2024-03-28T14:03:42Z
https://zenodo.org/oai2d
oai:zenodo.org:2605639
2020-01-20T12:56:26Z
user-de06_2008
openaire
Farrugia, Philip J.
Borg, Jonathan C.
Grima, Charlon
Fenech, Oliver C.
2019-03-25
<p>Merging emotional value into products has become an essential strategy for increasing a product’s competitive edge in the consumer market. Indeed, this approach instills emotional value into products, to satisfy human emotional needs. Combined with this is the fact that designers usually work outside their design office using pen and paper, since ideas are usually stimulated. Yet, designers lack mobile computer-aided sketching (CAS) tools which truly link paper-based sketching with computer-based 3D modelling tools. As a step in this direction, this poster presents a framework that extends CAS technology to cameraphones. Furthermore, this framework is capable of providing emotional guidance about a form concept to satisfy the emotional needs of the customer, directly on cameraphones. A proof-of-concept tool has been implemented and evaluated. Preliminary evaluation results with design engineers in the cosmetic cases industry, indicate the positive impact that technology based on the framework developed will have on <em>DFe</em> in practice.</p>
https://doi.org/10.5281/zenodo.2605639
oai:zenodo.org:2605639
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605638
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
mobile design tools
design for emotion
computer-aided sketching
'Form Design For Emotion' with a Cameraphone Based Tool
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2582845
2020-01-20T17:37:09Z
user-de06_2008
Clatworthy, Simon
2019-03-04
<p>We live in a service economy and more than 70% of total value added in the OECD countries comes from<br>
services. In Norway, eight out of 10 new jobs are created within service industries and three out of four<br>
employees work in service provision. Services are not the same as products, yet we often find companies<br>
designing services using product-based methods with the result that the design of the user experience is not<br>
given the focus it deserves. This paper describes a method, AT-ONE, which is being developed to assist in<br>
the early stages of the service innovation process. Its focus is to design innovative and engaging service<br>
experiences, and at the same time, encourage design thinking in the organisation. The paper describes the<br>
background for the method, the method itself and first results from its use within several service providers.</p>
https://doi.org/10.5281/zenodo.2582845
oai:zenodo.org:2582845
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2582844
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Innovations in service experiences; the AT-ONE method
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588768
2020-01-20T17:24:41Z
user-de06_2008
Larsen, Mette Mark
2019-03-10
<p>Design affects us immensely in how we behave, think and feel. Yet it remains a challenge to make conscious design decisions in the development processes of products that reflect the responsibility we thus bear. Trying to illuminate aspects of how we through design interfere with end-users rational and emotional worlds and can deal with that challenge, I have become interested in the notion of values. In this paper I will use three kitchen design cases to explore the notion of end-user values for design practice. The experience from these cases is conferred with literature from marketing and a user-centered and interaction design perspective. To make fundamental distinctions, I take a cross-disciplinary stance, which draws on a social constructionist rather than a business perspective, yet acknowledges advantages of the latter. I exemplify the discrepancies between value, as <em>e-value</em>-ation of design and discovering family and kitchen life values through user involvement in a mixed-methods approach, which was employed in the main design case discusses here, the prototyping project. Bringing back the focus from process to design outcome and effect, I address two small design cases of redesigning the microwave oven. I finally propose the <em>values-in-action</em> notion to bridge disciplinary cultures and help take conscious design decisions.</p>
https://doi.org/10.5281/zenodo.2588768
oai:zenodo.org:2588768
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588767
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Values
context
interaction
Designing for body, mind and context. Values-in-action to bridge design and business.
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2593773
2020-01-20T12:56:49Z
user-de06_2008
Reisinger, Markus
2019-03-14
<p>This paper describes the potential of light to change the perceived atmosphere of bathrooms. It describes how to create light effects in a spatial setting. A test bathroom was designed and built for the purpose of conveying light expressions and exuding fascination for combined sensorial experience of light and water. In it, a wide range of luminous environments can be created by orchestrating various embedded lighting solutions. For this purpose light was integrated in furniture, bathroom elements such as the bathtub and architectural elements such as walls. The design process followed was characterized by a user-centered approach. Future consumers have therein a prominent role to play, especially during the analysis and evaluation phase. The relationship between visual ambience, key light qualities and perceived atmosphere was studied in the bathroom that was built.</p>
https://doi.org/10.5281/zenodo.2593773
oai:zenodo.org:2593773
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2593772
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Bathroom
Experience design
Atmosphere lighting
Bathroom moments – light and water as intimate experiences
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2593745
2020-01-20T13:44:13Z
user-de06_2008
Lai, Mei Kei
2019-03-14
<p>The aim of this paper is to discuss the role of scents in interaction design. Scent-output is not an innovative idea in the digital world. From Sensorama (Heilig 1962) to iSmells (DigiScents 2000), people attempt to provide olfactory sensation to enhance user emotional experiences. However, most of them only caught the attention from the media at the beginning, but hardly lasted long in their era. Is it a dream or a gimmick? Do people enjoy having smells with computers? To what extend and in which context can computer-controlled scent output be designed properly? Problems arising from the nature of odour, olfactory technology, and context usages are discussed. Gameplay is used as the template to analysis the challenges and feasibility of using scents to elicit emotions in interactive media. This paper suggests that the problems above could be turned into the features of gameplay. An olfactory game is presented to illustrate the idea.</p>
https://doi.org/10.5281/zenodo.2593745
oai:zenodo.org:2593745
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2593744
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
olfactory
interaction
gameplay
Angel or Devil? – The role of scents in interaction and emotion design
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596179
2020-01-20T12:56:19Z
user-de06_2008
Cila, Nazli
Erbug, Çigdem
2019-03-16
<p>‘Fun experience’ is a component of user experience (UX) which has come to increased prominence in recent years. However, despite the research efforts, still there isn’t any comprehensively constituted framework in the literature to explain what fun actually is. Therefore, this paper aims to reveal the dimensions of users’ fun experiences by conducting two empirical studies. The first study examines the product qualities that play a role in fun experiences. The results were found to be categorized under three subject headings: tangible qualities, pragmatic qualities and hedonic qualities. The second study investigates the emotional content of the fun experiences, whose results indicated that the emotions of happiness/joy, contentment, interest and amusement are elicited most intensely throughout the experience. Studying the reasons behind the elicitation of these particular emotions revealed several fun- related product qualities, and also the high relevance of amusement and humor with users’ fun experiences.</p>
https://doi.org/10.5281/zenodo.2596179
oai:zenodo.org:2596179
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596178
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
fun
fun-related products
designing for fun
The Dimensions of Users' Fun Experiences with Consumer Products
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596195
2020-01-20T14:12:47Z
user-de06_2008
Radzikowska, Milena
Derbyshire, Patricia M.
McNicol, Barbara
Irish, Chris
Bouchard, Matt
Quinlan, Jacob
Ruecker, Stan
2019-03-16
<p>Online public information systems for the management of natural heritage parks pose a number of interesting design challenges, in the sense that the emotional responses of the two primary stakeholder groups – park visitors and park managers – are not necessarily congruent with one another. On the one hand, both managers and visitors need to know what is going on in the park, since conflicting activities by different groups could pose hazards, and interactions between animals and humans need to be kept under control. On the other hand, as Appleton (1976) points out, hazard is attractive to people, and knowing where to find it may result in increased numbers of parks users taking risks that are contrary to the intentions of the parks managers.</p>
<p>In this paper, we discuss the iterative design of an online geographic information system (GIS) called UMa. The goal of the system is to minimize negative emotional triggers common to</p>
<p>interactions on the natural landscape and to encourage sustainable decision making by providing potential park visitor groups with frequently updated data on park usage, including wildlife/animal movement patterns.</p>
<p>Of particular concern for park managers is park use by school teachers and students, since encounters between school groups and the ecosystem, and school groups and other visitors carry a high-risk potential. For example, periodic permissions are issued to hunters so that they can enter a park and cull overpopulated herds. Knowing where the hunters are is important, since risk is increased if the same area is being occupied, for instance, by a school outing. In this case, providing information directly may be the best course, since teachers will not intentionally seek out risk for their students.</p>
<p>Wildlife and people, however, are a different situation; bears are a good example of a case where risks can be introduced by the information system. In an earlier design, the system would show a small icon of a moving bear, placed precisely on the map. The problem is that some parks visitors are attracted to bears, whether in ignorance of the possible danger or because of it. The result was that rather than warning people from the area, the information was an attraction.</p>
<p>With the first implemented version of UMa we are working with park managers and primary school educators to explore two hypotheses. Our primary hypothesis is that by designing a useful and appropriate on-line park management system, we can encourage visitors to make sustainable decisions regarding their park visit – decisions that will minimize certain negative impacts on the park and each other, resulting in positive experiences for the visitors. Our secondary hypothesis is that in order to mediate emotional triggers for different park visitor groups we will need to present information at varying levels of granularity. As the system addresses the needs of hunters, for example, we will have to reconsider how abstract and opaque we make the system's information design.</p>
https://doi.org/10.5281/zenodo.2596195
oai:zenodo.org:2596195
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596194
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Computer-human interaction
User-centred interface design
Emotion
There's a Grizzly Bear in Sector 7: Emotional triggers in an online GIS-based information system for management and safety of natural heritage parks in Canada
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596153
2020-01-20T12:56:28Z
user-de06_2008
Laurans, Gaël
Desmet, Pieter
2019-03-16
<p>After briefly highlighting some issues and questions in cross-cultural research about emotion, this article provides a review of some the tools available to measure feelings in different languages. The development of a Dutch translation of a new instrument, the Geneva Emotion Wheel (Scherer, 2005) is described with a study of its usefulness in a design context. Participants (N = 40) used two products and were asked to report about their feelings using the Geneva Emotion Wheel and PrEmo. (Desmet, 2003). Both measurement tools yielded similar results and were able to show differences in user experience between the products.</p>
https://doi.org/10.5281/zenodo.2596153
oai:zenodo.org:2596153
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596152
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
culture
measurement
Geneva Emotion Wheel
PrEmo
Speaking in tongues – Assessing user experience in a global economy
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596197
2020-01-20T14:13:53Z
user-de06_2008
Hsieh, Hui Yueh
Durling, David
Coulson, Mark
2019-03-16
<p>The primary aim of this study was to determine whether there are differences in emotional responses between designers and users when interpreting visual messages about health risks. Six graphic warnings for cigarette packets will be introduced in Taiwan to increase public awareness of health risks associated with smoking, and these formed the materials for this study. Emotional responses elicited by these graphic warnings in both designers and users were measured using a Chinese translation of the abbreviated PAD Emotion Scales. The results suggest there are differences between the emotional responses of designers and users. A significant difference was found on the Arousal scale, with users scoring higher. In addition, differences between the groups were observed in 5 out of 12 individual items, and there were some effects of participant sex.</p>
https://doi.org/10.5281/zenodo.2596197
oai:zenodo.org:2596197
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596196
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
emotional design
visual communication design
risk
The Role of Emotion in Visual Communication of Risk – Differences Between Designers and Users
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596169
2020-01-20T12:56:48Z
user-de06_2008
López, Víctor
González, David
Eitzinger, Christian
Thumfart, Stefan
Henson, Brian
2019-03-16
<p>Textures are widely present in our daily life. In the last years many researchers have focused their efforts on the study of tactile texture perception as a result of their expanding interest in the fields of psychophysics (LaMotte, Srinivasan, 1991), neuroscience (Connor, Johnson, 1992), and computational modeling (Lederman, Klatzky, Tong, Hamilton, 2006). This increasing interest is partly because of the many applications where tactile sense could play a crucial role as, for example, product design (Henson, Barnes, Livesey, Childs, Ewart, 2006).<br>
Despite the wide use of haptic textures there is a lack of scientific studies on the emotional qualities and expectations associated with specific textures. In order to fill that gap, a new project, financially supported by the European Commission, aims at providing methods and a theory to objectively measure, model, and predict psychological effects emerging from the touch of textures.<br>
In this article, the main guidelines of the project aimed to the synthesis of haptic textures specified to evoke certain feelings and expectations are presented.</p>
https://doi.org/10.5281/zenodo.2596169
oai:zenodo.org:2596169
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596168
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
haptic
synthesis
modeling
Synthesis of Haptic Textures Transmitting Predetermined Feelings and Emotions
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596114
2020-01-20T14:36:06Z
user-de06_2008
Wei, Carolyn
2019-03-16
<p>This paper reports on a field study of mobile phone use in romantic relationships. This multi- method study included a questionnaire, interview, mobile phone use diary, and participant observation. The 20 participants, aged 18-30, were sampled primarily from a 24-hour technology support centre in Bangalore, India. We found that many of the participants depended on their mobile phones to facilitate connections with loved ones from whom they were separated geographically or culturally. Consequently, participants developed mobile phone behaviours that simulated face-to-face habits such as waking loved ones up or saying goodnight at bedtime. The findings suggest that the mobile phone is an emotional tool for nurturing romantic relationships and supporting users’ desires to occupy multiple symbolic spaces. Results are interpreted through the theoretical lens of hybridity and cyborgs, a framework that explains how mobile phone use is imbued with emotion and how users develop new lifestyles and connections with their phones.</p>
https://doi.org/10.5281/zenodo.2596114
oai:zenodo.org:2596114
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596113
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
mobile phone
digitally developing spaces
relationships
technology and society
"It's our only connection": Mobile phones and romantic relationships in India
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2593771
2020-01-20T14:16:37Z
user-de06_2008
Karana, Elvin
Hekkert, Paul
2019-03-14
<p>Products convey meanings. A kettle may look sober or a tea cup may strike one as traditional or nostalgic. Various factors can play a role in this meaning construction, such as shape, color, use or user characteristics. In our research, we concentrate on the materials of products. A product may be attributed different meanings through the material it is made of. Simultaneously, a particular material may get different meanings in different products. How a material is evaluated and what kinds of meanings it expresses may have a strong influence on people’s appraisals of products. Therefore, understanding materials and how they get their meanings will provide a valuable contribution to the design domain. In this particular study, we aim to find the key variables in meaning attribution to materials. The study consists of three joined studies with three different groups and a thorough assessment of 75 products and their materials. The results of the study are used to build a model covering the key variables that jointly contribute to a material’s meaning.</p>
https://doi.org/10.5281/zenodo.2593771
oai:zenodo.org:2593771
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2593770
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
expressive characteristics
meanings
materials
materials experience
Attributing meanings to materials
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596084
2020-01-20T14:02:40Z
user-de06_2008
Levy, Pierre
Nakamori, Shiho
Yamanaka, Toshimasa
2019-03-16
<p>Within the last thirty years, Kansei studies have become an important field of research in Japan. More recently, foreign researchers have become more and more interested in understating the approach, despite the difficulties related to the cultural dimension of Kansei and Kansei studies. The aim of this research is to propose to westerners a clear description of what Kansei and Kansei studies are, and how it is different from classic western approaches on sensory or emotion design. Using this description of Kansei studies, a brainstorming has been organized to determine a list of keywords (KSK) used to structure and map comprehensively Kansei-related source of information. Moreover, a participative tool, called KanseiTako, is introduced. This tool aims at providing researchers, educators, and students, with an organized and useful set of knowledge sources to structure comprehensively the research field and the education in Kansei studies. </p>
https://doi.org/10.5281/zenodo.2596084
oai:zenodo.org:2596084
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596083
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Kansei
KanseiTako
Japanese mind
Education
Explaining Kansei Design Studies
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596023
2020-01-20T12:56:43Z
user-de06_2008
Farrugia, Philip J.
