Co-experience: Understanding user experiences in social interaction

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mote storytelling. [3] Narration and storytelling imply social dimensions in experience. Meanings are communicated through storytelling, which suggests that meaningful experiences might be found in the kinds of stories that people tell of objects. Although the object is part of the story, and obviously related to the teller, these stories involve other people as well. Our dearest objects often symbolise people and relationships. [1] However, much of our interaction happens without conscious attention, and cannot directly be accessed through verbal accounts or stories. Drawing the exact line between individual and social experiences is not easy. Problem solving has often been looked at from the individual’s point of view, but learning and problem solving can happen collaboratively as well. As co-experiencing can be asynchronous, it can be difficult to tell whether something is an individual experience or whether it is a part of an asynchronous process. Human Computer Interaction (HCI) has been criticised for its cognition and individual oriented view on users and technology. Computer Supported Collaborative Work (CSCW) takes collaboration as its user. Still, even CSCW systems sometimes fail because of overlooking things such as the importance of social interaction in accomplishing apparently individual co-present work or tacit knowledge in paper-based manual systems. [8] 6. CONCLUSIONS 130 4 PRESENTING THE ARTICLES It can be seen that the division between individual and social experiences is not a simple one. The concept of user experience must grow to include also the co-experience dimensions of product use in social interaction. While consumer oriented, such holistic approaches have their applications in productive contexts as well. To some extent, the “adoption of products” has been seen as something mysterious and beyond the control of the designer, which may or may not happen. The emergence of co-experience in social interaction must play some part in this adoption process. Co-experience is a process where participants together contribute to the shared experience in a reciprocal fashion, creating interpretations and meanings from their life context and allowing themes and social practices to evolve. In research into user experience, the social elements of experience have often been neglected in favour of individualistic approaches. Co-experience is driven by social needs of communication and maintaining relationships as well as creativity in collaboration. To support co-experience, these aspects should be addressed in user studies and design.
7. ACKNOWLEDGMENTS Thanks to Professor Ilpo Koskinen for continuous advice and Professor Turkka Keinonen for comments. Many thanks to Esko Kurvinen for good discussions and the rest of our research group comments and also to Paola Cabrera Viancha who worked on the project. Thanks to Seppo Väkevä and Pasi Nuppunen at Radiolinja for the MMS collaboration. ARTICLE 3 131 8. REFERENCES 1. Battarbee, K., and Mattelmäki, T. Meaningful Relationships with Products. In: Proceedings of the Design + Emotion Conference, 1–3 July 2002, Loughborough (forthcoming 2003). 2. Dewey, J. Art as Experience. The Berkeley Publishing Group, 1934. 3. Forlizzi, F. and Ford, S. The Building Blocks of Experience: An Early Framework for Interaction Designers. In: Proceedings of Designing Interactive Systems DIS’2000 Brooklyn, New York, 17–19 August 2000, ACM, 419–423. 4. Frolich, D., Kuchinsky, A., Pering, C., Don, A. and Ariss, S. Requirements for photoware. In: Proceedings of CSCW’02, New Orleans, Louisiana, November 16–20 2002, ACM, 166–175. 5. Giller, V., Tscheligi, M., Sefelin, R., Mäkelä, A., Puskala, A., and Karvonen, K. Image makers. Interactions Special Issue: The digital hug. November + December 1999. ACM Press, 12–15. 6. Geisler, C., Rogers, E.H. Technological Mediation for Design Collaboration. Proceedings of IEEE-IPCC Cambridge, Massachusetts 2000, p. 395–405. 7. Goffman, E. The Presentation of Self in Everyday Life. Doubleday, New York, 1959. 8. Heath, C. and Luff, P. Technology in Action. Cambridge University Press, 2000. 9. Hummels, C.C.M., Djajadiningrat, J.P., & Overbeeke, C.J. 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. 10. Koskinen, I., Kurvinen, E. and Lehtonen T.- K. Mobile Image. IT Press, Helsinki, 2002. 11. Kurvinen, E. Emotions in Action: a Case in Mobile Visual Communication. In: Proceedings of the Design + Emotion Conference, 1–3 July 2002, Loughborough (forthcoming 2003). 12. Mäkelä, A., and Battarbee, K. It’s Fun to do Things Together: Two Cases of Explorative User Studies. Personal Technologies, 3 (1999), 137–140. 13. Mäkelä, A., and Fulton Suri, J. Supporting Users’ Creativity: Design to Induce Pleasurable Experiences. In M.G. Helander, H.M. Khalid, T. Ming Po (Eds.), Proceedings of International Conference on Affective Human Factors Design, Singapore 2001. ASEAN Academic Press, 387–394. 14. Mäkelä, A., Giller, V., Tscheligi, M., and Sefelin, R. Joking, storytelling, artsharing, expressing affection: A field trial of how children and their social network communicate with digital images in leisure time. In Proceedings of CHI 2000. ACM Press, 548–555. 15. McAdams D.P. The Stories We Live By. Personal Myths and the Making of the Self. Guildford Press, 1993. 16. Monk, A., Hassenzahl, M., Blythe, M., Reed, D. Funology: Designing Enjoyment. Extended Abstracts on Human Factors
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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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even artistic, approach that treats
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BEHAVIOUR EXPERIENCE 67 OBSERVATION
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Liz Sanders has been influential in
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3.1 REALITY SEEKS THEORY FOR SERIOU
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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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1900 ZEPPELIN, ESCALATOR . . . . .
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EVENTS, INVENTIONS, ART, CULTURE DE
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