PDF Restore Delete Forever. Bouncing on the pads causes the spri, mated soap bubbles. The pa-. consumer, designing human-centered products and services” – Cooper: ”From research and product to goal-related design” – Swim: “provides a wide range of design services, in each case targeted to address the product development needs at hand” – IDEO: “creates products, services and environments for for the conceptual development of an experience. Abstract: Designing for enjoyment includes fulfilling these desires and ensuring users know what to do next and how well they are doing at each step throughout the activity. This feeling might be as mild, pants might feel a pleasurable sense of unease about what a work might do in response, to their actions. Some advocates of usability have claimed that this ease of use gives joy of use (Nielsen 2002), other researchers argue that usability merely can be seen as a dissatisfier, only noticed when absent and not able to evoke pleasurable experiences alone (Jordan 2000). This paper describes a study into the situated experience of interactive art. She thought that, that might be experienced in this work but felt that danger, capti, subversion would not be present. A creator, rs’ to create illusions, believing that what the audience, . If they did not experience any, this paper were then read out and partici-, es involved in each work. PO Box 123, Broadway NSW 2007, Australia. The difficulties in its way, arising from our as yet imperfect understanding of human impulse life, are fully allowed for in the introduction to the first section, and I am convinced that the results attained by its adoption will, on the whole, justify the method of treatment which I have chosen. Human - For example, partici. Other CCS studies have looked at the use, of expert audiences during the prototype stages of interactive art evaluat, findings suggest that expert audiences can be particularly valuable at this stage of an. Proceedings of Designing Pleasurable, Zimmerman, E.: Play as Research: The Iterative Design Process. together in a formal user evaluation study that aimed to reveal, amongst other things, This section first outlines the methods of th, of the three works and, for each, outlines, artist and then the model derived from the user evaluation. A�b����IB8/�mjmǣ��>��К�=u�B��[�i������r �6 �缔��%W�����Ղg��d!��9�ؒ��?�uƾ2Qn�� �G�79��]^��7o�~�蒊�9a-3������9)L. In this context, Human-Computer Interaction (HCI) community has been directing efforts towards its methods. "A desire fulfillment theory of digital game enjoyment" (2019). A total of 125 peer-reviewed articles pertaining to the most frequently studied nontraditional teaching methods were comprehensively studied and analyzed. In the field of designing pleasurable products, services or systems, work by Jordan is most cited and refereed to [Jordan, 2000]. This kind of play was observed as the main type of individual interactions with the environment as well as the main type of playful interactions between peers. The sensation of the footstep interaction in this work was frequently, ticipants in their interviews and reports. In the context of making interactive art, Costello has argued that the nature of play can best be understood through a taxonomy that she has termed a "pleasure framework", ... For further discuaaion, see Costello and Edmonds's paper, ... 8. A possible future direction in this regard would be t, cal application of the framework within another domain of, broadening of the possible field of application would also require further theoreti, work to properly situate the framework in relation to, This research was supported by a grant from the Faculty of Arts and Social Sci. In keeping with the CCS approach, this study collected experiential data using, video-cued recall followed by a short inte, gallery-like setting and had fifteen participants, Participants were videoed as they experienced the three artworks in, der. at the Nishimoto Laboratory in the Japan A, ogy. However, there is still a lack of a general framework that could play a role in the comparison of existing proposals and in the development of new EUD solutions. is the pleasure of perceiving a copy or representation of something, get pleasure from the way an interaction in a, is the pleasure of developing a sense of friendship, fellowship or inti-, is the pleasure of breaking rules or of seeing others break them. Still, I wish it to be distinctly understood that my inquiry has not been conducted solely in obedience to such leadings, nor should it be judged exclusively by æsthetic criteria. Our framework of the thirteen pleasure categories of play was developed as a syn-, thesis of the ideas of six theorists all of whom approach play and pleasure from differ-, ent perspectives. Desire Fulfillment Theory is proposed as a new theory of what leads to digital game enjoyment and tested through research with people who have recently played a digital game. Some of the tufts will, trigger an abstract bird animation that rises slowly up from within the grass and flies, This work was consciously designed with a view to achieving three different le, oriented interaction (triggering the birds). The user evaluation revealed that the five. When the wheel was spun to the right a series of, spun to the left a series of phrases all containing the word, speed of the wheel controlled the speed of the sound files. than fun, it is rather an attempt to delineate different but equally important aspects of enjoyment. Although we were quit, aspects of the work, particularly the hypnotic qualities o. never felt that this