Borg, Jonathan C.
Grima, Charlon
Fenech, Oliver C.
2019-03-16
<p>Merging emotional value into products has become an essential strategy for increasing a product’s competitive edge in the consumer market. Indeed, this approach instills emotional value into products, to satisfy human emotional needs. Combined with this is the fact that designers usually work outside their design office using pen and paper, since ideas are usually stimulated. Yet, designers lack mobile computer-aided sketching (CAS) tools which truly link paper-based sketching with computer-based 3D modelling tools. As a step in this direction, this poster presents a framework that extends CAS technology to cameraphones. Furthermore, this framework is capable of providing emotional guidance about a form concept to satisfy the emotional needs of the customer, directly on cameraphones. A proof-of-concept tool has been implemented and evaluated. Preliminary evaluation results with design engineers in the cosmetic cases industry, indicate the positive impact that technology based on the framework developed will have on <em>DFe </em>in practice.</p>
https://doi.org/10.5281/zenodo.2596023
oai:zenodo.org:2596023
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596022
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
mobile design tools
design for emotion
computer-aided sketching
'Form Design For Emotion' with a Cameraphone Based Tool
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2605637
2020-01-20T13:35:12Z
user-de06_2008
openaire
Brandt, Stephanie
2019-03-25
<p>The proposed project draws on habit, format, literature and space in order to construct an experimental representational system engaging with design and emotions.<br>
Photography and text are utilised to provide descriptive accounts of actions through space and time, exposing the tenuous boundaries between somebody’s life and the lived through environment. Devised through a series of dialogues the study explores the material and contextual structure of issues of habit and architecture.</p>
<p>Trying to pervade and redefine each individual’s own daily routines and common perceptions the conversations are aiming towards both, an emotional and explanatory experience of our environment.</p>
<p>How is space structured? By physical architectural elements such as walls or by words that describe the quality and matter of space?</p>
<p>While both methods are understood as equally valid, this work chooses especially to explore how the re-contextualisation of words can lead to the development of new spatial qualities and emotional responses.</p>
<p>How does this new identity make the design different from how it is historically conceived, traditionally understood and most important, conventionally used? - The aim is to structure a new imaginary scene, transforming an ordinary urban space into a sensory narrative environment, and as such conveying the [e]motions of the human subjects of the place.</p>
https://doi.org/10.5281/zenodo.2605637
oai:zenodo.org:2605637
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605636
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Place
Writing and Architecture
Conversation Pieces [Case Study B]
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2605653
2020-01-20T15:39:16Z
user-de06_2008
openaire
Lu, Li-Shu
Guan, Shing-Sheng
Chang, Wen-Shan
2019-03-25
<p>This study was aim to examine the cognitive progress of graphic design involved in concept development. The results show that: (1) Cognitive progress can be observed from the design thinking and drawing patterns that emerge in designing works. The thinking activity was distinguished into general, experiential and evaluating thoughts, whereas drawing activity was categorized into graphic drawing and word description. (2) On the whole, more time was spent on general thought, less on experiential thought, and the least on evaluating thought. (3) There were three stages of concept development. General thought occurs more frequent in the initial stage while picture sketch takes place more frequent in the middle and final stages. In the other words, the process of the concept development was filled up via the concepts formed at first stage and translated into idea sketches at the next two stages.</p>
https://doi.org/10.5281/zenodo.2605653
oai:zenodo.org:2605653
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605652
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Design Concept
Design Cognition
Protocol analysis
A Study on the Design Thinking and Drawing of the Concept Development
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2596033
2020-01-20T16:06:47Z
user-de06_2008
van Waart, Peter
Kunst, Machiel
Mulder, Ingrid
2019-03-16
<p>This article describes a new educational model on design for emotion in the landscape of Dutch design institutes. The proposed method enhances the emotional literacy of students as a key professional competency - it teaches them to design for emotions. The underlying assumption is that to design for emotions, one should be able to understand and control his own emotions. This model has been applied in the minor Experience Branding (n=37). Students’ experiences are reported and reflected upon. Our results show valuable insights. However, we ask to what extent these effects are dependent on mentality of Dutch people.</p>
https://doi.org/10.5281/zenodo.2596033
oai:zenodo.org:2596033
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596032
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Dutch design education
design for emotions
emotional literacy
Dutch Design Education: A new approach to design for emotions
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596031
2020-01-20T16:49:16Z
user-de06_2008
Lacey, Emma
2019-03-16
<p>This study responds to a perceived standardisation in design, which can be seen to result from mass-production, in a global market: It is concerned that product anonymity is contributing to a de-valuing of objects and thus a ‘throwaway’ culture. The paper argues that ceramic tableware can appeal to our emotional values and make suggestions for how an analysis of this can inform the design of emotionally durable ceramic objects. Coming from a background in Craft, the author’s research was conducted as live professional practice, aiming to contextualize and find relevant production methods for new industrial designs.</p>
<p>The paper begins by discussing the impact that globalisation is having on the ceramic market, and offers emotional design as a relevant discourse to counteract fast moving trends and production. A theoretical base is offered using Donald Norman (2005), and Jonathan Chapman’s (2005) theories of emotional design. These are then measured against the author’s ethnographic research, to demonstrate the emotive capabilities of the teacup or mug.</p>
<p>The paper goes on to explore existing examples of emotional design within an industrial context. It looks at how heritage, craft skills and user input can contribute to the design and production of ceramics, which are valued beyond their monetary cost. The author’s on-site factory visits, and interviews with production managers and designers, contribute to the argument that industrial ceramics can offer opportunities for emotional design.</p>
<p>Following this, new design concepts for emotionally durable ceramics, are offered: Three objects, designed and produced by the author, which are intended to be appreciated over time, are presented and the audience is invited to interact and feedback.</p>
<p>The paper concludes that, a consideration of the user’s emotional, tactile and social experiences with objects, could contribute to the design of ‘fewer better things’ (Maeir-Aichen 2007). It</p>
<p>presents the notion that integrating individuality and uniqueness, into contemporary ceramic design, will encourage the user to choose and use objects, which they will value, long-term.</p>
<p>The Project was supported and funded by the Arts and Humanities Research Council.</p>
https://doi.org/10.5281/zenodo.2596031
oai:zenodo.org:2596031
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596030
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
ceramics
value
experience
emotional design
Does ceramic tableware offer opportunities for emotional design?
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596160
2020-01-20T14:10:48Z
user-de06_2008
Kim, Sook Yeon
Zimmerman, John
2019-03-16
<p>"Look! Our baby is taking her first steps!" Parents with a newborn baby are enthusiastic about recording every “moment” of their baby's development: when they first roll over, the first words of babbling, the first steps, the first cold, the first solid food, etc. Recording with video is one of the best ways to capture the vivid moments of a baby's growth. Parents have a desire to document these moments so that they and the baby might reminisce in the future; in addition, they also want to share their baby’s amazing moment with family. The new parents’ parents and siblings also have a desire to see and get to know this new family member. This desire that parents have to share and the extended family’s wish to consume video moments supports the construction of family and creates a sense of togetherness for extended families, particularly those who live far apart. We see this desire as an opportunity for new products and services that help families embrace their newest members through electronic sharing.</p>
<p>We initiated a user-centered design project to investigate the opportunities to support the new parents and their sibling for better sharing and access to baby videos. To meet their desire of sharing baby videos, we have designed “BaVio” – a new video platform that integrated into the mobile, web and TV system providing better access to their baby videos at home and outdoors. A BaVio service provides reliable web space for parents to upload videos and distribute to the registered families. Also supporting TV system to watch and create comments especially for the new parents’ parents. This design solution will support them to enrich the emotional connection and togetherness with the newest members by convenient sharing, commenting and accessing to videos.</p>
https://doi.org/10.5281/zenodo.2596160
oai:zenodo.org:2596160
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596159
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Baby Video
Video sharing
Human-centered design
Supporting New Parents In Their Desire to Share Baby's Life
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596019
2020-01-20T12:56:46Z
user-de06_2008
Jenkins, Sean
Brown, Raymond
Rutterford, Neil
2019-03-16
<p>This paper reports on work undertaken to establish the efficacy of Infrared Thermography (IRT) as an accurate, non-contact measurement tool for studying user experience during product interaction. IRT was compared with two other established methods of measuring changes of emotional state; Electroencephalogram (EEG) and Affective Self Report (ASR). Sixteen male undergraduate designers were given a cognitive task whilst simultaneous IRT and EEG measurements were made. ASR measures of Arousal and Valence were recorded along with an additional post test scale for Task Engagement. Using the Pearson product-moment correlation, a strong positive association was established between changes in forehead temperature and changes in total EEG activity between baseline and test condition. A negative correlation was established between EEG and some dimensions of affect. No correlation was observed between IRT and ASR measures for the sample, however, individual differences observed suggest that temperature dynamics may be associated with the intensity of affective state change.</p>
https://doi.org/10.5281/zenodo.2596019
oai:zenodo.org:2596019
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596018
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Infrared Thermography
Affective State
Product Interaction
Comparison of thermographic, EEG and subjective measures of affective experience of designed stimuli.
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588744
2020-01-20T12:07:41Z
user-de06_2008
Jantzen, Christian
Vetner, Mikael
2019-03-09
<p>How can urban designers develop an emotionally satisfying environment not only for today’s users but also for coming generations? Which devices can they use to elicit interesting and relevant urban experiences? This paper attempts to answer these questions by analyzing the design of Zuidas, a new city centre emerging in the outskirts of Amsterdam. This ambitious project of developing a new international city centre has been carefully planned not only in respect to traditional urban planning aspects such as infrastructure, environmental factors and aesthetics, but also in order to generate genuine relevant and interesting urban experiences.</p>
<p>The overarching purpose of this paper is to introduce a general model of the psychological structure of experiences and to illustrate how this model can be used in construing and analyzing emotional design.</p>
https://doi.org/10.5281/zenodo.2588744
oai:zenodo.org:2588744
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588743
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Urban experiences
the structure of experiences
emotional design
Modelling Urban Experiences Zuidas, Amsterdam
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2592558
2020-01-20T14:37:37Z
user-de06_2008
Jonson, Ben
2019-03-13
<p>This paper looks at the role emotion plays in design education and the studio experience in particular, from both a practical and theoretical perspective, at a time when design is migrating to the university environment. It draws from the author’s experience of studio teaching and pedagogic research across a broad spectrum of design domains, and shows how emotion is embedded in the studio experience. It highlights the personal relationship design students have with their subject, and argues that emotional communication is critical to teacher-student interaction and learning outcomes. It compares the studio model with the lecture model and suggests that university-based design needs to raise emotional awareness in higher education discussions.</p>
https://doi.org/10.5281/zenodo.2592558
oai:zenodo.org:2592558
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2592557
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
emotional communication
learning styles
studio experience
Communicating Emotion in Design: The studio experience
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588753
2020-01-20T12:07:57Z
user-de06_2008
Fenko, Anna
Schifferstein, Hendrik N.J.
