way to deal with that. But the touchscreen is oriented around visuality.

It sounds like, in general, having multiple interface options is the best way to move forward—not that touchscreens are going to become completely passé, just like the button never actually died.

Plotnick: I think that’s accurate. We see paradigm shifts over time with technologies, but for the most part, we often recycle old ideas. It’s striking that if we look at the 1800s, people were sending messages via telegraph about what the future would look like if we all had this dashboard of buttons at our command where we could communicate with anyone and shop for anything. And that’s essentially what our smartphones became. We still have this dashboard menu approach. I think it means carefully considering what the right interface is for each situation.

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Several companies have reached out to you to learn from your expertise. What do they want to know?

Plotnick: I think there is a hunger out there from companies designing buttons or consumer technologies to try to understand the history of how we used to do things, how we might bring that to bear on the present, and what the future looks like with these interfaces. I’ve had a number of interesting discussions with companies, including one that manufactures push-button interfaces. I had a conversation with them about medical devices like CT machines and X-ray machines, trying to imagine the easiest way to push a button in that situation, to save people time and improve the patient encounter.

I’ve also talked to people about what will make someone use a defibrillator or not. Even though it’s really simple to go up to these automatic machines, if you see someone going into cardiac arrest in a mall or out on the street, a lot of people are terrified to actually push the button that would get this machine started. We had a really fascinating discussion about why someone wouldn’t push a button, and what would it take to get them to feel okay about doing that.

In all of these cases, these are design questions, but they’re also social and cultural questions. I like the idea that people who are in the humanities studying these things from a long-term perspective can also speak to engineers trying to build these devices.

So these companies also want to know about the history of buttons?

Plotnick: I’ve had some fascinating conversations around history. We all want to learn what mistakes not to make and what worked well in the past. There’s often this narrative of progress, that things are only getting better with technology over time. But if we look at these lessons, I think we can see that sometimes things were simpler or better in a past moment, and sometimes they were harder. Often with new technologies, we think we’re completely reinventing the wheel. But maybe these concepts existed a long time ago, and we haven’t paid attention to that. There’s a lot to be learned from the past.

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In physical books, yellowing pages are usually a sign of age. But brand-new users of Amazon’s Kindle Colorsofts, the tech giant’s first color e-reader, are already noticing yellow hues appearing at the bottoms of their displays.

Since the complaints began the trickle in, Amazon has reportedly suspended shipments and announced that it is working to fix the issue. (As of publication of this article, the US $280 Kindle had an average 2.6 star rating on Amazon.) It’s not yet clear what is causing the discoloration. But while the issue is new—and unexpected—the technology is not, says Jason Heikenfeld, an IEEE Fellow and engineering professor at the University of Cincinnati. The Kindle Colorsoft, which became available on 30 October, uses “a very old approach,” says Heikenfeld, who previously worked to develop the ultimate e-paper technology. “It was the first approach everybody tried.”

Amazon’s e-reader uses reflective display technology developed by E Ink, a company that started in the 1990s as an MIT Media Lab spin off before developing its now-dominant electronic paper displays. E Ink is used in Kindles, as well as top e-readers from Kobo, reMarkable, Onyx, and more. E Ink first introduced Kaleido—the basis of the Colorsoft’s display—five years ago, though the road to full-color e-paper started well before.

How E-Readers Work

Monochromatic Kindles work by applying voltages to electrodes in the screen that bring black or white pigment to the top of each pixel. Those pixels then reflect ambient light, creating a paper-like display. To create a full-color display, companies like E Ink added an array of filters just above the ink. This approach didn’t work well at first because the filters lost too much light, making the displays dark and low resolution. But with a few adjustments, Kaleido was ready for consumer products in 2019. (Other approaches—like adding colored pigments to the ink—have been developed, but these come with their own drawbacks, including a higher price tag.)

Given this design, it initially seemed to Heikenfeld that the issue would have stemmed from the software, which determines the voltages applied to each electrode. This aligned with reports from some users that the issue appeared after a software update.

But industry analyst Ming-Chi Kuo suggested in a post on X that the issue is due to the e-reader’s hardware. Amazon switched the optically clear adhesive (OCA) used in the Colorsoft to a material that may not be so optically clear. In its announcement of the Colorsoft, the company boasted “custom formulated coatings” that would enhance the color display as one of the new e-reader’s innovations.

In terms of resolving the issue, Kuo’s post also stated that “While component suppliers have developed several hardware solutions, Amazon seems to be leaning toward a software-based fix.” Heikenfeld is not sure how a software fix would work, apart from blacking out the bottom of the screen.

Amazon did not reply to IEEE Spectrum’s request for comment. In an email to IEEE Spectrum, E Ink stated, “While we cannot comment on any individual partner or product, we are committed to supporting our partners in understanding and addressing any issues that arise.”

The Future of E-Readers

It took a long time for color Kindles to arrive, and the future of reflective e-reader displays isn’t likely to improve much, according to Heikenfeld. “I used to work a lot in this field, and it just really slowed down at some point, because it’s a tough nut to crack,” Heikenfeld says.

There are inherent limitations and inefficiencies to working with filter-based color displays that rely on ambient light, and there’s no Moore’s Law for these displays. Instead, their improvement is asymptotic—and we may already be close to the limit. Meanwhile, displays that emit light, like LCD and OLED, continue to improve. “An iPad does a pretty damn good job with battery life now,” says Heikenfeld.

At the same time, he believes there will always be a place for reflective displays, which remain a more natural experience for our eyes. “We live in a world of reflective color,” Heikenfeld says.

This is story was updated on 12 November 2024 to correct that Jason Heikenfeld is an IEEE Fellow.

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