Dynamic Interactive Aesthetics

This short paper presents an experimental approach to the difficulty of evaluating interactive systems as artefacts for everyday life. The problem arises from the event-like nature of the user-centred evaluation session, as distinct from ‘being’ or the ‘ongoing flow’ of daily life, and from the dynamic complexity of the lifeworlds of users in human centred design approaches. In analysing the data from a recent project investigating the aesthetic and utilitarian figurations of a wireless system of computational jewellery, it was found that the participants made references to a range of notional lifeworlds, and that the premises for use attached to these varied in type. An overview of the evaluation procedure, including pre and post task sessions with the user group, is given, and the results from the project discussed.

Design, User Experience, and Usability. Design Philosophy and Theory

The following text describes the development of affective computer interfaces that seek to provoke visual, tactile, gustatory and olfactory interactions, a process by which an external or internal stimulus causes a specific reaction that produce a perception, considering that in the deleuzian and guattarian sense (1992), an idea can thoroughly cross creative activities. For the authors, an idea arises in three distinct forms: (1) at one moment arises; (2) in the philosophical context; (3) in the form of concepts; in another moment, it appears in the artistic production of visual artists, in which artist invents perceptions, and it also occurs with musicians because according to the authors, the musician creates affections. Considering this and artistic and design computational production, we describe below the results of collaborative research that has in common the poetics of interactivity, provided by computational processes and methods that approach different ideas involving affective cartography, body, art, nature and artificial life, wearable computers and emergency.

2014

A successful product needs the designer’s conceptual model congruent with the user’s mental model. The fundamental affective design principle also applies to assistive product design. Eliciting effectively the user’s mental model has been a big challenge for most novice designers. This paper outlines the concept of an integrated design method that is developed to aid novice designer through the conceptual design stage. Multi-modal stimulation is used in this design method to induce user’s emotion, a key element in the user’s mental model. Visio-haptic Augmented Reality technology is integrated with 3D digital prototype as emotion stimulus. To form a closed loop reflective model, the emotion response from the user is assessed with an emotion assessment tool. Emotion ontology is established to form the backbone of the emotion assessment tool.

2010

In my book Emotional Design, I proposed a framework for analyzing products in a holistic way to include their attractiveness, their behavior, and the image they present to the user--and of the owner. In this work on design, these different aspects of a product were identified with different levels of processing by people: visceral, behavioral, and reflective. These three levels translate into three different kinds of design. Visceral design refers primarily to that initial impact, to its appearance.

HCI has seen a development from a focus on "natural" affordances, over a concern for canonical affordances crystallized in societal productive practice, to the aesthetics of the interface as a key to understand good interaction. With the concept of tertiary artefacts, and the idea that mundane tools exist in complex clusters of primary, secondary and tertiary artefactness, it is possible to integrate these three levels of concern in a new third generation HCI.

2009

Abstract. Ambient media encompasses a new range of digital artworks that digest and interpret information gathered from contextual systems and provide dynamic visualisations and interactions. In this paper we describe a system for incorporating affective data within digital artworks using a dimensional model of emotion and discuss approaches for evaluating both the efficacy of such a system and the artistic success of the resulting artworks. Keywords: Emotion, Affective Interfaces, Interactive Artwork, Flow.

Proceedings of the 32nd annual ACM conference on Human factors in computing systems - CHI '14, 2014

Through our art project, Metaphone, we explored a particular form of aesthetics referred to in the arts tradition as machine aesthetics. The Metaphone machine collects the participant's bio-data, Galvanic Skin Response (GSR) and Heart Rate (HR), creating a process of movement, painting and sound. The machine behaves in machine-like, aesthetically evocative ways: a shaft on two large wheels rotates on the floor, carrying paint that is dripped onto a large sheet of aquarelle paper on the floor according to bio-sensor data. A soundscape rhythmically follows the bio-sensor data, but also has its own machine-like sounds. Six commentators were invited to interact with the machine. They reported a strangely relaxing atmosphere induced by the machine. Based on these experiences we discuss how different art styles can help to describe aesthetics in interaction design generally, and how machine aesthetics in particular can be used to create interesting, sustained, stylistically coherent interactions.

Vorobyeva, Olga. “Designing for emotions.” In Once upon in a Nordic larp… Eds. Svanevik M. et al. Oslo: Knutpunkt 2017 An overview of tools common in Russian larp design used by larp organizers to provoke required emotions in players and/or their characters.

2011

Innovation represents a key role in firm success. Though the literature provides much advices and methods, companies sometimes do not know how to proceed when they feel they have exhausted all innovation possibilities or when they are in need of a specific type of evolution. The present paper proposes an overview of product innovation types and emotional design methods to make competitive products, bringing emotional benefits to the final users. Based on the synthesis of existing methods and tools from the literature and on our experience in design for emotion, we propose to illustrate how to design for emotion in the three main types of product innovation: incremental, disruptive and forecasting. We propose a visual tool, a brochure, dedicated to SMEs, to help understanding the differences between these types of innovation and how design for emotion can contribute to each type of innovation. Each case is supplemented with a toolbox of relevant tools, allowing company’s design team ...

2006

We take as our starting point the distinction between two perspectives on products: designer and user. There is often a mismatch between these two perspectives, but both matches and mismatches constitute a major source of the affective reactions that people have to products and their interactions with them. These reactions extend over a wide range and include not only (relatively short-term) emotions, but also longer term reactions such as moods, preferences, and attitudes. 2 1 Paper prepared for a symposium on "Foundations of Interaction Design" at the Interaction Design Institute, Ivrea (Italy), Nov. 2003. Actually, we gave two separatebut related-papers, so we decided to join them for the written publication.