Hekkert, Paul
2019-03-09
<p>Designers can manipulate physical properties of a product: they can change its colour, texture and smell. But can we also predict people’s product experiences such as ‘freshness’ and ‘warmth’? We collected 10 smells and 10 colours for freshness, and 10 textures and 10 colours for warmth. Participants evaluated the freshness of 20 stimuli for a softdrink and a dishwashing liquid, and the warmth of 20 stimuli for a scarf and a tray. The results showed that sensory experiences (freshness and warmth) include affective components (pleasantness and comfort) and depend on the product. Our findings imply that ‘freshness’ and ‘warmth’ are complex product experiences that integrate sensory, affective, and semantic components. To predict users’ reactions to products we need to take into account all three components of these experiences.</p>
https://doi.org/10.5281/zenodo.2588753
oai:zenodo.org:2588753
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588752
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
sensory product experience
freshness
warmth
Factors contributing to product experience: The cases of 'warmth' and 'freshness'
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588751
2020-01-20T12:50:48Z
user-de06_2008
Markussen, Thomas
2019-03-09
<p>By applying Gilles Fauconnier & Mark Turner’s theory of <em>conceptual blending</em> to a design case I demonstrate how experiencing emotional qualities in technology design may influence the way users cognitively reconstruct standard expectations of use. In so doing, I expand the dominating cognitive theory of emotion in design in three central respects: (i) the understanding of mixed emotions is deepened; (ii) a more detailed explanation is given of the specific operations involved in appraisal processes grounded in embodied interaction; (iii) a structural model is proposed for mapping the constitutive role that mixed emotions play in product usage and interaction.</p>
https://doi.org/10.5281/zenodo.2588751
oai:zenodo.org:2588751
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588750
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
User Experience
Emotional Robots
Cognitive Semiotics
Appraisal Theories of Emotion
Bloody robots as emotional design. How emotional structures may change expectations of technology use in hospitals
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596107
2020-01-20T12:56:37Z
user-de06_2008
Lishan, Xue
Chiuan, Yen Ching
2019-03-16
<p>This paper introduces a Female-focused Design Strategy (FDS) for the design of female- focused healthcare devices targeted at women within the self-care context. Literature review and a mixed methodology of quantitative and qualitative survey studies were conducted and analysed to gather primary information about women’s needs, perception and acceptance level towards the design, use, and interaction of such products. The FDS comprises of attributes to convey a personal and special meaning over and above the product’s utilitarian meaning with the aim of stimulating prolong product attachment. It should create different unique product characters which may encourage medical adherence of users and can be applied in any phase of a new product development (NPD) process. It is hypothesized that a designer who can define such areas for future healthcare interfaces can use them to ‘get a grip’ on the commercial success and viability of his or her healthcare product design.</p>
https://doi.org/10.5281/zenodo.2596107
oai:zenodo.org:2596107
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596106
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
design strategy
female user-product attributes
interdisciplinary contribution
Introducing a Female-Focused Design Strategy (FDS) for Future Healthcare Design
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596116
2020-01-20T12:56:30Z
user-de06_2008
Carpenter, Vanessa
Høbye, Mads
2019-03-16
<p>In an effort to facilitate contact between people at a night club, we created a need for people to communicate: to clarify a confusing situation. This article explains how we developed a prototype for a restroom gender sign switcher, which operated both automatically and as a result of human interaction and input. We explore aspects of communication, question social norms, and explore how critical design can be used to change the dynamic of communication in the context of a night club.</p>
https://doi.org/10.5281/zenodo.2596116
oai:zenodo.org:2596116
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596115
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Critical Design
Ladies and mens room mixup
social norms
Ladies and men's room mixup: A critical design perspective on social norms at a clubbing environment
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596088
2020-01-20T14:02:52Z
user-de06_2008
Chen, Ju-Yuan
Liao, Carol
2019-03-16
<p>The messages of advertisement are ubiquitous, its images and words are like air that filled in every corner of our living environment. Advertisement and our living are interrelated, because the culture and features of one nation can be understood by the presentation of advertisement. The visual effect of advertisement is presented in various ways. Due to the impact of Digital Technology, the concept of interactive design and multi-creativity, the visual arts in advertisement billboard will be creating much more surprising possibilities.</p>
<p>Unidirectional advertisement that tried to communicate message in persuasive manner is no long effective in these recent years and advertisement that develops two-way communication is what most needed at this point. As the era of digitalization is approaching, “interactive” technology is indispensable; however, the interactive advertisement in public occasions is still at its initial stage, there are merely a few successful cases. What kind of effect can be produced by Interactive billboard at public occasions? How is its content and message presented and communicated? These are the issues and questions that are worth exploring and studying.</p>
<p>The interactive feature that digital technology brings provide traditional billboard with distinctive “game” feature. It manipulates curiosity, which is a trait in human nature, and allows audience to have a deep understanding on product presented. From interactivity to game, it becomes the main element that enhances the efficacy of advertisement marketing. Currently, advertisement billboards in Taiwan are mainly printed in 2-dimension format, interactive billboard is rarely seen. When reviewed Taiwan traditional cases, most of them are considered as creation of interactive devices, and in foreign countries, gradually there is more interactive design used on the billboards. Therefore, the purpose of this research study is to explore and discuss the design and interactive modes of interactive billboard in advertisement; understand the process of designing interactive billboard; and evaluate the efficacy of interactive billboard.</p>
https://doi.org/10.5281/zenodo.2596088
oai:zenodo.org:2596088
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596087
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
interactive billboard
interactive design
human computer interactive design
Exploring the Human Computer Interactive Design--- Interactive Billboard
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596129
2020-01-20T17:27:05Z
user-de06_2008
Hassanein, Walid
Kaliouby, Rana el
2019-03-16
<p>This paper presents the notion of slow, long-term design to augment a toy's ability to capture and replay memories with its owner, and describes a framework for prototyping, implementing and testing this concept. Using a wide range of embedded sensors such as cameras and accelerometers, <em>Mementoys</em> capture information about when, where and how they are being used, as well as the state of the owner and then recount their stories many years later. We experiment with different materials, especially those with good patina such as leather and textiles, as they provide the best visual indication of age. Designing a toy for a much longer life span creates incredible opportunities for connecting pieces of one's life as well as connecting one's life within that of a generation.</p>
https://doi.org/10.5281/zenodo.2596129
oai:zenodo.org:2596129
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596128
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Toys
Autobiographical memory
Children
Slow design
Mementoys – A memory capturing and storytelling toy
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596133
2020-01-20T16:27:39Z
user-de06_2008
Sonneveld, Marieke H.
Ludden, Geke D.S.
Schifferstein, Hendrik N.J.
2019-03-16
<p>Sensory impressions obtained through hearing, seeing, touching, tasting, and smelling all contribute to the way in which people experience their surrounding environment. However, in many designed products, not all sensory aspects contribute to the same, coherent product expression. To train our students in this multisensory design approach, we developed a course that aims to develop the students’ awareness and sensitivity for the different sensory modalities and to develop their skills to design objects for which all senses contribute to the same expression. First of all, students gather sensory stimuli for four modalities (vision, touch, audition, and olfaction) that seem to fit best with the desired expression. This helps to develop ideas about the different ways in which an experience can manifest itself sensorially. Subsequently, the students design a product for a predetermined usage context, on the basis of a detailed scenario of the human- product interaction and by constructing exploratory, physical ‘models’ that stimulate multiple modalities.</p>
https://doi.org/10.5281/zenodo.2596133
oai:zenodo.org:2596133
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596132
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
design for the senses
multisensory design
design for experience
Multi Sensory Design in Education
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596025
2020-01-20T13:34:32Z
user-de06_2008
Russell, Keith
2019-03-16
<p>Fanservice is the random and gratuitous display of a series of anticipated gestures common in Japanese comics (Manga) and animated cartoons (Anime). Fanservice gestures include such things as panty shots, and glimpses of breast.</p>
<p>These vagrant moments of libidinous possibility underwrite the anticipation of sensual fulfilment; they indicate the genuine access of the personal aesthetic experience to a realm and/or moment of reality in which the physical and the imaginative are co-extensive. The connection between the eye and desire is re-established in defiance of the general requirement in society to deny the glimpse.</p>
<p>This paper will explore ways of looking revealed in Anime and Manga, in relation to the desire and lust for objects. How much of this special seeing can be universalized in terms of design? How might this way of seeing be used to extend our understanding of personal aesthetic engagement with objects?</p>
https://doi.org/10.5281/zenodo.2596025
oai:zenodo.org:2596025
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596024
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Manga
Anime
Glimpse
Branding
Fanservice
Desire
Lust
Gaze
Winnicott
Desire, Lust and the Glimpse of Manga and Anime
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2593765
2020-01-20T12:56:35Z
user-de06_2008
Ju, Wendy
Takayama, Leila
2019-03-14
<p>Automatic doors exemplify the challenges of designing emotionally welcoming interactive systems. We attempt to broaden the automatic door’s repertoire of signals by examining how people respond to a variety of “door gestures” designed to offer different levels of approachability. In a pilot study, participants (N=48) who walked past a physical gesturing door were asked to fill out a questionnaire about that experience. In our follow-up study, participants (N=51) viewed 12 video clips depicting a person walking toward and past an automatic door that moved with different speeds and trajectories. In both studies, our Likert-scale measures and open-ended responses indicate that participants viewing the door behavior prototypes show significant uniformity in the interpretation of the door’s behavior, and that they attribute these motions as gestures with human-like characteristics such as cognition and intent.</p>
https://doi.org/10.5281/zenodo.2593765
oai:zenodo.org:2593765
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2593764
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
gestures
movement
emotion
welcome
Approachability: How People Interpret Automatic Door Movement as Gesture
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596086
2020-01-20T14:52:14Z
user-de06_2008
Adank, Rodney
Warell, Anders
2019-03-16
<p>The fundamental first stage of product interaction is through sensory perception, which generates cognitive and affective experiences. Product perception through sensory feedback is a major component in the end user product appraisal that precedes the elicitation of product emotion. Sensory evaluation is connected to a set of concepts including <em>appraisal, concern</em> and goal oriented <em>objective</em>. The interplay between <em>stimulus </em>(in this case from sensory feedback) and <em>product concern,</em> which forms the basis for product appraisal, is key to understanding how design effort can affect the end user’s product perception.</p>
<p>This research investigates the contribution that sensory information can make to the design process using a technique, <em>Experience Continuum Sampling </em>to explore the connection between sensory perception, appraisal and concern due to product interaction. This approach provides specific information related to product features experienced through sensory stimuli. The designer can weight sensory information and direct activity to optimise product design.</p>
https://doi.org/10.5281/zenodo.2596086
oai:zenodo.org:2596086
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596085
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
technique
appraisal
concern
stimulus
five senses
evaluation
assessment
product design
experience
senses
Exploring sensory perception, appraisal and concern: An approach to support design activity
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2605634
2020-01-20T15:21:23Z
user-de06_2008
openaire
Chan, Peter Kwok
Lai, Michael
2019-03-25
<p>This poster presents a case study of a brand design course from a co-teaching experience<br>
of a design educator and a brand practitioner. Undergraduate design seniors in a Visual Communication Design program were introduced to principles and case examples of branding. During the first half of the course, project teams focused on the discovery and identification of design opportunities. In the second half of the course, each student explored and developed his/ her own brand design concept, resulting in a strategic and creative packaging design application.</p>
<p>The exercises inspired students not only to approach a design project as an aesthetic and emotional expression but also to look to branding in a broader sense as a process for fostering innovation, unity, relevance, and clarity rather than a narrow view of persuasion, seduction, and consumption.</p>
https://doi.org/10.5281/zenodo.2605634
oai:zenodo.org:2605634
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605633
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Brand Design
Packaging Design
Design Education
Brand and Packaging Design: A Design Education Case Study
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2605643
2020-01-20T15:38:27Z
user-de06_2008
openaire
Wan, Bruce
2019-03-25
<p>The Shortage of Donors for Organ Transplant is severe in Hong Kong. This paper envisions a potential resolution of this critical issue by implementing a sustainable social design strategy based on human affects of empathy and sympathy. As a matter-of-fact, many studies have been done on measuring attitudes and commitment to organ donation while other studies focused on the promotion of the organ donor card. Those surveys pointed out a discrepancy between positive attitude and low commitment rate to donation. This paper is to make a case for a new Organ Donation scheme which embraces emotional, functional and spiritual needs of both patients and potential donors. The scheme involves collaborative networks and interpersonal channels of communication. It results in a viral marketing strategy which involves empathy and sympathy as stimuli of the altruistic behaviors.</p>
https://doi.org/10.5281/zenodo.2605643
oai:zenodo.org:2605643
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605642
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Altruism
Empathy
Organ donation
Societal design strategy
Sympathy
Viral marketing
Emotion Loop: From Empathy to Sympathy – a sustainable social design strategy for Organ Donation in Hong Kong
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2596189
2020-01-20T12:56:21Z
user-de06_2008
Medeiros, ACB
Crilly, N
Clarkson, PJ
2019-03-16
<p>People are living longer and the world population is ageing. At the individual level, ageing leads to functional losses and causes behavioural changes. These phenomena affect product experience on its four levels of response – physical, sensory, cognitive and affective. Unless design takes account of these changes, the quality of experience is compromised. To explore the influence of ageing on product experience a study was carried out with younger and older adults. The findings indicate that older adults had more difficulty understanding how to use products such as computers and mobile telephones. The older adults also tended to develop a less positive relationship with such products and consequently technology was less integrated into their lives. Overall, the study suggests that, with respect to product functionality, the two groups have different needs and expectations. This influences not only their product experiences, but also the extent to which technology is accepted and adopted.</p>
https://doi.org/10.5281/zenodo.2596189
oai:zenodo.org:2596189
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596188
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Ageing
Affective Response
Product Experience
The Influence of Ageing on Product Experience
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596029
2020-01-20T12:56:01Z
user-de06_2008
Pitts, Matthew
Williams, Mark A.
