Co-experience: Understanding user experiences in social interaction

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68 2 USER EXPRERIENCE DEMYSTIFIED standing. Empathy in the field visits is important as empathic design is based on observation (Leonard & Rayport 1997). The observations can be documented with rich media: pictures, video, sound, things that people have made or used, scenarios, stories, and so forth (see Figure 14). These observations and materials then need to be processed, organised and communicated with others. Schön & Bennett outline three kinds of reflection in relationship to design. Reflection is always spurred by an element of surprise. Firstly, reflection in action happens while doing, and implies a process where the person begins to observe the situation while doing and take it into account. Reflection can also happen on action, which means that people stop what they were doing and begin to analyse the surprise and its cause and implications. The third is reflection on practice – which is how masters teach novices. (Schön & Bennett 1996) Design empathy works because it helps to find the things that surprise, that move, that are emotionally significant. Design empathy deals not only with context, but also with the role of the researcher (for a more complete account, see Koskinen & Battarbee 2003) (see Figure 15). Empathic design is user-centred, but offers ways to extend the experiencing into other contexts as well: role-playing, bodystorming and trying things out can be important aspects of design studio work as well. As in usability, discount methods such as cognitive walkthroughs and heuristics can help designers challenge their own thinking; some of these methods can be seen as a way to improve the experience vocabulary of the designers as well as to jump start and fuel their creative processes at the office. The empathic approach supports ideation more than the ethnographic approach, because it does not imply that designing and learning about users is separate. The results are often described as stories, scenarios, and even design ideas. It could even be called more designerly, as it does not follow a strict methodology, but rather puts the designers in direct contact with their end users at least at times. The analysing is kept to a minimum; reporting is designed to be convincing and rich and the emphasis is on personal experience. 2.3.3 PARTICIPATORY CREATIVITY Design is often understood as a production process, but it can also be seen as a learning process. In user centred “learning”, people are brought into a process where they can together with researchers reflect on and construct knowledge about their experiences (see Fig. 16). A true understanding of experience happens when people are actually involved in the process, as more than just informants (Sanders 1999), the term anthropology uses of the people they study.
FIGURE 14 69 Empathic observations on videotape and visualised into notes and sketches. In the video a visually disabled person “reads” magazines with wireless headphones and a keyboard – an experience very different from sitting in a sofa, looking at printed pages. Jokes and stories also help to convey attitudes and expectations.
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Katja Battarbee UNDERSTANDING USER
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FOR YOU
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4 PRESENTING THE ARTICLES 101 1 IT
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an experience, the recipient is use
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It takes a group to turn a design s
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1 INTRO - DUCTION 1.1 FOCUS AND AIM
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Page 67: BEHAVIOUR EXPERIENCE 67 OBSERVATION
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Page 106 and 107: The results of the two user studies
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118 4 PRESENTING THE ARTICLES
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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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172 4 PRESENTING THE ARTICLES
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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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