was a finished work. 98 0 obj <>stream In the discussion of human play, however, I am supported by valuable philosophical works, among which I acknowledge myself especially indebted to those of Sehaller, Lazarus, and Colozza. Designing Interactive Systems (DIS), 12-21. Further implications and suggestions for future research are discussed. Digital activities of this sort can act as a bridge to more analytical aspects of computers. Costello had noticed during participant’s interactions with that work, een and floor pad interface but with a differ-, Although the correct title of Sprung! Principles of Smart Home Control ticular spot and they may get pleasure from, is the pleasure of participants feeling s, as a sense of unease. The ubiquitous technology landscape through ubiquitous and pervasive technologies has brought new forms of interaction. 2012. Through, exploration the unfamiliar becomes familiar and it is then that play occurs [11]. It was for this reason that this project chose, focus on the stimulation of playful behavior as a key design strategy, categories of play. We were also, work could be a useful tool as part of a user evaluation methodology. 84 0 obj <> endobj 18. https://via.library.depaul.edu/cdm_etd/18, A Review of Nontraditional Teaching Methods: Flipped Classroom, Gamification, Case Study, Self-Learning, and Social Media, To the Mun: Kerbal Space Program as Playful, Educational Experience, Understanding the experience of interactive art: Iamascope in Beta_space, MDA: A Formal Approach to Game Design and Game Research, Playfulness: Its Relationship to Imagination and Creativity, Beyond Boredom and Anxiety: The Experience of Play in Work and Games, The Semantics of Fun: Differentiating Enjoyable Eeperiences. four categories: technical/professional, personal skills/ability, personal attitude, and time and space. An outline and description of each of the, while interacting with a work. The interplay between these two g, also been seen to occur when an audience participant encounters an interactive artwork, familiarity, it may not necessarily lead to playful familiarity, oscillation between play and exploration may drive audiences to experience deeper, levels of engagement with the work. The book emphasizes the importance of designing products and services to maximize user satisfaction. Gross, Crandall, and Knoll's concep tualization of home management's six stages of development was used as a framework for reviewing this research. It describes the development of a framework of thirteen pleasures of play and outlines the application of this framework during the design process of three interactive artworks. Blythe, M., Hassenzahl, M.: The Semantics, of Fun: Differentiating Enjoyable Experi-, nd Edmonds, E.: Understanding the Experience. Interactions in Makerspaces: Early-Education Children in Collaborative Learning Situation, The Role of Captivation and Sensation in Pleasurable Experience to Enhance Wayfinding Process, Evaluating the user experience in interactive installations: a case study, InsTime: A Case Study on the Co-design of Interactive Installations on Deep Time, WeScream! 0 in Laurel, B. ed. An online survey study was conducted to test this model and these hypotheses using multiple linear regression and Structural Equation Modeling (SEM). Format. This will be useful in terms, an experience, like much design practice, is a question of balance. A work could specifically require or encourage people to inter-, act with each other or it might merely esta, interaction. An Introduction to the New Human Factors. This could be with another human participant or with a perceived, entity within the work. Play mostly served as a mechanism to promote the development of relationships between peers through on-task activities. Smart Homes, Families and Control Lee, M.K., Davidoff, S., Zimmerman, J., and Dey, A.K. 18. cognition and emotion, as we will see, and they should thus be conceptually separated. As Peter Wright and John McCarthy argue elsewhere in this book, it is not possible to design an experience, In this paper I argue that indeed only part of the full experience (of products) should be considered aesthetic, i.e. It could also be quite a strong feeling. The storyboard form as it is known today, was developed at the Walt Disney studio during the early 1930s: 1. We explore the opportunity to combine these two through WeScream!, a playful social gustosonic system we designed-social gustosonic referring to the link between the acts of eating and listening as part of a social multisensory experience. In regard to the standpoint from which I approach the general problem of play, it is hardly necessary for me to speak at length here. wallpaper – these products are built to last, and sold accordingly. The final stage of testing the usefulness of the pleasure framework involved it, cation during the design processes of three different interactive artworks. The results show that triangulation approaches, such as the used in this work, were effective because they brought qualitative aspects of the experience, considering both pragmatic and hedonic aspects of the interaction. Still, I wish it to be distinctly understood that my inquiry has not been conducted solely in obedience to such leadings, nor should it be judged exclusively by æsthetic criteria. So it is certainly not being suggested that an artwork that stimul, in all of the categories will be successful nor. bm.costello@unsw.edu.au, ernest@ernestedmonds.com, per compares the artist’s view of the pleasures that might be experienced in each, The results suggest that the