2019-03-16
<p>The usability of automotive controls can have a significant impact on the perception of quality of the vehicle and brand, with a subsequent effect on vehicle sales. Customer-derived information points to a lack of satisfaction with current automotive controls, indicating that the affective elements of interaction are not sufficiently considered during the design phase. This paper presents a case study in which a UK-based vehicle manufacturer became aware of a control usability problem affecting two vehicle lines which was defined by customer- derived data. A measurement study was undertaken which highlighted issues with elements of the existing product characteristics and ergonomic design. The relationship between design targets and product performance is discussed with reference to the suitability of specifications to deliver customer satisfaction and methods for utilizing subjective and objective data to generate engineering specifications are explored.</p>
https://doi.org/10.5281/zenodo.2596029
oai:zenodo.org:2596029
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596028
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
User controls
Usability
Haptics
Diagnosis and resolution of a customer-defined satisfaction issue in automotive user controls
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596015
2020-01-20T12:56:46Z
user-de06_2008
Kommonen, Kirsi
Yan, Zhao
2019-03-16
<p>This paper answers to recent calls for research on a significant but under-studied aspect of design, the role of colours (Aslam, 2006; Garber & Hyatt 2003). The focus is on a phenomenon named Colour Culture (Kommonen 2008) referring to shared meanings invested in colours by people of the same culture. Reportedly, colours are invested different meanings in China than in Western countries (Madden, Hewett, Roth 2000; Kress & van Leeuwen 2002; Ou Li-Chen et al. 2004). However, previous research offers few explanations to the dynamic nature of these meanings. The present study describes and analyses Chinese colour culture as it emerges in business contexts. Interestingly, colours in China appear to manifest shared cultural values and personal emotions. Findings from qualitative empirical study reveal how contemporary changes in political, economic and socio-cultural values become visible as Chinese colour culture evolves, and how this transformation gives opportunities for the ‘post-80’s generation’ to express their emotions with colours.</p>
https://doi.org/10.5281/zenodo.2596015
oai:zenodo.org:2596015
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596014
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
China
colour
culture
emotions
generation
values
Colour Culture as a Visualisation of Values and Emotions Case: China
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596181
2020-01-20T13:43:00Z
user-de06_2008
Kim, Yu-Jin
2019-03-16
<p>In order to effectively communicate the fragrances of commercial perfumes to consumers, it is important to apply congruent colors to their bottles and packaging. This research investigated the cross-modal associations between colors and fragrances. Through analyzing bottle colors of more than 200 popular perfumes in the market, distinguishable color design patterns were revealed in accordance with their fragrance types. In the color-fragrance matching experiment conducted in a blind setting, three test perfumes had characteristic hues. Their associated hues were similar with the real colors of the perfumes. There were significant variations in tone across fragrance notes, i.e. the top notes, middle notes, and base notes. These results support the existence of robust cross-modal associations between particular colors and fragrances in commercial perfumery by extending the use of color-odor matching task to a test population of Korean participants.</p>
https://doi.org/10.5281/zenodo.2596181
oai:zenodo.org:2596181
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596180
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Color
Fragrance
Commercial Perfume
Cross-modal Association
The Effect of Color Design on Fragrance Association
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2592599
2020-01-20T14:01:29Z
user-de06_2008
Wu, Cheng-Lin
Hwang, Shyh-Huei
2019-03-13
<p>Starting in 2002, the development blueprint of the cultural creative industry has been proposed by the administrator in Taiwan, and which includes the creative life industry policy of transforming the traditional industry. Generally speaking, the creative life industry focuses on the inborn features such as the culture, the technology and the knowledge of traditional industries. When these features are used to combine with the contemporary living style and culture, they provide the learning and experience of the ordinary customers through the process of the cultural industrialization. Eventually, it corresponds to the development tendency of the experiential experience. In this study, Incense Artistic Culture Garden locates Shin-gang town, Chia-yi County, Taiwan, is exemplified. This study conducts literature review, environmental behavior observation and interview in order to figure out what are the fundamental elements of the experience design in the garden and the strategy of creating the experience of the visitors. The main conclusions are as follows:</p>
<ol>
<li>
<p>The group of the experience design elements depends on the blueprint of the experiential theme of the business.</p>
</li>
<li>
<p>The use of the experience design elements governs or is governed by the other and they depend on each other.</p>
</li>
<li>
<p>The life experiences composed of the experience design elements can further the formation of the style society.</p>
</li>
</ol>
https://doi.org/10.5281/zenodo.2592599
oai:zenodo.org:2592599
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2592598
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Creative life industry
Experience design
Shin-gang Incense Artistic Culture Garden
Six senses
A Study on the Construction of Experience Design in Creative Life Industry – Take Shin-gang Incense Artistic Culture Garden in Chia-yi County as an example
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596101
2020-01-20T12:56:37Z
user-de06_2008
Lo, Kathy Pui Ying
2019-03-16
<p>This paper elaborates on an emotion-oriented qualitative research project that aims at discovering design opportunities for enhancing hotel stay experiences of female business travelers. Photo elicitation and in-depth interviews are used as the key methods in studying emotions during hotel stays. To generate insights relevant to emotional design and experience design for hotels, data analysis methods based on appraisal theory in psychology and systematic coding are used. Research findings are presented by three main categories: emotions, triggers, and guest concerns. Two scenarios of optimal hotel stay experiences are also presented. These scenarios are character-rich storylines developed based on the research findings and depict hotel features that evoke pleasant emotions during four stages of hotel stay experiences: (1) Arrival, (2) room entry, (3) settling down and (4) return in the evening.</p>
https://doi.org/10.5281/zenodo.2596101
oai:zenodo.org:2596101
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596100
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
hotel
experience design
scenario
Hotel Stay Scenarios Based on Emotional Design Research
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2593753
2020-01-20T12:56:40Z
user-de06_2008
Demir, Erdem
Desmet, Pieter. M.A.
Hekkert, Paul
2019-03-14
<p>Appraisal theorists assert that emotional experiences always involve quick evaluation processes, i.e. appraisals. They believe that those evaluation processes play a causal role in the elicitation of emotions. That is to say, activating an appraisal will result in the corresponding emotion. From this perspective, designing for emotional experiences can benefit from understanding appraisal models. However, the appraisal components, as discussed in appraisal literature, are too general and vague to be directly used by designers. This study aimed at specifying these general components, as well as providing an initial discussion about the appraisal patterns of some emotions elicited in user-product interaction. To this end, a study composed of an experience sampling phase and an in-depth interview phase was designed (N=29). The results implied that motive consistency is the main appraisal component underlying various emotional experiences in interaction with products. This component is specified in terms of different levels of user motives. In addition, the appraisal patterns of happiness/joy, contentment/satisfaction, and anger/irritation were discussed.</p>
https://doi.org/10.5281/zenodo.2593753
oai:zenodo.org:2593753
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2593752
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Appraisal components
User-Product Interaction
happiness/joy
contentment/satisfaction
anger/irritation
Appraisal Patterns of Emotions in User-Product Interaction
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588798
2020-01-20T12:50:30Z
user-de06_2008
van Aart, Joran
Salem, Ben
Bartneck, Christoph
Hu, Jun
Rauterberg, Matthias
2019-03-10
<p>In the light of Cultural Computing, this study influences user affect and behaviour by touching upon core values of Western culture. We created an augmented reality environment in which users experience a predefined sequence of emotional states and events. This study concerns two typically Western drives: boredom and curiosity. We specifically address the arousal of boredom, a mental state characterized by a heightened drive for exploration, making it easier to guide people in their decision making. Based on psychology literature, we introduce general design guidelines for arousing boredom. We report on the design of the augmented reality environment, the experiment effectively arousing boredom and on the redesign of the environment based on the experimental results.</p>
https://doi.org/10.5281/zenodo.2588798
oai:zenodo.org:2588798
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588797
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
User Affect
Emotions
Cultural Computing
Boredom
Diversive Exploration
Alice in Wonderland
User Behaviour
Modelling Experience
Design
Affective Computing
Designing for Experience: Arousing Boredom to Evoke Predefined User Behaviour
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596187
2020-01-20T12:56:46Z
user-de06_2008
Salvia, Giuseppe
Rognoli, Valentina
Gambardella, Francesca
Levi, Marinella
2019-03-16
<p>The aim of this paper is to verify and evaluate the variable emotional response in interacting with a well-defined matter, fabrics, through different sensorial channels in order to allow designers to set or select textile parameters according to the emotion they would like to evoke in a specific sensorial condition.</p>
<p>The purpose is to create a universal and scientifically-based culture and language as a core for a quality control system of two fundamental elements: “hand” and comfort.<br>
The research concerned several aspects of sensorial experience of textiles through the selection of the most influential sensations in textile applications and their relative possible correlation to mechanical properties. A group of subjects in different sensorial modalities was utilized in order to analyse transfer and anticipation phenomena.</p>
<p>Interesting deductions have been drawn by comparing objective parameters and correlated subjective sensations thereby opening up the potential to design emotional experience of textiles.</p>
https://doi.org/10.5281/zenodo.2596187
oai:zenodo.org:2596187
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596186
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
textiles
sensoriality
hand
The Importance of Textiles Hand in Comfort and Emotional Design
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596185
2020-01-20T13:22:31Z
user-de06_2008
Tham, Mathilda
Lundebye, Anette
2019-03-16
<p>What is the experience of a carbon neutral society? How does it feel to wear a cradle-to-cradle garment? This paper explores how the experiential dimension can enrich the development and communication of sustainability. The authors argue that such an approach can reach where quantitative and abstract language cannot, and foster a deeper relationship with ethical and environmental concerns, thus inviting designers and their colleagues into new and richer idea territories as regards sustainable futures. A series of methods and tools are proposed, designed to promote multi-sensory, and emotive engagement with the sustainability imperative and tested in recent empirical research taking the form of creative workshops. The rationale behind, the operation and benefits of the approaches are introduced through three cases, representing the fashion and automotive industries and a current AHRC funded research project ‘Bench-marking Synergy Levels within Metadesign’, (Goldsmiths, University of London.)</p>
https://doi.org/10.5281/zenodo.2596185
oai:zenodo.org:2596185
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596184
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
sustainability
experience
transformation processes
fashion
lifestyle
futures studies
metadesign
The Experience of Sustainability – Applying Metadesign to Invite Emotions to Further the Design of Sustainable Futures
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596149
2020-01-20T16:52:13Z
user-de06_2008
Ortíz Nicolás, Juan Carlos
Hernández López, Irma
2019-03-16
<p>This paper reports a five-stage study to identify what emotions are product relevant in Mexican culture, and to cross-compare these with the emotions identified in a prior study carried out in the Netherlands. 34 emotion terms in the Spanish language were identified as product relevant, 17 of which were related to product appearance. 21 emotion terms that were identified in this study coincide with the emotions reported in the Netherlands, especially with positive ones. Respondents reported more frequently positive emotion terms as product relevant than negative ones. This might have occurred because respondents had to recall the emotions that they experienced with products. Some of the emotion terms that were frequently elicited by product appearance in this study are: Atracción, Deseo, Diversión, Emoción y Sorpresa (Attraction, Desire, Amusement, Excitement, and Surprise). These emotion terms can be the basis for developing a rating scale for product emotions suitable for the Mexican context. We stress that more cultural studies are needed to have a better general validity of results, and to make the field of design research better at understanding emotions, emotional design and user experience.</p>
https://doi.org/10.5281/zenodo.2596149
oai:zenodo.org:2596149
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596148
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
product relevant emotions
product appearance
design
Product relevant emotions in the Spanish language
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596167
2020-01-20T12:56:27Z
user-de06_2008
Spillers, Frank
2019-03-16
<p>Emotion based research has accelerated in the area of product development and design, signaling a turning point in the pursuit of functional, or purely usability driven research approaches. At the heart of emotion design techniques is a desire to tailor deeper connections between users and experientially designed products and services.</p>
<p>As product design becomes increasingly competitive in the age of the iPhone, designers are required to create products that “synch” with users, maintaining the emotional bond with users as they complete their tasks, achieve pleasurability (Jordan 2000; Cayol and Bonhoure 2004) and user satisfaction (Han and Hong 2003).</p>
<p>This paper will explore a central element of successful emotionally engineered designs: rhythm. Rhythm will be explored as it exists biologically (Wild, Darrouzet, Kahn and Stucky 1995), socially (Bardram 1997; Reddy and Dourish 2002) and temporally (Spillers and Loewus-Deitch 2003) in the context of user interactions, emotions and product appraisals (Desmet 2002).</p>
https://doi.org/10.5281/zenodo.2596167
oai:zenodo.org:2596167
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596166
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Rhythm
Synchrony
Resonance
Social Rhythms
Temporal tasks
Entrainment
Emotion Design
Pleasurability
Product Interaction
Interaction Design
"Synch with me": Rhythmic interaction as an emerging principle of experiential design.
