Design and emotion

Draft

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Introduction

Design and emotion or design for emotion or emotional design or emotional aspects of design “comprises studying the emotional experiences of users with products, as well as the emotional meanings assigned by users in relation to experience and interaction with products, assessing how emotions vary with different user characteristics and integrating users’ emotional expectations into the product development. It acknowledges the fact that the emotion is not a feature of the design, but a subjective experience of the user, owner or observer of the product.” ([Engage, 2005])

“Product design that provides aesthetic appeal, pleasure and satisfaction can greatly influence the success of a product. Traditional cognitive approaches to product usability have tended to underestimate or fragment emotion from an understanding of the user experience. Affect, which is inexplicable linked to attitudes, expectations and motivations, plays a significant role in the cognition of product interaction, and therefore can be usefully treated as a design aid. Emotion influences and mediates specific aspects of interaction before, during and after the use of a product. These affective states regularly impact how a user manipulates and explores a user interface in order to support a desired cognitive state.” (Frank Spillers, 2007, retrieved 17:51, 26 April 2011 (CEST)).

According to Rafaeli and Vilnai-Yavetz (2004) summarized by Spillers (2007), sense-making of the artifact involves emotion in three ways:

1. Instrumentality: Tasks the artifact helps accomplish.
2. Aesthetics: Sensory reaction to the artifact.
3. Symbolism: Association the artifact elicits.

Links

Introductions

• Designing and testing for emotion (fluid project).

Web sites

• the Design & Emotion Society aises issues and facilitates dialogue among practitioners, researchers, and industry, in order to integrate salient themes of emotional experience into the design profession.

Bibliography

• De Lera, Eva & Muriel Garreta-Domingo (2007). Ten Emotion Heuristics: Guidelines for assessing the user's affective dimension easily and cost-effectively, in Devina Ramduny-Ellis & Dorothy Rachovides (Editors), Proceedings of the 21st BCS HCI Group Conference, HCI 2007, Lancaster University, 3-7 September 2007, British Computer Society, Volume 2.

• Engage consortium (2005). Designing for emotion: report of the state of the art. (registration fo the design & emotion society required)

• Futon Suri, J. (2004). Design Expression and Human Experience: Evolving Design Practice. in McDonagh, E. et al. (Eds) (p. 13-17) Design and Emotion. Taylor and Francis.

• Gaver, William (2009). Designing for emotion (among other things), Philos Trans R Soc Lond B Biol Sci. 2009 December 12; 364(1535): 3597–3604, doi:10.1098/rstb.2009.0153.

• Hoonhout, Henriette C.M. & Marcelle Stienstra (2003), In D. de Waard, K.A. Brookhuis, S.M. Sommer, and W.B. Verwey (2003), Human Factors in the Age of Virtual Reality (pp. 341 - 355). Maastricht, the Netherlands: Shaker Publishing.

• Malone, T. W., & Lepper, M. R. (1987). Making learning fun: A taxonomy of intrinsic motivation for learning. In R. E. Snow and M. J. Farr (Eds.). Aptitude, learning and instruction. Volume 3: Conative and affective process analysis. Hillsdale, NJ: Lawrence Erlbaum.

• Norman, Donald. 2002. “Emotion and design: Attractive things work better”. Interactions Magazine, ix (4), 36-42.

• Norman, Donald. 2003. Emotional Design: Why We Love (Or Hate) Everyday Things. New York: Basic Books.

• Oh, Wilson and Poh Wah Khong. 2003.“Competitive advantage through pleasurable products”. Pittsburgh: Proceedings of the DPPI ’03

• Rafaeli, Anat and Iris Vilnai-Yavetz. 2004. Emotion as a Connection of Physical Artifacts and Organizations. Organization Science 15 (6). (Jstor PDF).

• Ratner, Carl, (undated) A Cultural-Psychological Analysis of Emotions. This is a revised online version of an article published Culture and Psychology 2000, vol. 6, pp. 5-39.

• Spillers, F.: (2007). Emotion as a Cognitive Artifact and the Design Implications for Products That are Perceived As Pleasurable. PDF, retrieved 17:51, 26 April 2011 (CEST).