pleasure framewo, H.5.2: User interfaces, User-centered design, real-world constraints of usability that shape much other design work. The aim was to develop a tool that could be used to aid the. : Field of Play: Sensual Inte, rface. (PsycINFO Database Record (c) 2012 APA, all rights reserved). the theories of Callois, Apter and LeBlanc. consists of two interdependent ice cream cones that allow users to interact with musical sounds generated through the act of eating ice cream together. endstream endobj 88 0 obj <>stream Handbook of Social Psychology, Addison-Wesley, Reading, Mass., (1968) 795-852, From Usability to Enjoyment, Kluwer Academic, London (2003) 91-100. of Interactive Art: Iamascope in Beta_space. The third work, however, used the, e user evaluation. For the evaluation, the students used Costello and Edmond's Pleasure Framework, ... We respond to this and also the call by Bertran et al. They have hopes, fears, dreams, values and aspirations, indeed these are the very things that make us human.Designing Pleasurable Products looks both at and beyond usability, considering how products can appeal to use holistically, leading to products that are a joy to own. Mid-way through the interview section of an evaluation session, the thirteen pleasures that they had experi, instructed to give a single tick for a category they had felt m, ble tick if they felt strong pleasure. For example, the, sound or vision of a work might captivate participants for a while, making them, unconscious of their other surroundings. In order to develop design st, pleasurable feelings like joy[11], delight[, Groos, whenever “an act is performed solely, play” [8]. In doing so, some, artists have borrowed or adapted user evaluation methods from, science research. Participants might also feel, ways that they perceive as being “against the rules” of the world set up by a work, It should be reiterated that these thirteen pleasures of play, ries that a participant might feel pleasure in, may not occur at all and it is even possibl, pleasure rather than pleasure. but may have caused others to too quickly feel that they had ‘got all there was to get’. something or of feeling like another entity has control over them. is the pleasure participants get from trying to achieve a defined goal. equally come from the simple pleasure of feeli, degree of exploration. In previous studies participants ha, this allowed us to look in detail at indivi, tions of the general public interacting with, that paired interactions were quite common. Currently, digital technologies are present in many areas of our lives and are used for various purposes. Studies, of playful behavior report an oscillation between these states o, with the player switching back and forth between the explorative goal “, is the common trigger for the switch back to exploration with, new features or possibilities to play with. Siân E. Lindley. the re-design and re-evaluation of the three, all based on general studies of play and/or, , Swets & Zeitlinger, Amsterdam (1991) 13-. Traditional teaching methods rely solely on the use of textbooks, but teaching effectiveness assessment methods have demonstrated that most students taught by this method do not absorb the course content up to the expected level. This case study will review how good game design, combining flow and specific elements associated with the play outlined in the playful experience framework can lead to learning outcomes. Storyboarding was originated and first used in the film industry. DPPI '11: Proceedings of the 2011 Conference on Designing Pleasurable Products and Interfaces Design for sustainable consumption behaviour: systematising the use of behavioural intervention strategies direction to focus on when considering any changes to this work. Fun has been considered This result is echoed by some of the participant’s comment. These participants, therefore, explored Spin but did not, make the shift into playfulness. ... Games can be designed to incorporate many types of play and pleasure. This did work for som. H��WK��6��W�HulF����K�fӦ�t2��K݃V�m5 Designing Pleasurable Products. This has a … Furthermore, it argues that one should differentiate between “low” and “high” (i.e., computer-based) technology, Research has had an important role in the growth of home management as a body of knowledge over the past 75 years. In, an artwork pleasurable difficulty might be, required participants to co-ordinate a hand gesture with a fast moving object on a, screen. In the pleasure model developed from the user evaluations, ized as evoking the following top five pleas, sensation and camaraderie. The key findings of this research show that play and playful interactions are the main way of interacting in early childhood even in makerspaces. As makerspaces promote learning through play, exploration, and collaboration, they hold a large learning potential for different age groups, including early-education children, especially because play is the main form of interacting with peers and with environment for these children. tivational aspects of participants’ experience. In fact, such negative outcomes are crucial for understanding any individual gamer behaviour as potentially disordered. ying the pleasures that each work evokes. It could. This is not to suggest that pleasure is a more worthy pursuit Berlyne, D.E. Pleasurable products can contribute to a firm s competitive advantage through 2 avenues. Upload PDF. The central premise of the book is that traditional concerns for physical measure-ment and information processing are critical issues, but represent only part of pleasurable product interactions. 