Co-experience: Understanding user experiences in social interaction

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KEYWORDS User experience, interaction design, co-experience INTRODUCTION 114 4 PRESENTING THE ARTICLES Usability has been critiqued for not addressing the emotional side of product use strongly enough. It aims more at the removal of obstacles than at providing engaging and fun experiences [7]. The lingering mental image is of a user sitting in front of a terminal, accomplishing tasks as efficiently as possible. As Dourish [2] points out, in general both computer science and cognitive science imply that thought is separate from action, despite the recent interest in the situational perspective [9] as well as social computing [2]. Models and frameworks on user experience have been emerging in the last ten years. The models focus on understanding the individual’s experience, what elements affect and constitute it and how it may be expressed [3], a necessary starting point. These models emphasise that designers cannot design the subjective experience, only the context may be designed [5, 3]. Although some professionals claim to design and deliver experiences, they agree with these limitations. There is, however a vast number of people who can and in fact do design experiences on a daily basis. These people are the users themselves, who together with others create experiences together, collectively. They are creating co-experience with designed artefacts. The reason why co-experience is a relevant issue in the field of Human–Computer Interaction (HCI) is the development of personal communication technologies and digital media in affordable consumer products that allow ordinary people to take over these technologies for their own purposes. Even when describing pleasure with products, explicit mentions of multiple users are missing [6]. People enjoy the company of each other more than their products. It remains vital to design attractive, functional and usable products, but it is even more important to provide the opportunity for the users to create the relevant experiences together with their family and friends near and far. STORIES OF CO-EXPERIENCE To illustrate user experience, I present two examples of stories I have heard. Both are examples of re-appropriating technology for social use. MOBILE POKER A group of players sits in a bar. Each types a rude text message into their phone. Before sending, they swap phones and start blindly scrolling through the list of
ecipients until someone says “halt”. The phones are returned to the owners, who hold them to their forehead for others to see the displayed recipient. Bets of beverages are then placed, which the player can then win by pressing the send button – the more inappropriate the recipient, the higher the bet. The first reaction to this example is that no company would want their products to be used for such questionable entertainment. However, the situation reveals interesting facts: mobile phones are part of leisure. Phones contain games, but they typically are for one player, and require full attention. The games also do not utilise the functions of the phone: making calls and sending messages. It is unlikely that a person invented this alone, but it is easy to see how a group of friends might have come up with the idea on a Friday night. The game provides experiences that many young men seek: taking a challenge [1] in front of others, developing sense of taking decisions and being responsible for the consequences – experiences that could be supported also in a more socially responsible game. ARTICLE 2 115 THE VIRTUAL THEATRE GROUP Two young girls have the hobby of writing little plays during recess at school. In the evenings, they go to a virtual chat environment [10] on the Internet where they have set up a room with chairs and a stage. Each with their script, they act out their plays with their avatars. Sometimes they invite their friends to appear as avatars in the audience. The virtual environment is designed as a chat room for teenagers: users log in with an avatar and move in the axonometric space, typing what they want to say. The same functions provide an outlet for the dramatic expression needs of the girls: the avatars can change appearance and the private rooms have virtual furniture. The environment supports the participation of many people remotely. Virtual performances are easier to organise than a real drama group, and provide more freedom for the characters – more imagination and less reality, in fact, the perfect setup for young girls’ imaginative play. WHAT DEFINES CO-EXPERIENCE? CO-EXPERIENCE IS SOCIAL Co-experience relies on communication. A study of how professional designers construct things collectively [4] describes the collaborative design process as being a dialog, in which proposals are created, and then evaluated, rejected or accepted and new ones created in response. The designers of co-experience respond similarly to the situation presented by others, and through their inter-
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Katja Battarbee UNDERSTANDING USER
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FOR YOU
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4 PRESENTING THE ARTICLES 101 1 IT
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an experience, the recipient is use
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It takes a group to turn a design s
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1 INTRO - DUCTION 1.1 FOCUS AND AIM
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duction cycles are short and the st
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fizzy flavoured water seem to be ab
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tronic, and there was no movement o
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and content developers to channel t
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1.3 WHAT IS DESIGN FOR USER EXPERIE
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longer process, in the order of mon
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something independent of being and
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panies are more likely to publish r
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3 CO-EXPERIENCE takes the most prom
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2 USER EXPERIENCE DEMYSTIFIED This
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ecause of the way people enjoy chal
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ness - the ability to facilitate ta
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43 ACTION GOAL goal goal goal actio
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Interaction designers who focus on
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other kinds of products. These mode
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THE MOMENT PAST EXPERIENCE DREAMS F
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experiences with products that do n
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53 ACTION INHERENT INFORMATION AUGM
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Hassenzahl defines fun as a mode of
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ing, and coveting products all elic
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verbal self-reports are subject to
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veen’s alarm clock (ibid.) is int
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Page 67 and 68: BEHAVIOUR EXPERIENCE 67 OBSERVATION
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Page 98: 1 IT’S FUN TO DO THINGS TOGETHER
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Page 106 and 107: The results of the two user studies
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Page 112 and 113: ACKNOWLEDGEMENTS We thank the other
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Page 120 and 121: CATEGORIES AND SUBJECT DESCRIPTORS:
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Page 134 and 135: INTRODUCTION Usability experts know
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tive, often shared experiences - su
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166 4 PRESENTING THE ARTICLES inter
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oth a subjective and objective view
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170 4 PRESENTING THE ARTICLES T. Ed
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172 4 PRESENTING THE ARTICLES
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This leads us to the core question
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that resist all your attempts to un
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or even grass. This poses new chall
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FIGURE 2 The large emply piazza. FI
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INTERVENTIONS A first attempt to sp
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• After recording, preview the me
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A SCENARIO FOR THE SATELLITES The s
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pants can experience affective inti
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the importance of qualitative exper
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A AFFECTIVE COMPUTING WEBSITE . . .
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196 REFERENCES Beyer, Hugh. & Karen
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198 REFERENCES Garrett, Jesse James
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200 REFERENCES The ever improving d
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202 REFERENCES Picard, Rosalind W.
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1900 ZEPPELIN, ESCALATOR . . . . .
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EVENTS, INVENTIONS, ART, CULTURE DE
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