Co-experience: Understanding user experiences in social interaction
Co-experience: Understanding user experiences in social interaction
Co-experience: Understanding user experiences in social interaction
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28 1 INTRODUCTION<br />
has to say about the ord<strong>in</strong>ary and the possible design opportunities that have<br />
been revealed. In study<strong>in</strong>g <strong>user</strong> <strong>experience</strong>, the focus should be on the world<br />
accord<strong>in</strong>g to the <strong>user</strong>s, not accord<strong>in</strong>g to the designers, the professional critics<br />
and makers of products.<br />
Designers are <strong>in</strong>terested <strong>in</strong> creat<strong>in</strong>g someth<strong>in</strong>g new – to do this they need<br />
an understand<strong>in</strong>g of the current and use that as a start<strong>in</strong>g po<strong>in</strong>t. One common<br />
strategy is to beg<strong>in</strong> by study<strong>in</strong>g exist<strong>in</strong>g products to def<strong>in</strong>e the start<strong>in</strong>g po<strong>in</strong>t.<br />
Aside from feature lists, this evaluation process is often also an evaluation of<br />
appearance – as Vihma notes that the semantic and aesthetic features of products<br />
are often treated together and seem to be related (Vihma 1995: 14). Products<br />
communicate with their form and appearance. In product semantics, products<br />
have representational qualities, which mean they act as signs. Products<br />
can conta<strong>in</strong> iconic signs such as images, diagrams and metaphors. They can<br />
also serve as an <strong>in</strong>dex, like smoke is an <strong>in</strong>dex for fire. Symbols refer to general<br />
ideas; examples of such are the th<strong>in</strong>gs that come to m<strong>in</strong>d when see<strong>in</strong>g a word<br />
or a colour – ideas that have been learned <strong>in</strong> the culture. (Vihma 1995: 68–70)<br />
However, the question of the relationship between an object’s design and the<br />
context <strong>in</strong> which it is evaluated is not particularly taken <strong>in</strong>to account <strong>in</strong> this<br />
treatment of mean<strong>in</strong>g. The conclusions that designers can draw from observ<strong>in</strong>g<br />
products <strong>in</strong> their office or studio should always be treated as designer’s<br />
general evaluations, and not reliably representative of those of the <strong>user</strong>s <strong>in</strong><br />
their environments.<br />
It is also known that people bestow personal mean<strong>in</strong>g on objects. For example,<br />
these objects may be kitschy souvenirs or tr<strong>in</strong>kets (Norman 2004), or any<br />
of the many th<strong>in</strong>gs <strong>in</strong> people’s homes, where each family member may have<br />
their own mean<strong>in</strong>g and story relat<strong>in</strong>g to a particular item (Csikszentmihalyi &<br />
Rochberg-Halton 1981). Stories of mean<strong>in</strong>gful or significant products can be<br />
a good vehicle to learn about people and the th<strong>in</strong>gs they hold important and<br />
the <strong>experience</strong>s that are relevant. However, studies show that such personal<br />
mean<strong>in</strong>gs to objects are not entirely arbitrary, and that people can guess or<br />
empathise with many of the more general mean<strong>in</strong>gs that objects can have for<br />
people. This suggests that the mean<strong>in</strong>gs that objects are given are not entirely<br />
private and idiosyncratic, and that these mean<strong>in</strong>gs possibly have different cultural<br />
levels as well. (Rich<strong>in</strong>s 1994)<br />
The third idea that mean<strong>in</strong>g is created <strong>in</strong> <strong>in</strong>teraction between the person and<br />
other people and the world is <strong>in</strong>terest<strong>in</strong>g, because it looks at mean<strong>in</strong>g mak<strong>in</strong>g<br />
as a process, which accounts for change as well. This idea has existed <strong>in</strong> debate<br />
both <strong>in</strong> phenomenology as well as <strong>in</strong> pragmatist philosophy. It is a critique<br />
of the older Cartesian division of m<strong>in</strong>d from body and the idea that th<strong>in</strong>k<strong>in</strong>g is