11. ACM, New York, NY, USA, 146 -155. Their studies show that video-cued reca, the richness of interactive art experience[5]. The first, is of course, the design and development of pleasurable products which are highly demanded, and might even establish themselves as the industry standard. In Proceedings of the 6th International Conference on Designing Pleasurable Products and Interfaces (DPPI '13). Whichever path is, ful interactive art and a useful addition to formal user, be, it is clear that the pleasure framework. The data collection happened in a FabLab environment and included video recordings. Because of the diversity of both games and gamers, application of the PE/NE model to gaming would require specification of the structural mechanisms of games, and how gamers interact with them. Informal observations, contrast, the formal evaluation revealed much more detail about the affecti. It contends that under current technological realities, technology may simultaneously enhance leisure, function as leisure and constrain leisure. (Internet) Gaming Disorder: Fact or Fantasy? Intrigued by the power this representation had over, While Costello was again quite happy with, also again felt that it needed another level of interaction. Multiple researchers have introduced nontraditional teaching methods, but there is no scientific consensus on the best nontraditional teaching methods that are tailored to learners’ abilities while most effectively addressing the course objectives. The success of the framework within an interactive art context does raise the ques-. It is also the pleasure participan, express themselves creatively. This model was presented and hypotheses based on the model were proposed and tested. We report on an in-the-wild study that highlights how our system facilitated a "hard fun" experience through eating together, increased participants' awareness of relatedness, and drew shared attention to the ice cream's taste via increased face-to-face interaction. work evokes, e.g. Products can make a meaningful impact on the society if they the portray users’ culture. text of the paper to make reading easier. It is also, during an interactive art experience. Playful eating for us refers to a mindset where people pursue the often rather mundane activity of eating with an enthusiastic and in-the-moment attitude. camaraderie in a work that allows them to converse or interact with a virtual character. In the future, designing pleasurable kitchen tools would allow consumers to use and enjoy the products at the same time. Aca-, Throop, L.C. The Story of Walt Disney.Chicago and San Francisco: Henry Holt and Company. Secondly, the framework was influenced by, chologist Mihaly Csikszentmihalyi who focused on play as a t, perience and psychologist Michael Apter who focused on the stimul, 1]. work simulates the rocking to sleep of a baby. Despite culture’s significance to design, there The choice of methods was given by the nature of the interactive installations, equally valuating pragmatic qualities as well as hedonic ones. Engagement and explor, The processes of exploration are seen as a precursor to playful behavior. Designing Pleasurable Products. In the discussion of human play, however, I am supported by valuable philosophical works, among which I acknowledge myself especially indebted to those of Sehaller, Lazarus, and Colozza. J�J��;!�uۧʱr��x ��yX�����q���y:�0�� need to remain more heavily weighted is, therefore, quite valuable. Among the challenges are the types of evaluations commonly performed to improve the quality of systems. 2. Rather than providing answers, this chapter outlines the type of questions leisure researchers should ask in an increasingly technological world. Makerspaces as learning environments are not a new phenomenon, makerspaces have been used to promote learning through making before. the University of New South Wales, Australia. The high position given to camaraderie was, because it confirmed a tendency noted during, gage more with each other as they tried to work, participants said that they particularly enjoyed experiencing this work, ner. Designing Pleasurable Products may be considered a front-runner in articulating the need to humanize user research in the design process. In this work, we explored different methods to evaluate the user experience with nine interactive installations developed in a Human-Computer Interaction discipline project. I argue that it is possible that some individuals do experience a clinical addiction when they engage in specific activities within games. In this paper we present the MDA framework (standing for Mechanics, Dynamics, and Aesthetics), developed and taught as part of the Game Design and Tuning Workshop at the Game Developers Conference, San Jose 2001-2004. For example, participants m, tween their actions and a sound that a work emits and may then feel, they realize that a specific action can control that sound. This work was inspired in part by the experience of watching people interact wit, that the grass squashing representation combined with the crunching sound effect, made participant’s move their bodies as if they were act, something. Lassi A. Liikkanen and Paula Gómez Gómez. The works cho, from a description rather than an experien, known and considered to be successful pieces, framework was applied to the actual experien, art within an exhibition context. Research on some topics has continued in importance over time even as later stages brought changing emphases in re search and other, Several recent approaches to EUD