"The 'worst product ever' has a lot to admire"

A screenless smartphone alternative powered by artificial intelligence, the Humane AI Pin was savaged by critics but designers should not make the mistake of dismissing it entirely, writes Abb-d Taiyo.

When the Humane AI Pin launched earlier this year it was branded one of the biggest tech fails of 2024. A smartphone with no screen, one expert called it "the worst product I've ever reviewed", citing its failure to complete basic functions such as making a phone call, playing a song or setting a timer when tested.

But barring its practical limitations, the concept behind the AI Pin was a brilliant exercise in design. It is a step in the right direction when it comes to personal technology being designed with user wellbeing in mind.

The idea behind it is something designers should be adopting

In a world where we are constantly drawn to our screens, the social responsibility of designers to facilitate healthier relationships with technology has never been more apparent. Digital design is centred around maintaining engagement, often in a bid to encourage sales or activity on channels. But good design, both user and product, should be transparent.

The Humane AI Pin can be linked to the concept of "invisible" design, which seamlessly supports users' goals without demanding unnecessary attention. While the AI Pin itself fell short of expectations, the idea behind it is something designers should be adopting in order to curb reliance on screens.

As defined by Charles Duhigg in his book The Power of Habit, at the core of every habit is a neurological loop that comprises three parts: cue, routine, reward. User-experience designers, for decades, have been designing products that can simplify these triggers.

Think of the push notifications that we're constantly bombarded with, or our innate need to document moments to put on social media. Stuck in the feedback loop of our screens, we lose track of space and time.

Designing products that aim to take us out of these deeply ingrained habits is no easy feat. Like feeding a child carrot sticks instead of candy, these products aren't meant for instant gratification. Rather, they are engineered to gradually wean us off our technology in the hope of finding some form of balance and moderation.

Posing a contradiction to the term "user engagement" and, ultimately, bottom lines, designing products like these is a risk. But, especially in the world of digital design, it can be a blessing if executed properly.

We're collectively leaning towards what the Humane AI Pin set out to achieve

The principles of invisible design, such as subtlety, empowerment and a decrease in cognitive load, are what excellent digital design should be about. Removing barriers between users and tasks, digital design should not be about keeping users absorbed by the algorithm's digital infinity mirror, but about simply ensuring that users get what they need out of a product as and when they need it.

There is a delicate balance to strike between innovation and accessibility when bringing a new product to market. Although the Humane AI Pin aimed to curb our screen addictions and remove the complications between user and task, there was a gap when it came to communicating its real purpose to the public.

Some might say that we don't want to be pulled from our screens. Many criticised its $700 price tag. But the AI Pin's failure could also be traced back to its ambition to introduce a new computing paradigm to a mass market that simply wasn't ready for it.

In an influencer/gig/platform economy, our lives are intertwined with our screens. If you make a living online (as around 16 per cent of Americans do) then why would you want a product that essentially erases that component of your existence?

The critics were correct; it was a product that came at too hefty a price for minimal features. But the philosophy behind it – simplifying our interaction with technology in a more intuitive way while encouraging less reliance on it – was a forward-thinking idea that ultimately failed in its execution.

When you look at forms of spatial computing, such as the Apple Vision Pro released earlier this year, you can see that we're collectively leaning towards what the Humane AI Pin set out to achieve. We crave technological interactions that feel like second nature, and we are tired of screens that feel like an extension of us when we are so connected to what they have to offer.

Efficiency and ease of use are the new black

But there is a huge opportunity for designers to learn from the Humane AI Pin's failure. Our relationship to our technology is ever-evolving, and so what was once a novelty (think of the beer-drinking app available on the first iPhone) is now an integral part of our daily lives, shaping how we work, communicate and even think.

Products no longer need to be overstimulating in order to be appealing, and what users want is a simple, seamless way to get their tasks done. The focus has shifted from flashy features to intuitive design that anticipates user needs. Efficiency and ease of use are the new black, as people gravitate toward technology that fits effortlessly into their routines rather than demanding constant attention.

One of the guiding principles of invisible design, and something that I practice day-to-day, is empowerment. For a product to stand out today it needs to empower users without overwhelming them, and good design is the driving catalyst behind this.

So, the "worst product ever" has a lot to admire. It left a lasting legacy for both digital and product designers.

As our relationship with technology morphs, under constant scrutiny, we increasingly rely on products to shape that interaction. The Humane AI Pin introduced a novel way of engaging with technology – one that prioritised human-centred interaction without compromising our sense of self. Its core principles should be a guiding light as we work towards the next venture.

Abb-d Taiyo is co-founder and chief creative officer at design and impact agency Driftime.

The photo is courtesy of Humane.

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