Co-experience: Understanding user experiences in social interaction

More documents

Recommendations

Info

• After recording, preview the message and accept it for sending, otherwise message will be deleted. • The recorded messages flow together at a central location, the Pool of Memory. It is a large circle of seat-height walls with a drinking water fountain in the middle. The videoclips circulate slowly on screens around the inner rim of the structure, casting their reflections onto the water surface. As one can easily notice, the pool serves many functions to the community this way: it provides a place for people to sit and socialise, it has a drinking water fountain, and it allows personal messages to be viewed both from within close range as from a further distance while passing by. 184 4 PRESENTING THE ARTICLES THE SATELLITES The satellite is, in essence, a playful exploration of modes of communication. Its round, biomorph product shapes have been chosen to invite people to playfully interact with them. The device consists of two parts that communicate with each other from different locations. One end can see but cannot hear, the other end can hear but cannot see. Asymmetrically limiting communication modalities was a deliberate design choice in order to awaken curiosity and creative thinking, to stimulate discovering different, new ways to interact with other people. At the same time the concept can be seen as a silent reference to the distancing effect and narrowed communication of many ICT devices. The wireless satellite has a round friendly shape in a large “huggable” size. It captures video and sends it to the ground control. The ground control is also round, but rests on legs and is immobile. It displays the video input from the satellite and records the sound input of the viewers, broadcasting it back to the satellite. The aim of this is to explore the concept of communication, how it is initiated, how the under-standing of the asymmetry of modality is processed and what this might lead to. When effective communication cannot be the functionality, will the playfulness suggested by the object shape take over and influence people’s behaviour? The satellite concept also addresses the issue of openness. The main experience is that of using the system, but the way in which people have to interact with it will draw attention from passers-by and initiate their curiosity. It is a perfect example of giving people the opportunity to make use of social navigation. Also the concept allows the person to communicate without actually disclosing her/ his identity or being the entertainer or clown. The social hedonistic needs are ad-
ARTICLE 6 185 It’s Riccardo’s lunch break. He is on his way back from a nice long lunch when he remembers that it’s his and Sonia’s three-month anniversary today … Not remembering would be nothing short of a crime! On the spur of the moment he steals a small rose from a restaurant’s flower bed and spins with it to the recording panel on a nearby wall. Holding the rose in his hands, in front of the camera, he confesses: “Ti amo, Sonia.” Sonia and Maria have a lunch break together. Maria is 8 months pregnant and likes to shop for baby clothes in the city centre, close to home – she can’t walk very far now. They are to meet at Sonia’s work-place, and Maria crosses the square on her way. She glances at the images in the pool and stops: surely that one looks very much like Riccardo, hiding behind a flower? How sweet! Sonia should see this for herself… She calls Sonia and asks her to come over to the square instead – there is something she should see for herself. Sonia giggles … that’s so like Riccardo! Isn’t he the best! Well … she really should reply somehow … maybe a flower for a flower? Maria and Sonia go to the side of the square to the nearest recording panel. They find Riccardo’s rose message, and to record her reply, Sonia holds up a rose from her dress to the camera, with plans to say something mysterious and appreciative, but Maria is rolling her eyes and the funny expression causes Sonia to burst into happy laughter. A SCENARIO FOR THE POOL OF MEMORY
Page 3 and 4:
Katja Battarbee UNDERSTANDING USER
Page 5 and 6:
FOR YOU
Page 7 and 8:
4 PRESENTING THE ARTICLES 101 1 IT
Page 9 and 10:
an experience, the recipient is use
Page 11 and 12:
It takes a group to turn a design s
Page 15 and 16:
1 INTRO - DUCTION 1.1 FOCUS AND AIM
Page 17 and 18:
duction cycles are short and the st
Page 19 and 20:
fizzy flavoured water seem to be ab
Page 21 and 22:
tronic, and there was no movement o
Page 23 and 24:
and content developers to channel t