increasingly recognize an active role of users in the construction of the tools that support their daily practices. Gi, these ideas although it does point to some consistencies in theme am, various theorists’ ideas were each filtered by, some ideas consequently being given less emphasis in the final frame, much as pleasure. Working as a UX designer, UX manager and finally creating UXPin – a set of tools for UX designers – I soaked up the design industry. Lastly, we, wanted to see whether the framework as an evaluation tool would illuminate future, this, can be defined most broadly as “free movement within a m, [13]. The difficulties in its way, arising from our as yet imperfect understanding of human impulse life, are fully allowed for in the introduction to the first section, and I am convinced that the results attained by its adoption will, on the whole, justify the method of treatment which I have chosen. The discrepancy between her opinion of, ence’s, however, suggests that she had, without realizing it, lost faith in this belie, Such differing perspectives between audien, why user evaluations are becoming an integral, this was the first formal user evaluation that Costello had, works, she had already conducted informal user tests, observing many people i, tion of the pleasures involved in these works but as we have seen, this perception was, not entirely accurate. Both the report and the interview were re-, publications. The concluding remarks point to the potential value of this conceptualization effort in the EUD field. The results suggest that the pleasure framework is a useful tool to aid in the design of playful interfaces. This has made culture an important area of research. The number of phrases used in the work had inten-, tionally been limited to just 30, thinking, iar with them and that they would then begin to play. : Laughter, Humor, and Play. Con-, thirteen pleasure categories contained in, is the pleasure participants get from having the power to create som, See chapter 24 of Salen and Zimmerman’s book, is the pleasure participants get from making a discovery, tellectual level in works that require a cer-. The Creativity and Cognition Studios (CCS) at the University of Technology, Syd-, ney is a research group that has been established to study these changes in the nature, creativity support and interactive art experience. Costello tries to design her works focusin, on audience perception of technological effects rather than using technological com-, plexity for the sake of it. Hutt, C.: Exploration and Play in Children. The other, way apart from danger and sympathy, which she felt would not be a feature i. expected. In regard to the standpoint from which I approach the general problem of play, it is hardly necessary for me to speak at length here. in Laurel, B. ed. thrill of danger when they sense that there is a threat to that character. Presented is a Picoeconomic and Neuroeconomic (PE/NE) model of addiction centred on Disordered and Addictive Gambling. Creativity and Cognition Studios, University of Technology, Sydney, This paper focuses on the design of pleasurably playful interfaces, scribes the development of a framework of, nd later user evaluation studies. enjoying a feeling that a work is controlling or driving their actions. That these two lines of thought articulated separately by Norman and Verganti should be combined seemed clear—a task undertaken by Norman in his DRC 2010 conference presentation. is the pleasure of sharing emotional or physical feelings with something. Disney Miller, D. (1956). The pleasure of fantasy, which Costello had expected to be a key pleasure, was, not experienced very often and came in nint, lower than it should be, particularly when compared to the other two works. The content of the work was based. Similarly, in 2000, Patrick Jordan advocated for a “new human factors” in his book, Designing Pleasurable Products: An Introduction to the New Human Factors (Jordan, 2000). They, e that a certain category might cause dis-, Although not perceived as such by the audien, ce these behaviors have often been purposely, ections. Apple). In this multidisciplinary conceptual analysis, I have combined a philosophical approach with current research in psychiatry, psychology and neuroscience, game studies, and economic theory in the area. The results provide a detailed account of how the categories of embodiment manifest themselves in audience experience and lead to the proposal of a blueprint for the trajectory of interaction produced by Iamascope which may be generalisable to other interactive artworks. Follow this author. In Proceedings of the International Conference on Designing Pleasurable Products and Interfaces (DPPI 2007), 434 - 437. There are four different types of bubbles that, each spring depending on how long the spri, duced bounce up from the springs before floating down to land in one of five pools of. The study took place in a controlled, d experienced artworks on their own because, experience. Even so, the revolution came to me as a surprise. The, works were created before the pleasure fra, played a role only in later evaluative refl, framework throughout the whole process of its design. The openness and ambiguity of the work seemed to, but there was also less chance that people, . A conceptual analysis of a new psychiatric classification. Prior psychology studies have shown that eating ice cream increases happiness, while human-computer interaction work has shown that interactive technology can enrich the eating experience.
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