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596119
2020-01-20T14:37:24Z
user-de06_2008
Ou, Li-Chen
Song, Wenwen
Yuan, Yinqiu
Luo, M. Ronnier
Ide, Fumi
Sato, Tetsuya
2019-03-16
<p>A survey of logo colours was conducted using UK’s FTSE-100 data from 1984 to 2007 and Japan’s Tokyo Stock Exchange Market data in 2005. The results show that blue, red, white and black are the most popular for both UK and Japanese logos. Nevertheless, a number of colours show different preferences in the two countries. For instance, although white was popular (19%) for the commercial sector “Oil & Gas” in the UK, it was never used as a logo colour in Japan for this sector. A visual assessment was conducted to investigate whether there was any links between logo colour and commercial sector. The experimental results show that the colours that people might think of in association with specific commercial sectors may differ from the colours actually used in existing company logos.</p>
https://doi.org/10.5281/zenodo.2596119
oai:zenodo.org:2596119
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596118
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
logo
colour
cross-cultural study
Logo Colours for Leading Companies in the UK and Japan
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596082
2020-01-20T12:56:48Z
user-de06_2008
Duffy, Mary
Harrison, David
Wood, Bruce
Sykes, Jon
2019-03-16
<p>This paper firstly considers the challenges and opportunities facing designers who attempt to emotionally connect with consumers through their products design. Secondly, it describes an experiment which captured six participants’ emotional responses to the aesthetic design of a number of lighting products. Thirdly, the results of the experiment are discussed with respect to how emotion capture could be introduced as a design education tool to assist with the design process as a whole, and in particular, the concept selection process.</p>
https://doi.org/10.5281/zenodo.2596082
oai:zenodo.org:2596082
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596081
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Design education
product
emotion
concept selection
eye tracker
design classic
emotionally durable design
Establishing an emotionally durable relationship between product and consumer
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596158
2020-01-20T12:56:30Z
user-de06_2008
Kim, Yong Se
Kim, Min Kyoung
Jeong, Ji Yun
Moon, Jae Ho
2019-03-16
<p>Design methodology should address psychological and cognitive aspects based on human emotion and feeling as well as physical and functional aspects based on product structure. Donald Norman introduced perceived affordances as characteristics in the appearance of an object that gives clues for its proper operations. We conducted a case study in a public space - building lobby - used by many general people. User activities and behaviors were analyzed in several specific tasks given to twenty participants with similar cultural background in the lobby of a building they have never been to before. Then we identified affordances and building structure elements, called affordance features, critically related to those affordances.</p>
<p>While performing the tasks in the same building lobby, user activities can be classified into several different groups for each task based on affordance features involved in their activities. These user activity differences are then compared with their personal cognitive characteristics derived from their perception and judgment preferences using intuitive and factual perception orientation and objective and subjective decision making inclination respectively. For user of less common activities for some tasks, personal cognitive characteristics have been identified. This study could help in affordance-based design so that alternative affordance features are designed considering diverse user cognitive characteristics.</p>
https://doi.org/10.5281/zenodo.2596158
oai:zenodo.org:2596158
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596157
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Emotional Affordances
Affordance Features
Personal Characteristics
User Activity Analysis
Study on Personal Characteristics and Emotional Affordances through User Activity Analysis
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596070
2020-01-20T12:56:46Z
user-de06_2008
Sendai, Shoichiro
2019-03-16
<p>This paper aims to analyze the transformation of a historical landscape that has been formed centering around the A-bomb Dome, the creation of its values and the emotions that form the basis of such values, and to establish how the surrounding environment should be designed. First, the author analyzes characteristics of the spatial configuration of the A-bomb Dome and the formation process of the landscape’s social values. Secondly follows an analysis of changes in tour-guide routes as well as the content of guidance provided on various sightseeing tours that started after World War Two, so as to examine the transformation in emotional responses that has occurred in relation to this landscape. In conclusion, the author discusses the design of the public information board near the building which touches upon the lost environment (the invisible) in its immediate surroundings.</p>
https://doi.org/10.5281/zenodo.2596070
oai:zenodo.org:2596070
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596069
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
historic landscape
sightseeing tours
A-bomb Dome
Emotion to the Invisible: Historic Landscape Formation of the A-bomb Dome
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596147
2020-01-20T15:06:54Z
user-de06_2008
Kiriyama, Takashi
Sato, Masahiko
2019-03-16
<p>Arithmetik Garden is an interactive art installation to perform arithmetic by going through gates. By analyzing routes created by viewers, we found differences between human behaviors and computer-generated optimal solutions. We also discovered that the viewer’s emotional change could be detected by monitoring human behaviors.</p>
https://doi.org/10.5281/zenodo.2596147
oai:zenodo.org:2596147
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596146
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Interaction
emotional change
data analysis
Observing Human Behaviors in an Interactive Art Installation
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596162
2020-01-20T12:56:16Z
user-de06_2008
Zhang, Yi
Racine, Martin
Lalande, Philippe
2019-03-16
<p>This paper explores the relationships between subjective experiences and objective design parameters. It presents findings from a research project that questions the notion of attachment between users and objects, attempts to understand its emotional origins and seeks to propose design strategies that favour its development. The researchers summarize the initial outcomes derived from ethnographic interviews conducted among thirty people.</p>
<p>This paper suggests that utility, appearance, symbolic meaning and users’ experience are four key reasons that sustain the emotional attachment. Among them, users’ experience seems to have the strongest and most durable effect on users’ attachment to products. The study also reveals the importance of sentimental values which users associated with particular products, generated by relationships, memories, and life experiences. Four design strategies are proposed corresponding to each type of attachment. Sustainable design strategies informed by these insights and their implications for design practices are to be explored.</p>
https://doi.org/10.5281/zenodo.2596162
oai:zenodo.org:2596162
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596161
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
emotion
attachment
experience
Sustainable Design: Strategies for Favouring Attachment between Users and Objects
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588749
2020-01-20T13:49:19Z
user-de06_2008
Wrigley, Cara
Popovic, Vesna
Chamorro-Koc, Marianella
2019-03-09
<p>This paper aims to identify areas for future investigation so that products may be designed to harness the full potential of users’ visceral responses. It lays the foundation for this work by discussing the scope, significance and limitations of currently available research in the areas of Visceral Design, Consumer Hedonics and Product Rhetoric. Concerned as it is with instinctual, emotional responses, visceral hedonics is of vital importance to the design discipline. A better understanding of this area will enable designers to instantly create powerful emotional connections between consumers and products. This understanding can be furthered by investigating consumers’ visceral hedonic responses to a variety of products and the product attributes that elicit these responses, and suggests directions for emerging research.</p>
https://doi.org/10.5281/zenodo.2588749
oai:zenodo.org:2588749
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588748
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
visceral design
hedonics
product rhetoric
Visceral Hedonic Rhetoric: Emerging Research in Design and Emotion
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596123
2020-01-20T13:01:04Z
user-de06_2008
de Lemos, Jakob
2019-03-16
<p>One important methodological problem in the study of emotion and attention within market research is the absence of fast, reliable, easy-to-use tools, which adds additional insight, is applicable on large sample sizes and practically possible to integrate into the methods used today. This paper introduces a new way of measuring emotional impact from advertisement and product design by analyzing subconscious reactions within the eyes. The technology is integrated in the analysis software Emotion Tool<span>™</span>, a diagnostic tool designed to measure immediate emotional responses on print advertisement, marketing material, design, packaging, magazine covers etc. The non-intrusive, non-verbal, psychophysiology measurement instrument measures the visual attention and emotional involvement to the advertisement and it determines if the emotion is of a pleasant or unpleasant character. Each emotional response is extracted from subtle dynamical psycho-physiological changes within the respondents’ eye via a camera based eye tracker.</p>
https://doi.org/10.5281/zenodo.2596123
oai:zenodo.org:2596123
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596122
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Emotions
emotional response
emotional technology
non-intrusive physiological measurements
visual attention
eye tracking
arousal
decision-making
behavior
consumer research
visual processing
design evaluation
Measuring Emotion and Attention by Analyzing Eye Properties
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596193
2020-01-20T12:56:37Z
user-de06_2008
Grace, Lau K.
2019-03-16
<p>The paper presents a model that objects, activities and emotions are mapped against two major attributes of ‘inspirational’ and ‘familiarity’. The model is used for studying into a number of hotels of different star-ratings selected from around the region. The result of the analysis expressed through an OAE index, helps to identify: What gives a space its value? The conclusion is that creating the right emotion is not so much about how stylish or contemporary the room is; it is more about whether we can create the corner that can evoke the relevant emotion and feeling. The author has developed a new theory – The Ochoko Theory that substantiates the hypothesis of that when the guest is offered to configure the room by selecting object(s) of his/her own choice, the room will end up with a refined attitude which can be interpreted as a view of that particular room of itself.</p>
https://doi.org/10.5281/zenodo.2596193
oai:zenodo.org:2596193
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596192
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
consumption emotions
values
room
objects
The Room with a View (about itself)
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2593122
2020-01-20T12:56:16Z
user-de06_2008
Borjesson, Kristina
Woolley, Martin
2019-03-14
<p>This paper explores the human/object relationship as focused on <em>meaning</em> during <em>the first encounter<sup>1</sup></em>, which is normally dominated by an affective reaction followed by a body expression and continued by <em>a relationship build-up</em> in a cognitive process, which it is argued, is a balancing act between affective and reflected decision-making (Bastick, 2003, Borjesson, 2006). Reflection is normally regarded as the catalyst for a decision as whether the object is appropriate for <em>an action</em> (for example a buy) and further for <em>an established relationship</em>, an attachment, or not. However, with reference to current research there is evidence that the preconditions for the longevity of the relationship are not dependent on the object’s physical qualities<sup>2</sup> (Borjesson, 2006, Krippendorf, 2006) and are not necessarily entirely rational: the subconscious may play an active role in the decision leading up to this situation. Moreover, affective decision-making is here claimed to add value to reflected decisions, as it is not confined to the conscious mind and hence represents more dimensions including feelings, emotions and moods, which all extends beyond the physical qualities of objects (Damasio, 1999). Finally, cultural codes as represented by traditions become integrated over time in our mind and thus also exert affective influence.</p>
<p> </p>
<p><sup>1 </sup>The phases of the relationship build-up as expressed in this paper do not necessarily happen in an immediate time sequence.<br>
<sup>2 </sup>Krippendorf argues that ‘Aesthetic has to do with form, not with meaning’ (p. 129) and it is not clear if he therefore includes them in ‘physical qualities’. The authors value these qualities beyond the physical.</p>
https://doi.org/10.5281/zenodo.2593122
oai:zenodo.org:2593122
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2593121
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Rationality
reflection
affectivity
subconscious
intuition
attachment
Affect, Emotion and Rationality. Contradictory variables in the aspiration for object longevity?
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596112
2020-01-20T12:56:46Z
user-de06_2008
Enquist, Henrik
Nordgren, Camilla
2019-03-16
<p>In any research field the transformation of raw data into conclusions is a critical phase, necessitating a systematic approach. The basic question is: How can I as a (design) researcher corroborate my conclusions? This paper is based on a study of the analytical/interpretative portion of papers published in the Proceedings of the 2006 Design & Emotion Conference. We investigate how the authors present the interpretative process in their papers, such as using specific methods for interpretation and analysis. It became obvious that there were few specific methods for interpretation mentioned in the Conference papers studied, though there was a wide range of methodological approaches from theoretical and statistical to purely qualitative. Notably, most papers did not mention any method at all. The issue of interpretation is certainly not new, but in the light of the topic of design for emotions, design (research) by emotions or intuition should be discussed.</p>
https://doi.org/10.5281/zenodo.2596112
oai:zenodo.org:2596112
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596111
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
interpretation
methodology
tacit knowledge
Intuition in Design & Emotion? Transforming raw data into conclusions, a meta-analysis of the 2006 Design & Emotion conference papers
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596097
2020-01-20T12:56:33Z
user-de06_2008
Gundogan, Mirac Banu
Erbug, Cigdem
2019-03-16
<p>User types have already evolved in the digital world and expectations have gone beyond pure usability. Emotions have become important; users are conscious demanders of usable and engaging products, appealing, interesting and enjoyable experiences. Among various applications and impacts of the digital world, e-learning stands as an important area where user- product interaction is important since this interaction determines the quality of learning outcomes. The theory and practice of e-learning points out the importance of learner centered vision and presents key issues for successful learning. Technology usage, instructional design, motivation and learning management systems are listed as main issues, but the emotional perspective is left underestimated. This study aims to present the learners’ definition and expectations of ‘fun’ and ‘pleasure’ in e-learning.</p>
https://doi.org/10.5281/zenodo.2596097
oai:zenodo.org:2596097
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596096
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
E-learning
fun
pleasure
Fun and Pleasure in e-learning
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596077
2020-01-20T12:56:19Z
user-de06_2008
Töre, Gülşen
Özer, E. Nazlı
Erbuğ, Çiğdem
2019-03-16
<p>In studies regarding bus drivers’ workstation design, physical and cognitive ergonomics related issues of driving are handled widely. However in order to maintain well-being of bus drivers, emotional issues should also be taken into account.</p>
<p>The aim of this paper is to present the emotional dimensions of job satisfaction for urban bus drivers in Turkey, in order to provide design considerations for the public bus dashboard. The paper outlines the findings regarding emotional dimensions and hedonic needs from the product development project of an urban bus dashboard involving several research studies, the aim of which were not specifically to obtain users’ emotional needs. However, as these needs cannot be considered separately from the needs that can be defined as tangible or functional, the outcomes of the prior studies provide important information regarding this issue.</p>
https://doi.org/10.5281/zenodo.2596077
oai:zenodo.org:2596077
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596076
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Emotional dimensions of job satisfaction
hedonic needs of city bus drivers
bus drivers' well-being
Emotional Dimensions Regarding Job Satisfaction: The Case of Dashboard Design for City Buses
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596010
2020-01-20T12:56:37Z
user-de06_2008
Kaygan, Harun
Şişman, Osman
2019-03-16
<p>The body of works gathered under the title ‘design and emotion’, not surprisingly, constitutes a coherent set of definitions concerning their ‘subject’: This presupposed subject is capable of not only 'experiencing' the object (as opposed to 'using'), but also communicating his/her experience accurately. His/her reflections are then collected by positivistic means into a repertoire of sensualities, which forms the basis for further ‘designerly’ operations.</p>
<p>Considering designed-objects and experiencing-subjects having interactions in an economy-proof void, in a laboratory-like medium devoid of monetary relations, design and emotion movement seems to miss that constitutive part of such interaction, which is also the condition of its own existence: Economy. The paper proposes to perform a theoretical critique of design and emotion discourse, emphasizing this purposeful, but not necessarily self-conscious forgetfulness that amounts to a repression, which can be symptomatically read to deeply understand this design approach.</p>
https://doi.org/10.5281/zenodo.2596010
oai:zenodo.org:2596010
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596009
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
design and emotion discourse
economy
methodology
"Cheapness is Not a Sense, George!": An Economic Critique of Design and Emotion Discourse
info:eu-repo/semantics/article
oai:zenodo.org:2605651
2020-01-20T13:39:12Z
user-de06_2008
openaire
Bernabei, Rian
Freeman, Kelly
Power, Jacqueline
2019-03-25
<p>Products may communicate a premeditated story, one that has been planned and designed from the products’ conception. This story may be communicated through designed ‘triggers’ or ‘cues’ that are all part of the product’s form, material, intractability and manufacture. How and if designed objects achieve their goal of communicating with responders and establishing an emotional connection, will be explored through a series of interviews with end-users in relation to the work of award winning practice <em>bernabeifreeman</em>. The <em>bernabeifreeman</em> designers have identified four key storytelling methods in their work as: <em>Narrative, Manufacture, History and Interaction</em>.</p>
https://doi.org/10.5281/zenodo.2605651
oai:zenodo.org:2605651
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605650
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Product design
Storytelling
bernabeifreeman
Designers as Storytellers: the weaving of narratives in the work of bernabeifreeman
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2593782
2020-01-20T12:56:12Z
user-de06_2008
Quintanilha, Melissa
2019-03-14
<p>BuddyWall is a system comprised of a wall-mounted panel with mobile wireless objects that represent remote friends on a network. The purpose of this interface is to allow for communication among remotely located friends and to display an awareness of group presence and others’ availability through an ambient wall display. This project illustrates the transparency of a physical interface that provides aesthetically pleasing and emotionally engaging access to digital information for anyone. This paper describes the design of the system and interaction techniques developed in the context of this work. The aesthetics of physical objects can also enrich the digital experience and make it emotionally evocative.</p>
https://doi.org/10.5281/zenodo.2593782
oai:zenodo.org:2593782
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2593781
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Tangible interface
interaction design
networked objects
ubiquitous computing
ambient displays
augmented environments
emotional design
BuddyWall: A Tangible User Interface for Wireless Remote Communication
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2593743
2020-01-20T13:45:41Z
user-de06_2008
van Rompay, Thomas
Pruyn, Ad
2019-03-14
<p>Previous research and theorizing in product design and consumer psychology testifies to the importance of unity or congruence among affective meanings connoted among elements in visual communications such as advertisements, product appearance and product packaging (e.g., Hekkert, 2006; Peracchio and Meyers-Levy, 2005; Van Rompay and Pruyn, in press). However, understanding of the processes whereby affective meaning congruence impacts consumer response is far from complete. In this paper, we propose a framework for understanding congruence effects in design based on recent studies addressing processing fluency. Moreover, we will distinguish between studies addressing congruence effects among strictly visual product features and congruence effects among affective meanings connoted by visual elements and textual elements such as brand slogans in advertising. In presenting the latter, the role of individual differences in information processing will be discussed and tested in an experimental study addressing effects of ‘advertising slogan-product shape’ congruence. Practical and managerial implications are discussed.</p>
https://doi.org/10.5281/zenodo.2593743
oai:zenodo.org:2593743
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2593742
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
congruence
processing fluency
impression formation
Affective Meaning Integration in Design and its Influence on Product and Brand Evaluation
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2592568
2020-01-20T12:07:55Z
user-de06_2008
Jung, Joo Hoo
Love, Terence
2019-03-13
<p>This paper reports research into the identification of a strategy for developing situation specific design methods to produce interface design guidelines that include the social and emotional nature of users to create pleasurable user experiences in human-computer interaction (HCI) in retail e-commerce.</p>
<p>The paper conceptualises a new way to use information about user experiences in specific real world social interactions to synthesise interface design guidelines based on specific identified social behaviours (i.e. situation-specific design methods or guidelines).</p>
<p>This focus on the development of a strategy to build design methods, rather than the design methods themselves, situates this research on a different conceptual level compared to research directed at design methods themselves.</p>
https://doi.org/10.5281/zenodo.2592568
oai:zenodo.org:2592568
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2592567
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
user interface
human-computer interaction
design method
emotions
social behaviours
A strategy for creating design methods based on social behaviours for pleasurable user experiences in human- computer interaction
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2605649
2020-01-20T15:38:37Z
user-de06_2008
openaire
Chan, Peter Kwok
Sanders, Elizabeth B. N.
