Co-experience: Understanding user experiences in social interaction

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pretation act to shape the experience into the desired direction. The social situation creates the incentive to respond and continue. CO-EXPERIENCE IS MULTI-MODAL Co-experience, like human–human communication, is multi-modal. The richness of face-to-face communication and the setting it takes place in can be augmented with various communication technologies. What is begun in one modality or channel may continue seamlessly in another. Technologies divide the interaction possibilities into more specialised niches, which users utilise creatively to meet their needs. CO-EXPERIENCE IS CREATIVE Co-experience is about people’s everyday creativity. Sanders [8] points out that when people use technology together, they produce much more creative and interesting results than when people user products just on their own. Co-experience is a creative resource, it is what propels social innovation. However, the creativity in co-experience is not about creating products or art. It is about the ways in which participants make things meaningful for others, the way in which they use the tools to create the experiences. CO-EXPERIENCE IS FOR FUN Co-experience is something people do for pleasure – to have fun together, to pass the time, to keep in touch and to strengthen social ties. This means taking “having fun” seriously [7] as the driving force behind co-experience and as a motivation in its own right. CONCLUSIONS 116 4 PRESENTING THE ARTICLES Future work on co-experience requires practical work: studying co-experience for design, developing the process and tools to do so, and applying and communicating the findings. A framework of co-experience needs to be developed. Finally, co-experience should be seen as the product’s adoption into human life. The other, individualistic aspects of user experience precede and complement it, so that both individual and social experiences find their balance. ACKNOWLEDGMENTS Thanks to Prof. Ilpo Koskinen for support and advice and Sampsa Piira and Andrea Botero for the example stories.
REFERENCES 1. Brandtzaeg, P.B., Foelstad, A. (2001) How to Understand Fun: Using Demands , Decision Latitude and Social Support to Understand Fun in Human Factors Design. Proceedings of the International Conference on Affective Human Factors Design, Asean Academic Press, London, 131–130 2. Dourish, P. (2001) Where the Action Is – the Foundations of Embodied Interaction. MIT Press, Cambridge, 233 p. 3. Forlizzi, J., Ford, S. (2000) The Building Blocks of Experience. And Early Framework For Interaction Designers. Proceedings of Designing Interactive Systems DIS’00, Brooklyn, New York, 419–423 4. Geisler, C., Rogers, E.H. (2000) Technological Mediation for Design Collaboration. Proceedings of IEEE 2000, 395–405. 5. Hummels, C.C.M., Djajadiningrat, J.P., & Overbeeke, C.J. (2001). Knowing, doing and feeling: communicating with your digital products. Proceedings of Interdisziplinäres Kolleg Kognitions- und Neurowissenschaften., Günne am Möhnesee, March 2–9 2001, 289–308. 6. Jordan, P.W. (2000) Designing Pleasurable Products: An Introduction to the New Human Factors. Taylor & Francis, London, 224 p. 7. Monk, A., Hassenzahl, M., Blythe, M., Reed, D. (2002) Funology: Designing Enjoyment. Conference Extended Abstracts on Human Factors in Computer Systems 2002, Minneapolis, Minnesota, USA, 924– 925. 8. Sanders, L. (2002) Collective Creativity. In LOOP: AIGA Journal of Interaction Design Education, December 2002 Number 6. Available at http://loop.aiga.org/content. cfm?Alias=sandersucd 9. Suchman, L. (1987) Plans and Situated Actions: The Problem of Human–Machine Communication. Cambridge University Press, Cambridge, 220 p. 10. Available at: http://www.kultakala.com/ habbo/ or in English at http://www.habbohotel.com/. ARTICLE 2 117
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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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spaces illustrates, merely telling
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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 114 and 115: KEYWORDS User experience, interacti
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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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