Page 25 and 26:
1.3 WHAT IS DESIGN FOR USER EXPERIE
Page 27 and 28:
longer process, in the order of mon
Page 29 and 30:
something independent of being and
Page 31 and 32:
panies are more likely to publish r
Page 33 and 34:
3 CO-EXPERIENCE takes the most prom
Page 37 and 38:
2 USER EXPERIENCE DEMYSTIFIED This
Page 39 and 40:
ecause of the way people enjoy chal
Page 41 and 42:
ness - the ability to facilitate ta
Page 43 and 44:
43 ACTION GOAL goal goal goal actio
Page 45 and 46:
Interaction designers who focus on
Page 47 and 48:
other kinds of products. These mode
Page 49 and 50:
THE MOMENT PAST EXPERIENCE DREAMS F
Page 51 and 52:
experiences with products that do n
Page 53 and 54:
53 ACTION INHERENT INFORMATION AUGM
Page 55 and 56:
Hassenzahl defines fun as a mode of
Page 57 and 58:
ing, and coveting products all elic
Page 59 and 60:
verbal self-reports are subject to
Page 61 and 62:
veen’s alarm clock (ibid.) is int
Page 63 and 64:
spaces illustrates, merely telling
Page 65 and 66:
even artistic, approach that treats
Page 67 and 68:
BEHAVIOUR EXPERIENCE 67 OBSERVATION
Page 69 and 70:
FIGURE 14 69 Empathic observations
Page 71 and 72:
Liz Sanders has been influential in
Page 73 and 74:
FIGURE 17 73 Examples of self docum
Page 76:
3.1 REALITY SEEKS THEORY FOR SERIOU
Page 80 and 81:
3.1 REALITY SEEKS THEORY FOR SERIOU
Page 82 and 83:
3.1.1 EXPERIENCES IN SOCIAL INTERAC
Page 84 and 85:
He succeeds in terminating the repo
Page 86 and 87:
86 3 CO-EXPERIENCE drawn from the c
Page 88 and 89:
21 FIGURES 20 The actual fishing ex
Page 90 and 91:
90 3 CO-EXPERIENCE typically half-w
Page 92 and 93:
field testing as an early research
Page 94 and 95:
ple explore a product or a technolo
Page 96 and 97:
the time (articles 1 Mäkelä & Bat
Page 98:
1 IT’S FUN TO DO THINGS TOGETHER
Page 102 and 103:
102 4 PRESENTING THE ARTICLES cial
Page 104 and 105:
104 4 PRESENTING THE ARTICLES
Page 106 and 107:
The results of the two user studies
Page 108 and 109:
FIGURE 2 One of the users with a Ph
Page 110 and 111:
joyed the challenge of breaking the
Page 112 and 113:
ACKNOWLEDGEMENTS We thank the other
Page 114 and 115:
KEYWORDS User experience, interacti
Page 116 and 117:
pretation act to shape the experien
Page 118 and 119:
118 4 PRESENTING THE ARTICLES
Page 120 and 121:
CATEGORIES AND SUBJECT DESCRIPTORS:
Page 122 and 123:
make proposals and counterproposals
Page 124 and 125:
The first message (figure 1) is jus
Page 126 and 127:
and sunniest time of year. The “f
Page 128 and 129:
ecome fluent in forms of media, the
Page 130 and 131:
mote storytelling. [3] Narration an
Page 132 and 133:
in Computer Systems 2002, Minneapol
Page 134 and 135: INTRODUCTION Usability experts know
Page 136 and 137: 136 4 PRESENTING THE ARTICLES ence
Page 138 and 139: 138 4 PRESENTING THE ARTICLES Simil
Page 140 and 141: ticipant was given a MMS phone (eit
Page 142 and 143: Sometimes experiences belong to lar
Page 144 and 145: From Liisa: 11 th July 2002 6:35 p.
Page 146 and 147: People may also align with negative
Page 148 and 149: From Thomas: 16 th July 2002 1:41 p
Page 150 and 151: 150 4 PRESENTING THE ARTICLES disti
Page 152 and 153: 152 4 PRESENTING THE ARTICLES 6. Bl
Page 154 and 155: 52. Taylor, A. and Harper, R. (2002
Page 156 and 157: CATEGORIES AND SUBJECT DESCRIPTORS:
Page 158 and 159: 158 4 PRESENTING THE ARTICLES proac
Page 160 and 161: USER-PRODUCT INTERACTIONS: FLUENT,
Page 162 and 163: 162 4 PRESENTING THE ARTICLES end,
Page 164 and 165: tive, often shared experiences - su
Page 166 and 167: 166 4 PRESENTING THE ARTICLES inter
Page 168 and 169: oth a subjective and objective view
Page 170 and 171: 170 4 PRESENTING THE ARTICLES T. Ed
Page 172 and 173: 172 4 PRESENTING THE ARTICLES
Page 174 and 175: This leads us to the core question
Page 176 and 177: that resist all your attempts to un
Page 178 and 179: or even grass. This poses new chall
Page 180 and 181: FIGURE 2 The large emply piazza. FI
Page 182 and 183: INTERVENTIONS A first attempt to sp
Page 186 and 187: A SCENARIO FOR THE SATELLITES The s
Page 188 and 189: pants can experience affective inti
Page 190 and 191: the importance of qualitative exper
Page 192: A AFFECTIVE COMPUTING WEBSITE . . .
Page 196 and 197: 196 REFERENCES Beyer, Hugh. & Karen
Page 198 and 199: 198 REFERENCES Garrett, Jesse James
Page 200 and 201: 200 REFERENCES The ever improving d
Page 202 and 203: 202 REFERENCES Picard, Rosalind W.
Page 204: 1900 ZEPPELIN, ESCALATOR . . . . .
Page 208 and 209: EVENTS, INVENTIONS, ART, CULTURE DE
show all

Co-experience: Understanding user experiences in social interaction

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?