Evensen, Erik A.
2019-03-25
<p>This poster presents the efforts of a graduate student team that developed a board game design<br>
to engage children living with diabetes, as well as their friends and parents, in personal health management. Diabetes has multi-leveled health and life style management requirements, and employing a game format can simplify complex concepts in appealing ways and motivate appropriate behavior. The students applied participatory design research methodologies to co- design with subject matter experts, educators, care providers, and end-users. The students utilized game design strategy, character design, and storytelling to develop an emotionally connected and fun activity where game players interact with each other while learning about personal health management. The authors summarized this collaborative design process and shared the learning experiences of the students.</p>
https://doi.org/10.5281/zenodo.2605649
oai:zenodo.org:2605649
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605648
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Game Design
Design Research
Design Education
Participatory Design Research
Diabetes
Fun
Game Design for Personal Health Management: An Emotional and Educational Perspective
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2596021
2020-01-20T13:32:52Z
user-de06_2008
Song, Hong Yang
Siu, Kin Wai Michael
Liu, Sha
2019-03-16
<p>Emotion is a complicated psychological activity. Psychologists hold that emotion is the remnants of animals' origins. In fact, human emotion is not only a kind of sign of animals' origins, but it is also greatly influenced by social and cultural factors. Psychologists have also classified emotion into advanced and lower ranks. Emotion induced by social and cultural factors is considered advanced, and is unique to human beings. In recent years, more cities have tended to demonstrate their cultural values in public environments and facilities, among which street furniture play a crucial role. Researchers and practicing designers have also considered how different emotions relate to the production and reception of street furniture design. Therefore, besides its basic physical function, a considerable number of street furniture is also designed to catch the public's eye and serve to be important windows to illustrate different cultural values. This paper first explores feelings and emotional experiences induced by cultural elements. By using the findings of a survey, this paper compares the effect of different cultures on the emotional experience towards the same street furniture. Taking Hong Kong and Beijing as case studies, several kinds of typical street furniture are analysed and the relevant distinct feelings aroused by street furniture of people from different cultural backgrounds are examined. This paper holds that different cultural factors can arouse users' different emotions such as hate, love,</p>
<p>1</p>
<p>joy, sorrow and so on even when the users use the same street furniture.</p>
https://doi.org/10.5281/zenodo.2596021
oai:zenodo.org:2596021
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596020
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
emotion
street furniture
cross-cultural factors
Cross-Cultural Values in Street Furniture Emotion Design
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2593747
2020-01-20T17:44:48Z
user-de06_2008
Chu, Po-Ying
Chen, Li-Chieh
Wu, Wei-Sheng
Chan, Shaio-Chung
2019-03-14
<p>In order to promote product identity in the global market, many companies had used the strategy of associating products with cultural features. Since it was recognized that the image of such kinds of products plays an important role of its success, it is essential to evaluate alternative design solutions based on the emotional response of target users. Although some literature had indicated that there were different levels or categories of emotion, no specific hierarchy of criteria had been developed for evaluating the emotional responses of cultural and creative products. Therefore, the objective of this research is to develop a systematic approach for decision making at the stage of conceptual design. In order to construct the hierarchy of emotion, the authors conducted survey on relevant literature and collected data from interviewing experienced professors and designers. In addition, since the developed criteria tended to be vague, the fuzzy AHP approach was employed to obtain the overall ratings of design alternatives. Furthermore, this approach was demonstrated using a case study related to designing cultural and creative products in Keelung City, a northern harbor in Taiwan. The results showed that this approach not only provided a structured way of decomposing a complex decision-making problem but also avoid using crisp scores while translate the voice of</p>
<p>customers in evaluating concepts at early design stage.</p>
https://doi.org/10.5281/zenodo.2593747
oai:zenodo.org:2593747
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2593746
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Cultural and Creative Industry
Emotional Design
Fuzzy AHP (FAHP)
Applying Fuzzy Analytic Hierarchy Process to Evaluate the Emotional Perception of Cultural and Creative Products
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2592578
2020-01-20T12:08:32Z
user-de06_2008
Singh, Amitoj
Das, Lalit K.
2019-03-13
<p>This paper proposes an approach to investigate the styling concept of motorbikes by establishing a relationship between its evaluative aesthetic properties and associated emotions. A framework is delineated in form of emotive words and representational image boards to map the emotive character of motorbikes. The framework forms the basis for investigating the emotional differentiation in the social structure of biking in India. The findings give insights on the emotive character of various motorbikes representing different emotional needs. The usability and efficacy of the framework was tested among styling designers and design students.</p>
https://doi.org/10.5281/zenodo.2592578
oai:zenodo.org:2592578
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2592577
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Motorbikes
Styling
Emotions
A Framework for Delineating the Emotive Character of Motorbikes in India
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2605659
2020-01-20T15:30:42Z
user-de06_2008
openaire
Reisinger, Markus
Huedo, Ana
2019-03-25
<p>Chromatic light is used increasingly often in buildings for the purpose of positively influencing the ambience of a space. For the hospitality domain we studied chromatic light preferences for different types of space, ranging from a restaurant to a hotel room. We were able to confirm in this study that preferences for colors of chromatic light depend on the room function. For selected room types from the hospitality domain ideal solutions for chromatic light combinations are described using semantic differentials.</p>
https://doi.org/10.5281/zenodo.2605659
oai:zenodo.org:2605659
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605658
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Interior lighting
Chromatic light
Environmental preference
Which chromatic light combinations are ideal for hospitality spaces?
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2596175
2020-01-20T13:51:47Z
user-de06_2008
Nurkka, Piia
2019-03-16
<p>This paper examines the element “the user” in user experience. Current literature suggests that perhaps the most important aim for design is not to serve our needs and help our goal achievement, but to give meaning to our lives. The goal of this paper is to broaden the user experience framework by conveying the relation of user-related elements to each other and their role in user experience. By reviewing the relevant literature from design, HCI, and consumer research we suggest a tentative conceptual description of the relationship between user values and emotions.</p>
https://doi.org/10.5281/zenodo.2596175
oai:zenodo.org:2596175
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596174
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
user experience
values
emotions
The role of values and emotions in user experience
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2605632
2020-01-20T13:37:09Z
user-de06_2008
openaire
Lin, Ching-li
Guan, Shing-Sheng
2019-03-25
<p>This study uses Taiwan’s business districts as samples, which already carried out renovation program of signboard form and had assisted by the Department of Commerce, Ministry of Economic Affairs (DOC, MOEA) of Taiwan since 1996. we adopt some methods, which are multi-stage picking-out method, focus group, method of semantic differential, and questionnaire survey to establish a database on the relationship between the form feature and image perceptions of signboards. The results of this study were as follows: First, the analysis of Quantitative Theory Type I shows that the “frame”, “top shape”, “left side shape” and “right side shape” of signboard form features have more effects on image perceptions of “modern-traditional” and “friendly-cold”, which their partial correlation coefficient (PCC) of design elements are higher than 85%. Second, the “direction” variable is the least significant one on the 2 image expressions of the signboard form. Third, according the result of this paper, which can offer a reference for someone are engaging in signboard form design in the future.</p>
https://doi.org/10.5281/zenodo.2605632
oai:zenodo.org:2605632
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605631
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
signboard
form features
image perceptions
Taiwan
A Study on the Relationship between the Form Features and Image Perceptions of Signboards in Taiwan
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2596177
2020-01-20T14:22:51Z
user-de06_2008
Kolff, Louise Moana
2019-03-16
<p>This paper will look at HIV/AIDS campaigns as a form of advertising ‘selling’ the ideology of health through the utilisation of different emotions. By analysing three contemporary Australian campaigns aimed at gay men, the paper examines the relationship between the concept of ‘healthism’, and the design strategies used to promote safer sex practices.</p>
https://doi.org/10.5281/zenodo.2596177
oai:zenodo.org:2596177
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596176
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
graphic design
HIV/AIDS
healthism
The Beautiful Body and Healthism in HIV/AIDS Campaign Graphics
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588761
2020-01-20T14:23:54Z
user-de06_2008
Keitsch, Martina
Hjort af Ornäs, Viktor
2019-03-09
<p>Experiences gain increasing attention in design research, but theories are inconsistent, and the foundations of different methods are rarely discussed. Design research has sui generis no fixed epistemology, and is open to methodological eclecticism. However, as paradigms successively change from positivistic towards more comprehensive views, discussions on how underlying theoretical assumptions influence approaches are needed. This paper examines and compares axiological, epistemological and methodological aspects of two perspectives: Kansei engineering, and a postmodernist framework. Both frameworks aim to match designers’ conceptions of product symbolism etc. to those of the user group, but they evolve from different theoretical starting points. Analyzing the contents of underlying theories and their influence on methods and expected results is an important part of theory development that may also support designers in making methodological choices.</p>
https://doi.org/10.5281/zenodo.2588761
oai:zenodo.org:2588761
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588760
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Design epistemology
Design methods
negotiating meaning
Meaning and Interpretation: An analysis of two theoretical perspectives in product design
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588755
2020-01-20T12:08:03Z
user-de06_2008
Akina, Sau-han Chow
Xiao, Wenling
Liu, Wing-sun
2019-03-09
<p>Central to the idea of postmodernism is the notion that people are consuming images (Baudrillard, 1998; Debord, 1977) in the market in the crafting of selves (Kondo, 1990; Thompson, 1990). It is envisioned that the sense of fragmented selves (Gergen, 1991) as characterized in the postmodern context is even more acute among youngsters. Of all of the items in a girl’s wardrobe, nothing is more important to her identity than her bras. This is a quasi-ethnographic (Fetterman, 1998; Hammersley and Atkinson, 1997) study to explore the symbolic meanings of bras among female adolescents in Hong Kong. There is a strong maternal influence in the very context of the bra; at the same time, the color black for a bra carries a strong connotation of sexiness. This item is full of visually implicit meanings, which are probably explicit to a girl as she is growing up.</p>
https://doi.org/10.5281/zenodo.2588755
oai:zenodo.org:2588755
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588754
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
bras
identity
post-modernism
A GIRL'S BRA – A GIRL'S PRIDE
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588757
2020-01-20T12:50:29Z
user-de06_2008
Weichen, Tang
Heskett, John
2019-03-09
<p>In this user-centered production age, emotion is a key factor to consider for a design company or a manufacturer to approach consumer's psychology on product choice. The multiplicity of products allows consumers to also choose other elements like the design style (the external appearance in terms of colour or form) or to see if the cultural content conveyed by the product pleases the consumer, or if the product is handy. These soft elements are a human manifestation of psychological needs. A successful product also makes the consumer feel safe, and brings positive emotion to satisfy the consumer's psychological and spiritual needs.</p>
<p>Nowadays in the supermarkets of China, western products are seen everywhere and they are gradually becoming an important part of Chinese daily life. It is easy to find refrigerators, electric cookers, microwaves, or gas stoves in Chinese kitchens. Speed, fast economic development, and admiration of western culture make people desire to use western products. For a time, the Chinese will overlook their emotional needs when using these objects. However, some traditional cooking utensils remain. They seem common, unfashionable or homely, but they tenaciously keep their position and are well used. The reason that they are not replaced by modern products is that they support people with totally different feelings such as familiarity, steadfastness, specific typical identity, and nostalgia.</p>
<p>According to the latest investigation on typical Chinese kitchens in the city, modern products are only a supplement. The mostly used tools for Chinese people are still Chinese traditional tools. Chopsticks, ceramics, cooking utensils used for frying, steaming, boiling, stirring such as an iron pan, casserole pot, steaming pot, and purple bronze pot are still used in their traditional forms. The tenacity of these traditional objects reminds us they are important for Chinese people to satisfy their needs in a deep way. More and more archaeological evidences indicate that two thousand years ago Chinese people had already been using this cooking system in a mature way. In this long history the traditional objects have not changed greatly in shape, function, or even technology. Chinese people rely a lot on common tools in use for more than two thousand years.</p>
<p>This paper is an exploration of how ordinary tools affect Chinese people psychologically, regarding their original form, the underlying culture dynamics and value conveyed. How Chinese people’s affection for them affects their choice of production is also important. The research data examines two groups of kitchen tools, one is mostly used tools from Chinese kitchens, and the other is tools with same function as the first group but from archaeological discovery. The comparison between the two groups tries to uncover the relationship between original cooking tools and present tools, to explore how emotions are built up in thousands of years of use and how emotions continuously influence Chinese people's choice today.</p>
<p>A case study method is applied in this paper through the steps of observation, imagination, documentation and explanation. Two groups of data are set and studied in an historical context and contemporary situation to explore the emotional characteristics of Chinese cooking tools and their consistent influence.</p>
https://doi.org/10.5281/zenodo.2588757
oai:zenodo.org:2588757
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588756
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Chinese everyday cooking utensils
emotion
meaning
The Exploration of Emotion and Memory in the Design of Chinese Everyday Cooking Utensils
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2592590
2020-01-20T12:50:35Z
user-de06_2008
Kim, Bomi
Suk, Hyeonjeong
Kim, Myungsuk
2019-03-13
