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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Dourish <strong>in</strong> fact pursues the idea further by stat<strong>in</strong>g that these two <strong>in</strong>teractions are<br />
not enough to account for the complexity of <strong>in</strong>teract<strong>in</strong>g with computers, but the<br />
multiple layers of abstraction and representation need a more thorough analysis<br />
(as <strong>in</strong>deed has been done <strong>in</strong> the Interaction Frogger framework).<br />
Focus<strong>in</strong>g on the action <strong>in</strong> <strong>in</strong>teraction connects the mak<strong>in</strong>g of mean<strong>in</strong>g to <strong>experience</strong><br />
– at least <strong>in</strong> some ways. People-oriented approaches may study mean<strong>in</strong>g<br />
as it has been created already, but do not account for how it emerges <strong>in</strong> the<br />
first place. Product-centred models also often fail to acknowledge that the acceptance<br />
of products is <strong>social</strong> and that people’s product related <strong>experience</strong>s are<br />
context dependent. Kanka<strong>in</strong>en and Fulton Suri base their person-centred model<br />
on an axis of time – their model comb<strong>in</strong>es elements from several sources with<br />
practical value. The people centred frameworks come closest to be<strong>in</strong>g <strong>in</strong>terested<br />
<strong>in</strong> emotions, and the <strong>in</strong>teraction centred models are furthest away from<br />
study<strong>in</strong>g them – although emotions are central to <strong>experience</strong>. The relationship<br />
between emotion, mean<strong>in</strong>g and <strong>experience</strong> thus needs clarification.<br />
2.2 EMOTIONS AND USER EXPERIENCE<br />
52 2 USER EXPRERIENCE DEMYSTIFIED<br />
In the frameworks described above, the person and his or her needs are addressed<br />
and the product as a contributor to <strong>experience</strong> is analysed.<br />
The study of emotions is relevant to design, because emotions are a key<br />
part of <strong>experience</strong> and they <strong>in</strong>fluence people’s actions, expectations and future<br />
evaluations. Emotions are an <strong>in</strong>tegral factor <strong>in</strong> people’s behaviour – and bad<br />
<strong>experience</strong>s tend to <strong>in</strong>fluence more people than just the one with the direct <strong>experience</strong>.<br />
Emotions are possibly the most researched aspect of <strong>user</strong> <strong>experience</strong>.<br />
Perceptions are always first emotionally evaluated before any cognitive process<br />
can take part (for a thorough account, see Damasio 2000). Study<strong>in</strong>g emotional<br />
responses is one aspect of learn<strong>in</strong>g about <strong>user</strong> <strong>experience</strong>. However, the relevance<br />
of an emotional response is determ<strong>in</strong>ed <strong>in</strong> how it affects the <strong>experience</strong>s<br />
and actions that follow. From a <strong>user</strong> <strong>experience</strong> po<strong>in</strong>t of view an emotional response<br />
emerges <strong>in</strong> a context and then is mixed back <strong>in</strong>to the ongo<strong>in</strong>g action and<br />
<strong>in</strong>terpretation process. Trac<strong>in</strong>g the longer last<strong>in</strong>g effects of a particular response<br />
becomes difficult. By necessity the study of <strong>user</strong> <strong>experience</strong> needs to track the<br />
development of <strong>experience</strong>s and evaluations from a more holistic perspective.<br />
2.2.1 EMOTIONS AS MOTIVATORS FOR ACTION<br />
Hedonistic psychology suggests that people are driven by the pursuit of pleasure<br />
and the avoidance of displeasure, and that the purpose of design is to<br />
provide pleasure and m<strong>in</strong>imise displeasure. Jordan’s adaptations of Tiger’s four