Co-experience: Understanding user experiences in social interaction

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tegé of Behrens, Walter Gropius. The 1925 world exhibition of Modern Decorative and Industrial Arts in Paris showcased many modernist designs, and in fact this exhibition transferred the idea of modern design to the United States. There it was soon taken up on a large scale, and consequently both Loewy, known for his streamline aesthetics, and Dreyfuss, known for his human factors and shopfloor production approach to design, opened their respective offices in 1929. Loewy later became known as the streamline stylist and Dreyfuss contributed to the development of a user centred and research driven approach to design. (Tambini 1996) In Designing for People (1974, first edition in 1955) Dreyfuss describes his five principles for design: Utility and safety, Maintenance, Cost, Sales appeal and Appearance. Dreyfuss also describes his human factors (known on the European side as ergonomics) research, the use of anthropometric data as characters Joe and Josephine. He describes design cases and how good design practice is made to happen with sketches, visualisations and prototypes, through visits to factories, production plants and offices, and by taking courses in sewing, apprenticing with a telephone repair man and selling alarm clocks at the department store. “… if people are made safer, more comfortable, more eager to purchase, more efficient – or just plain happier – by contact with the product, then the designer has succeeded.” (Dreyfuss: Designing for People, 1974) 18 1 INTRODUCTION The emergence of human factors can be traced to Taylor’s “scientific management”, practised in the early 1900s and published as a book in 1911. It advertises the detailed study of work broken down into small tasks, analysed, timed and studied and re-organised for maximum efficiency. According to the philosophy, management is responsible for selecting and training workers who are best suited to their tasks. In optimising efficiency, science was to replace rules of thumb: objective measurement and analysis provided information on the previously mysterious nature of work (see e.g. Modern History Sourcebook). Taylor’s stopwatch studies were used by human factors researchers well into the 1960s (Tambini 1996). This is in line but also in stark contrast with for example Dreyfuss’ empathic and humane approach. 1.2.2 DESIGNING PERCEPTIONS How did it happen that the mention of the word “apple” causes some computer users to sneer and others to express great enthusiasm? Or that certain types of
fizzy flavoured water seem to be about all but thirst or even the flavour? Or even that small stitched labels on clothes say something about who you are? It is also worth nothing that you are not supposed to sew them on yourself. Symbols such as emblems, signatures, initials, heraldry and watermarks have been used for centuries on products to identify producer or trader and guarantee quality of produce (Haig 2003). As producing and creating new products became an increasing business, companies needed to enable consumers to recognise products as theirs when seeing them in stores and catalogues. Products of the same manufacturer were made identifiable because of shared visual or design elements or qualities in the design. Recognition did not have to rely on a long history; it could also be designed as any other aspect of the product. The first systematic corporate image development took place at AEG in Germany at the hands of artistic director Behrens at around 1907. Setting standards for products and interchangeable parts was important also at the corporate level to make managing products and parts easier. What AEG stood for was made concrete in visuals, factory buildings and products, each contributing to the common image (Buddensieg 1984). Corporate image was later also addressed in Italy in the thirties at Olivetti – despite a lack of design schools and industrial designers as such, artists and architects were employed to design Olivetti’s advertising, exhibitions, products and factories to a high standard (Kicherer 1990). Philips was a leading technology product developer already in the 30s. In the United States corporate branding emerged in the late 1950s and early 1960s as IBM and Westinghouse integrated the design of their products, graphic materials and even architecture to the consultants’ guidelines. (Cagan & Vogel 2002) As in the cases mentioned above, the use of industrial designers to improve the appearance and style of products and product lines boosted sales – and not only of consumer products but of industrial machines as well. The new consumers of the post-war United States were the large middle class who could now afford a new kind of life style and consumer products – this was the introduction of mass markets. Youth culture emerged in the 50s and 60s, creating a new and eager market segment for whom to market and design. Some companies restyled their products every year to boost sales – designed obsolescence was wasteful but provided more work and business. Some companies rejected this path, and for example Braun’s home appliances were known to be durable, long-lasting products with a style of their own. (Tambini 1996) In the 1970s the values that had maintained the mass markets began to disintegrate. An increased awareness of the needs of special user groups and a growing demand for quality and safety split the market into smaller niches. People’s 19
Page 3 and 4: Katja Battarbee UNDERSTANDING USER
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Page 9 and 10: an experience, the recipient is use
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Page 15 and 16: 1 INTRO - DUCTION 1.1 FOCUS AND AIM
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FIGURE 14 69 Empathic observations
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Liz Sanders has been influential in
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FIGURE 17 73 Examples of self docum
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3.1 REALITY SEEKS THEORY FOR SERIOU
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3.1 REALITY SEEKS THEORY FOR SERIOU
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3.1.1 EXPERIENCES IN SOCIAL INTERAC
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He succeeds in terminating the repo
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86 3 CO-EXPERIENCE drawn from the c
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21 FIGURES 20 The actual fishing ex
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90 3 CO-EXPERIENCE typically half-w
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field testing as an early research
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ple explore a product or a technolo
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the time (articles 1 Mäkelä & Bat
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1 IT’S FUN TO DO THINGS TOGETHER
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102 4 PRESENTING THE ARTICLES cial
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104 4 PRESENTING THE ARTICLES
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The results of the two user studies
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FIGURE 2 One of the users with a Ph
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joyed the challenge of breaking the
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ACKNOWLEDGEMENTS We thank the other
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KEYWORDS User experience, interacti
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pretation act to shape the experien
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CATEGORIES AND SUBJECT DESCRIPTORS:
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make proposals and counterproposals
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The first message (figure 1) is jus
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and sunniest time of year. The “f
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ecome fluent in forms of media, the
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mote storytelling. [3] Narration an
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in Computer Systems 2002, Minneapol
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INTRODUCTION Usability experts know
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136 4 PRESENTING THE ARTICLES ence
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138 4 PRESENTING THE ARTICLES Simil
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ticipant was given a MMS phone (eit
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Sometimes experiences belong to lar
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From Liisa: 11 th July 2002 6:35 p.
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People may also align with negative
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From Thomas: 16 th July 2002 1:41 p
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150 4 PRESENTING THE ARTICLES disti
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152 4 PRESENTING THE ARTICLES 6. Bl
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52. Taylor, A. and Harper, R. (2002
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CATEGORIES AND SUBJECT DESCRIPTORS:
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158 4 PRESENTING THE ARTICLES proac
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USER-PRODUCT INTERACTIONS: FLUENT,
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162 4 PRESENTING THE ARTICLES end,
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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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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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