<p>An empirical study was carried out in order to investigate the visual identity of robot products utilizing formal factors. In particular, the four classifications of robot appearance were employed and four types of the robots were devised in each classification by varying widths of components and proportion among components. The subjects were asked to evaluate the uniformity among four robots and then the similarity between pairs of robots in each set. Based on the ratings, Multi-Dimensional Analysis was conducted and the results are summarized into three parts: First, the subjects perceived that anthropomorphic and caricatured robots are more morphologically comparable to each other. In comparison with the other three types, it is more difficult to group the functional robot; Second, a robot set which has similarity of head/screen-width is the most effective formal factor; Third, an impression of chubbiness connects robots. </p>
https://doi.org/10.5281/zenodo.2592590
oai:zenodo.org:2592590
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2592589
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
a robot classification
a body feature as the visual identity
the uniformity in a robot set
A Study on Visual Identity of Robotic Products - Focused on Four Classifications of Social Robots
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596145
2020-01-20T12:56:46Z
user-de06_2008
Park, Sun Young
Jeong, Hee Young
Zimmerman, John
2019-03-16
<p>Parents find themselves experiencing breakdowns when attempting to record, retrieve, or transfer health related information for their children in the many different contexts where it is needed. While the activities of caring for their children take place in diverse locations, there is currently no appropriate tool for helping parents record, retrieve, and transfer the right medical information at the right time. We see in this situation an opportunity for ubiquitous computing technology to support parents’ management of their children’s health information. Based on our user research with dual-income families, we believe the ENSURE Healthcare System that automates the collection of children’s medical/health information in order to improve the communication between parents and healthcare providers will allow for better management of children’s health. The ENSURE system will help parents collect their children’s health information easily and provide it to their health care providers, facilitating their interactions.</p>
https://doi.org/10.5281/zenodo.2596145
oai:zenodo.org:2596145
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596144
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Smart home
family
health
human-centered design
control
ENSURE: support for parents in managing their children's health
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596199
2020-01-20T17:41:29Z
user-de06_2008
Allbutt, Julie
2019-03-16
<p>The limitations of design evaluation methods continue to hinder designers working in commercial website design practice. Relatively little is known about evaluating website design beyond usability and basic affective response to aesthetics, nor about the impact of user-testing on design innovation or strategic design goals related to emotion. It is suggested that the lack of designer input into the development of testing metrics for design evaluation has contributed to a limited testing methodology for evaluating website effectiveness. Furthermore, it is suggested that a lack of designer involvement in design evaluation has contributed to perceptions that designers are ‘stylists’ rather than strategists, undermining design as a profession. It is argued, that for this situation to change, designers must actively participate in the evaluation of website design effectiveness and in the research and development of evaluation methods.</p>
https://doi.org/10.5281/zenodo.2596199
oai:zenodo.org:2596199
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596198
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
website design
evaluation
user experience
Usability Experts (1): Designers (0). Why designers need to evaluate design effectiveness
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596092
2020-01-20T14:44:53Z
user-de06_2008
Chan, Carrie
Hanington, Bruce
Evenson, Shelley
2019-03-16
<p>As a relatively new discipline, service design has a lot to learn from various fields that have well-established histories. This paper will briefly explore the field of classical music and draw aspects from it that are useful in thinking about service design. Themes will also be drawn from music in an attempt to provide applicable approaches to service design. The topics that will be paralleled are the following: how services can be thought of as performances, how the roles inherent to music find similarities to roles defined in service design, and how music notation systems are essential in connecting different music roles together and why service design should adopt a notation system of its own.</p>
https://doi.org/10.5281/zenodo.2596092
oai:zenodo.org:2596092
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596091
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
music
service
performance
From Stravinsky to Starbucks: Learning from Classical Music to Create Better Service Experiences
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596004
2020-01-20T12:56:19Z
user-de06_2008
Chen, Xiaojuan
Barnes, Catherine
Childs, Tom
Henson, Brian
Shao, Fei
2019-03-16
<p>-</p>
https://doi.org/10.5281/zenodo.2596004
oai:zenodo.org:2596004
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596003
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Can we measure what we feel? Exploring relationships between tactile perceptions and surface physical properties
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2605657
2020-01-20T16:46:04Z
user-de06_2008
openaire
Prabhala, Sasanka
Payne, Michael J.
Melican, Jay
2019-03-25
<p>The majority of the world-wide population currently turns to their television (TV) sets for news, weather, traffic, sports, movies, TV shows and other entertainment and information. Digital cable and satellite TV are providing people with an immense and growing variety of options for live and on-demand programming. In addition, emerging design, technology and media rights advancements in consumer electronics (CE) are also paving the way for new and innovative set- top boxes (STB) and TVs that bring internet content directly to the TV. While access to this vast array of media is appealing, it also has led (and will increasingly lead) to the alarmingly difficult task of finding personally relevant and desirable content while filtering out the „noise."</p>
<p>This paper introduces a novel concept of measuring and inferencing people"s personality characteristics and emotions, based on their interactions with the TV remote control, in order to create personal, context-rich views into available media options.</p>
https://doi.org/10.5281/zenodo.2605657
oai:zenodo.org:2605657
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605656
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
personality
emotions
TV experiences
media recommendations
Using Emotions to Deliver Personal TV Experiences
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2605655
2020-01-20T17:34:50Z
user-de06_2008
openaire
Lee, Ji-Eun
Totsuka, Haruna
Kikuchi, Ken
Choh, Ikuro
2019-03-25
<p>-</p>
https://doi.org/10.5281/zenodo.2605655
oai:zenodo.org:2605655
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605654
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Sympathetic rise through "praise": Online information learning and interaction
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2605630
2020-01-20T14:54:00Z
user-de06_2008
openaire
Christoforidou, Despina
Olander, Elin
2019-03-25
<p>Diamonds and big gold jewellery, manifesting newly won financial status, are the main points of reference when bling appears in the media today. But what is bling exactly? Who are the bling users? What products are considered as bling? What are the product characteristics of bling? This article is a first attempt to shed some light to the above questions. The answers give raise to curiosity and strong emotional reactions, mainly negative ones. What the underlying reasons to these reactions are and how the clear semantic message of bling products can be transformed into other types of products will be investigated in future studies.</p>
https://doi.org/10.5281/zenodo.2605630
oai:zenodo.org:2605630
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605629
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
bling
identity
lifestyle
Bling and How its Message Captures Our Interest
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2605641
2020-01-20T16:09:45Z
user-de06_2008
openaire
Bispo, Renato
Branco, Vasco
2019-03-25
<p>It is an unmistakable fact that objects hold an important role in the construction of identity, acting as markers of a certain lifestyle. In this process of symbolic construction, to own a certain object entails more often than not a high social status.<br>
However, some objects can also carry with them stigma: owning them brings about a discrediting effect in the construction of the owner's identity.</p>
<p>For people with disabilities the use of objects employed for mitigate their impairment (as a wheelchair or a walking aid) often act as a symbol of stigma and empathize the prejudices to the people who use them.</p>
https://doi.org/10.5281/zenodo.2605641
oai:zenodo.org:2605641
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605640
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Stigma
Disability
Product Design
Designing out stigma - The role of objects in the construction of disabled people ́s identity
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2596006
2020-01-20T13:02:19Z
user-de06_2008
Figueiredo, Cassia
Bucich, Clovis
2019-03-16
<p>It became a <em>cliché</em> to say that Carnival in Rio de Janeiro is “the greatest spectacle in the world”. Among several events that are held along three days – indeed, a longer period, for many city routines are affected, several days before – maybe the most known outside is the “Samba Schools Parade”. More than one hundred thousand people convene to enjoy <em>samba</em>, both to watch and to dance, and millions see by TV around the country and the world.</p>
<p>This paper aims to analyze a curious dichotomy, perceived through a critical look at the messy, glossy, breathtaking show. In one hand, almost naked bodies are the target of lust from spectators. On the other hand, people heavily overdressed exert the desire of being who they are not. The “carnival designers” face these authentic needs, aligning <em>desire </em>and<em> lust</em> among the concepts they usually deal with, to satisfy both categories of customers.</p>
https://doi.org/10.5281/zenodo.2596006
oai:zenodo.org:2596006
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596005
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
desire
lust
carnival
Carnival in Rio de Janeiro and lust: a designer's look
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2605645
2020-01-20T14:27:25Z
user-de06_2008
openaire
Nawangpalupi, Catharina
Demirbilek, Oya
2019-03-25
<p>Car sharing, which is regarded as a sustainable transport system, has been evidently operating very well in urban areas where public transport is well established. In Sydney, Australia, car sharing is used by different people with different motivations to join. As a result, there is a range of values expressed by its members related to their experiences of being a car sharing member. The paper aims to explore perceived values about car sharing as a sustainable system. A qualitative study using surveys, interviews, visual diaries/workbook, collage making, and design workshops was carried out to portray the expressions of values and to highlight different aspects of car sharing design that strongly relate to those values. Car sharing has satisfied individualism and also the values of sharing. It gives personal independence yet interdependence as well. It also allows for the emotions of a product experience although it is not a personal possession.</p>
https://doi.org/10.5281/zenodo.2605645
oai:zenodo.org:2605645
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2605644
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
car sharing
values
service design
Expressions of values related to car sharing in Australia
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:2588759
2020-01-20T12:08:03Z
user-de06_2008
Ahde, Petra
2019-03-09
<p><em>“When I wear it, I feel it gives me life force.”</em></p>
<p>The quotation belongs to an 87 year-old woman who tells about her brooch which she got as an engagement gift from her future husband decades ago. The brooch is still giving her force to live. This paper is about the power people gain from their jewellery. It explores how people feel they gain powers through their pieces of jewellery. These powers seem to influence the way they desire things and how they appropriate their possessions. In this paper I will describe the beliefs that transform possessions into mediators of powers.</p>
https://doi.org/10.5281/zenodo.2588759
oai:zenodo.org:2588759
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588758
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
design
jewellery
power
Power Jewellery: Mediating Powers through Jewellery
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596017
2020-01-20T12:56:28Z
user-de06_2008
Lee, Pei-Ling
Ho, Ming-Chyuan
2019-03-16
<p>From the cultural perspective, aesthetic pleasure is influenced by the implicit and explicit ethnic characteristics. For instance, the triggers of laughter in western and eastern humors are different. The concepts of designing the aesthetic pleasure of a product may also be influenced by human lifestyles. Based on Aesthetic of Reception proposed by Hans Robert Jauss, this study attempted to use the fundamental framework of aesthetic pleasure which includes three perspectives, including creation poiesis , perception aesthesis , and purification catharsis , to examine the difference between western instrumentalism and eastern spiritualism. From the idea that creation is to produce aesthetic experience and is the representation of design, the development of the representation of design in the east and the west could be derived. Perception is the pleasant emotions created after affective reception. It is the perception of design that reflects the perceptions of pleasure in the eastern and the western world. Purification is the result of interactions with aesthetic experience, allowing us to understand the formation of taste and style. Through the fundamental framework of aesthetic pleasure, the difference between the east and the west in aesthetic pleasure can be more easily observed, and a new discourse of design can also be formed from this cultural perspective.</p>
https://doi.org/10.5281/zenodo.2596017
oai:zenodo.org:2596017
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596016
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
aesthetic pleasure
design
culture
Comparison of the Aesthetic Pleasure Design Cultures between the East and the West
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588765
2020-01-20T12:08:09Z
user-de06_2008
Soldatelli, Rafael
Liberatore Prando, Graziella
Xavier da Costa, Filipe Campelo
2019-03-09
<p>One of the greatest challenges of the service centred economy is the creation of meaningful and gratifying customer experiences. A result of all the interaction of a client with a company, an experience must be able to affect positively the feelings of the customer that is buying or consuming a service, consequently raising his acceptance towards it.</p>
<p>The methodology presented in this article offers a new way to analyze and model an experience, through a multidisciplinary approach based on design principles. Our proposition is supported by a tool applied for the analysis and planning of use cases, also known as user journeys, with the use of literary narrative references for the creation or improvement of consumer experiences during the delivery of a service. The method offers great flexibility in practical situations, allowing it to be applied in different contexts for the creation of the user's journey, provoking and exploring different feelings in a structured way across the whole experience.</p>
https://doi.org/10.5281/zenodo.2588765
oai:zenodo.org:2588765
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588764
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
service design
user journey
myths
narrative
customer experience
The narrative of experience: Modelling user experience through the use of literary narratives for the construction of the user journey
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596012
2020-01-20T12:56:16Z
user-de06_2008
Shi, Lei
Yamanaka, Toshimasa
2019-03-16
<p>It is considered that emotion satisfies us and attracts us to use and love products, while cognition makes use to understand knowledgeably how to use products. In this study, we aimed studying the interaction between emotion and cognition focus on product interface user. Centered with a suggested model of interaction between cognition and emotion, we considered principally that cognitive processing was mainly performed when user operated on product. We devoted ways to investigate, the first, how emotion worked during and after operation; the second, whether emotion influenced cognition during operation, or the cognition influenced emotion. Two experimental case studies were planned according to the targets. In each case, users’ emotions were evaluated in two ways including EEG and subjective evaluation, while cognitions were observed through operation data.</p>
