Co-experience: Understanding user experiences in social interaction

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THE WORLD OF ACTIVITIES THE WORLD OF PRODUCT MEANINGS APPEARANCE USER INTERFACE THE PHYSICAL WORLD THE WORLD OF PRODUCTS THE WORLD OF HUMANS FIGURE 4 The scene of experiences – the five worlds which need to be understood to learn about user experiences. (Jääskö et al. 2003).
Interaction designers who focus on designing digital content address a particular subset of product use in their frameworks. Garrett offers a model for information design that connects structuring the user experience of hypertext and interface with creating the interface for a website. The design of experience happens on five levels: strategy, scope, structure, skeleton and surface. (Garrett 2002) However, this model of user experience for information design fails to include sensory qualities of experience, which can be included as an elaboration of Garrett’s model towards all kinds of online experiences (Olsen 2003). Compared to the scene of experiences by Jääskö et al., these two versions of the model relate to the development process, not the evaluation of a product, and consequently they do not include the context of the experiencer as a part of the experience. Products can have different roles and stages over time – static views do not always emphasise enough the ever-changing nature of product experiences. Holman’s study of roles of products as seen in advertising demonstrates the range they have from background and low intensity to higher intensity prod- 45 APPARENT PRODUCT CHARACTER pragmatic attributes hedonistic attributes SITUATION appeal pleasure satisfaction CONSE- QUENCES FIGURE 5 The user perspective of product experiences: in a situation, a product’s pragmatic and hedonic attributes result in appeal, pleasure and satisfaction (Hassenzahl 2003).
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
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Page 25 and 26: 1.3 WHAT IS DESIGN FOR USER EXPERIE
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Page 47 and 48: other kinds of products. These mode
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Page 55 and 56: Hassenzahl defines fun as a mode of
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Page 67 and 68: BEHAVIOUR EXPERIENCE 67 OBSERVATION
Page 69 and 70: FIGURE 14 69 Empathic observations
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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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