<p>In first case study, drivers’ comfortable feelings on curvilinear motion were observed by frontal lobe Alpha waves and subjective evaluation.<br>
In second case study, a program was developed to realize the mental-rotation in virtual environment in which the interface background color could be changed. We observed that if user’s emotions could be excited by color information and its interactions with cognitive operation.</p>
<p>The study indicates that emotion would be performed independently responding to information dynamically in the state that cognitive processing is mainly performed while using product. Sometimes emotional reactions show connections with cognition, even if it did not be reflected on operational behaviors or physiological indicators, it would be memorized implicitly, and aroused consciously by subjective evaluation after operation.</p>
https://doi.org/10.5281/zenodo.2596012
oai:zenodo.org:2596012
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596011
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
product interface
emotion
cognition
Clarify Interaction Between Emotion and Cognition Focus on Interface User
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596183
2020-01-20T12:56:01Z
user-de06_2008
Nakajima, Mizuki
Igarashi, Hiroya
2019-03-16
<p>The light is the most important elements of lighting equipments, and the dark is the composition of the light. People have impressed anxiety and fear from darkness, that is root of the people emotion and common sense. (anxiety symptom of age clinic study group of anxiety and depression 1997)</p>
<p>I think anxiety and fear will effect for people afraid, that links with discomfort. When people had met with darkness, they have been impressed anxiety at first. The anxiety is non-targetable affective confusion from inner contradiction and natural emotion to danger. (anxiety symptom</p>
<p>of age clinic study group of anxiety and depression 1997)<br>
After that, people have been impressed by fear. The fear is more close to people than anxiety,</p>
<p>because that is concrete and actual.(anxiety material of in the brain kaiya Hisanobu 1997)</p>
<p>So I think that the process which people have impressed anxiety and fear as they confronted with the darkness was that.<br>
1. When people have been in the dark, they are blocked out their sight, they can’t recognize the space, and feels anxiety from non-target affective confusion.<br>
2. People are recollected fear from the anxiety to darkness through their experience.</p>
<p>Thus, anxiety is not permanent. And I had hypothesis as follows;</p>
<p>Fear is the result of anxiety. And fear makes afraid and discomfort. And then I could take the data that people are in more abstract to anxiety and in more concrete to fear.</p>
<p>From that data I could extract element of darkness with no fear and no afraid, because of giving the definition to emotion of anxiety and fear.</p>
<p>According to the hypothesis, Anxiety corresponds with abstraction word of emotion, and fear corresponds with concrete word of emotion. Finally I think it is available to designs of lighting fixtures brought from attractive of right and darkness.</p>
https://doi.org/10.5281/zenodo.2596183
oai:zenodo.org:2596183
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596182
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
lighting equipments
anxiety and fear
darkness
The element extracted from lighting equipments that don't take discomfort from darkness
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596121
2020-01-20T12:56:35Z
user-de06_2008
Forrest, Matthew
Zimmerman, John
Forlizzi, Jodi
2019-03-16
<p>Advances in technology continually increase the ability, but also the complexity, of consumer electronics. While manufacturers try to remedy this by designing programmable remote controls or consolidating multiple interfaces into one, our research shows that families often rely upon a single person – the family “technology lead” – to operate their home electronics for them. Instead of trying to create simpler interfaces for complex home electronics that can be used by all, we believe that a system which empowers the family technology lead will not only facilitate the operation of complex home electronics, but will bring families closer together. In this paper we present <em>Magonote</em>, a conceptual system created using iterative, user-centered design methodologies, as a solution to this problem.</p>
https://doi.org/10.5281/zenodo.2596121
oai:zenodo.org:2596121
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596120
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
family ties
home electronics
user-centered design
Magonote – Making Complex Home Electronics Accessible by Empowering the Family Technology Lead
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596156
2020-01-20T12:56:40Z
user-de06_2008
Tamura, Ryoichi
Morita, Yoshitsugu
2019-03-16
<p>In an attempt to obtain effective guidelines for planning community events, this study examined the structure of rating special events held in communities by taking up “Minoshima Project – Let’s Go Out to Enjoy”, an experiment conducted by the Japanese Ministry of Land, Infrastructure and Transport in Minoshima, Hakata-ku, Fukuoka. Analysis of visitors’ answers given a questionnaire survey revealed that planning and implementing projects that would enhance six items of evaluation (factor evaluation), “a. events are entertaining”, “b. events are useful to boosts economy in the district”, “e. events are fashionable” and “f. events enhance the unique character of the district”, would improve the value of individual projects, and heighten the comprehensive evaluation of the event in community (MINOSHIMA Project).</p>
<p>Study and analysis of community events and examination of evaluation items (factor evaluation) are believed to delineate the evaluation structure of community events.</p>
https://doi.org/10.5281/zenodo.2596156
oai:zenodo.org:2596156
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596155
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Special Event in Community
Evaluation Structure
Design Strategy
Study on Evaluation Structure of Special Events in Community – Case Study on "Minoshima Project – Let's Go Out to Enjoy"
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596079
2020-01-20T14:16:26Z
user-de06_2008
Joost, Gesche
Tractinsky, Noam
Buchmüller, Sandra
Englert, Roman
2019-03-16
<p>In this paper, we evaluate a notation system for Audio-visual Patterns (AVP) that visualizes auditory and visual parameters of film. This system is the basis for a comparative analysis of the rhetorical structure and for predicting the emotional response of viewers of film. We conducted two experiments to test the prediction of the proposed AVP system by asking female viewers about their emotional responses to 10 selected TV commercials. The results indicate that the AVP system provides sound predictions regarding the arousal level of the viewers as the commercial unfolds.</p>
https://doi.org/10.5281/zenodo.2596079
oai:zenodo.org:2596079
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596078
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Pattern language
film analysis
rhetoric
emotion
persuasion
multimedia
arousal
design research
Emotional Response to the Audio-visual Pattern Language of Film
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596002
2020-01-20T13:26:00Z
user-de06_2008
Buccini, Marcos
Santana, Shirley
2019-03-16
<p>In the light of relative failures in the early forms of online ads, advergames have increasingly been used as part of a marketing campaign to promote products and brands. Despite growing popularity, their efficacy it’s yet to be thoroughly proved and very little is known about the building of attitudes towards advergames, especially in emerging economies such as Brazil – Latin America's leader of Internet users, ahead of both Argentina and Mexico. Since the human being does not separate emotion from cognition even when using or buying a product, concepts like feelings, emotions, experience, pleasure and beauty have become more relevant in design and marketing research. Moreover, early studies suggest that digital games can bring up different kinds of experiences to their users. Those experiences were divided into six categories: experiences related to the senses; experiences related to the feelings; social experiences; cognitive experiences; use experiences; and motivational experiences. Supported by a focus group technique, the objectives of our study were to refine and empirically test the six categories of experiences framework using a case study of online advergames; to identify which experiences are generated by advergames and whether they promoted brand recall, a common measure of brand equity among Brazilian students. This paper sets out to show that design experiences can increase advergames effectiveness more than classical advertising ads in building brand equity.</p>
https://doi.org/10.5281/zenodo.2596002
oai:zenodo.org:2596002
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596001
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
advergames
experiencial design
brand equity
Building Brand Equity Using Advergames Experiences: A Brazilian Study Case
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596027
2020-01-20T13:24:44Z
user-de06_2008
Lamey, Bev
Bristow, Carol
Thompson, Jim
2019-03-16
<p>As part of the SEED project a serious game was designed to help a service user group based in a Psychiatric Unit to influence the redesign of their hospital environment. This consultation tool can be adapted to suit diverse contexts and applications.<br>
The paper will examine the tension between designing a game that elicits pleasure and enjoyment from the participants and stimulates discussion and interaction which can supply useful information gathering when working with marginalised participants and those who have difficulty communicating their emotional responses in conventional consultation processes.</p>
<p>We will demonstrate that the game format can be a useful tool to facilitate clearer communication between professionals and marginalised user groups, such as designers and mental health service users and present the design development of the game from the initial concept through to application in other healthcare contexts and projects.</p>
https://doi.org/10.5281/zenodo.2596027
oai:zenodo.org:2596027
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596026
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Communication User Game
The design development of a "Serious" board game – mediating the tension between playing the game and modelling experience for the purpose of gathering information.
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2588746
2020-01-20T12:50:32Z
user-de06_2008
Russo, Beatriz
Boess, Stella
Hekkert, Paul
2019-03-09
<p>In this paper, we first address the problems of assessing full sequences of interaction episodes that lead to/are followed by enduring product experiences. Enduring product experiences are dynamic experiences that occur towards the same object, in person-product relationships, through a (relatively) long period of time. The appraisal of these sequences of interaction episodes allows the assessment of information that is envisioned to be valuable to designers who are concerned with designing for experiences.</p>
<p>To aid the assessment of interactions linked to enduring experiences, we propose the development of a manageable tool, envisioned to (1) sensitize (inform) participants in research about interactions that may be associated with product experiences, (2) impose a structure to stories in order to (a) easily identify interactions, (b) avoid unneeded data and (c) facilitate the systematic assessment of interactions and experiences.<br>
Here, through a succession of iterative exploratory studies, we present the first three phases of the development of the Experience Interaction Tool (EXIT).</p>
https://doi.org/10.5281/zenodo.2588746
oai:zenodo.org:2588746
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2588745
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Interaction
Product Experience
Enduring Experiences
Talking about interactions: Eliciting structured interaction stories in enduring product experiences
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596125
2020-01-20T17:32:56Z
user-de06_2008
Yilmaz, Ezgi Erdogan
Bayazit, Nigan
2019-03-16
<p>People interact with different objects and environments during their life-time; feeling and expressing emotions toward the surrounding objects. Emotions have become one of the most progressive topics of industrial design discipline in recent years, especially with human factors studies, raising the need for investigating the area of emotions in product design. Desmet (2002) defines the emotions that are expressed towards a product as ‘product emotions’. In the present study, PrEmo (Product Emotion Measurement Instrument) developed by Desmet (2002) was used. The aim was to investigate emotional responses to a specific product group, to determine differences across gender groups and to apply an emotion measurement instrument in Turkey to see its validity and usability in a different context. More specifically, the study aims to answer the following research questions: What are the emotional responses of the participants towards the given products? Do the participants from different gender groups differ in terms of their emotional responses to each product given in the instrument? Is PrEmo a suitable and usable measurement instrument in the context of Turkey? Finally, key concepts of emotional design, mainly developed by Desmet (2004, 2003, 2002), were reviewed. The paper reports an empirical research utilizing self-report methodology to assess emotional responses to photographs of seven concept cars in the Turkish context and shows how different product characteristics were perceived differently by men and women.</p>
https://doi.org/10.5281/zenodo.2596125
oai:zenodo.org:2596125
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596124
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Emotion Measurement
PrEmo
Turkish context
Gender Differences
Measuring Emotions in Product Design: A study on Emotional Responses to Car Designs
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2596201
2020-01-20T15:01:00Z
user-de06_2008
White, Hazel
2019-03-16
<p>With the development of smaller and more portable technology, both clothing and jewellery offer potential solutions to the problem of ‘wearability’. Jewellery objects often signify emotional attachments, personal stories and have personal meaning to the wearer. Rather than simply being a carrier of technology, could the resonances that jewellery objects gather offer suggestions as to what we might want wearable technology to do? The paper discusses a UK Arts and Humanities Research Council funded project which uses ‘charms’ to explores what wearers might desire from technologically enabled jewellery. The paper discusses how the research was conducted; the insights gained and suggests future design possibilities.</p>
https://doi.org/10.5281/zenodo.2596201
oai:zenodo.org:2596201
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2596200
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
wearable computing
jewellery
interaction
Charmed: Can Jewellery Tell Us What We Want From Wearable Technology?
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:2592587
2020-01-20T12:07:57Z
user-de06_2008
Attridge, Alex
Pitts, Matthew
Williams, Mark A
2019-03-13
<p>This paper considers the design of seat adjustment controls in the premium sports utility vehicle sector, and takes a human-centred approach to collecting both positive and negative data regarding existing controls on a number of vehicles. The research draws on sensory science techniques and attempts to apply them in an automotive engineering arena, addressing in particular affective elements of seat adjustment control design. To achieve this, a one-hundred participant customer clinic event was held, with additional data sourced from an industry- standard, commercial survey. The data sets are analysed and compared in order to draw conclusions and make design recommendations relating to the functional and emotional aspects of seat adjustment control design. The findings from this research identify key factors resulting in both positive and negative user experiences for the vehicles selected for the study. In addition, comparisons with, and limitations of, commercial survey data are explored.</p>
https://doi.org/10.5281/zenodo.2592587
oai:zenodo.org:2592587
Zenodo
https://zenodo.org/communities/de06_2008
https://doi.org/10.5281/zenodo.2592586
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Seat Adjustment Controls
Affective Design
Content Analysis
A Human-Centred Approach to the Design and Evaluation of Automotive Seat Adjustment Controls
info:eu-repo/semantics/conferencePaper
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