Aesthetic ideals, part I

Aesthetic ideals, part I
Emotions & pleasure
Pragmatism, somaesthetics and
tangibility
Sus Lundgren fall 2009
Hand-ins...
1) In English
2) As files, not text in emails
3) Files named: [exNo]_[name]_[what it is]: e.g.
– Ex4_SusLundgren_description.bmp
– Ex4_SusLundgren_rationale.doc
– Ex4_SusLundgren_feedback.doc
Sus Lundgren fall 2009
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Recap
Last week: Cohereny!
– An over-arching ideal?
– Needs to be combined with something else
– Means of attaining can be proportions, narratives,
personality....
Gesamtkunstwerk (”total artwork”)
– Originally an artwork combining
...in such a way that
several artistic disciplines...
all disciplines
contribute in creating
– Now/here: An artifact combining
one coherent whole
several disciplines...
– Gestalt: when all aspects of an object (material, form etc)
cooperate in a smilar way
}
Sus Lundgren fall 2009
Character as Coherency
Janlert & Stolterman: The Character of Things
When using character as a means for explaning
products consider
– The expectations it generates (Iron Horse)
– The explanations it provides (Hedge mug)
– The context of interpretation it generates... i.e. the
character may suggest interpretations where none was
explicitly intended (can be both good and bad)
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Aesthetic ideals
Coherency
Emotions & pleasure
Pragmatism, Somaesthetics and tangibility
Provocation & Criticism
Functionalism & Usability
Playfulness, Intrigue & Challenge
Sus Lundgren fall 2009
Designing for emotions
Art has always been about evoking emotions....
– Plato strongly disliked art; decieveing, bringing out
weakness!
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Emotions in Art
Romanticism
Francesco Hayez, The Kiss,
1859
Next page. Caspar David
Friedrich: Das Eismeer
1823-24
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Emotions in Art
Pablo Picasso, Guernica, 1937. ”Guernica shows the tragedies of
war and the suffering it inflicts upon individuals, particularly
innocent civilians. This work has gained a monumental status,
becoming a perpetual reminder of the tragedies of war, an antiwar symbol, and an embodiment of peace.” (Wikipedia)
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Emotions in Art
Bruno Amadio (aka Giovanni
Bragolin), was the creator of
the group of paintings known
as Crying Boys. […], produced
for tourists. 27 such paintings
were made, reproductions of
which were sold worldwide.
(ca 1950)
(Wikipedia)
Sus Lundgren fall 2009
Emotions in Art
...we could go on
all day with
examples from
the arts, not only
paintings but
music, theatre,
movies etc...
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Emotions in IxD
A user may choose to work with a product
despite it being difficult to use, because it is
challenging, seductive, playful, surprising,
memorable or rewarding, resulting in enjoyment
of the experience. No musician learnt to play the
violin because it was easy.
– – Kees Overbeeke et al in “Beauty in usability:
Forget about ease of use!” (p. 11)
Sus Lundgren fall 2009
Emotions in IxD
Donald Norman: Attractive things work better!
– We are not as rational as we like to
think; affect/emotions steer our
actions... the plank example
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Normans three levels of design
Visceral
– How something looks and which possible
conclusions/prejudices we can draw from that
Behavioral
– Pleasure and effectiveness of use
Reflective
– Rationalization and intellectualization; does it question
anything, does it evoke sense of pride or intellectual
challenger or satisfaction?)
All three levels should be taken into consideration
when designing.
Sus Lundgren fall 2009
Emotions in IxD
Using characters often
brings out emotions via
anthropomorphism or
zoomorphism
– Later versions of AIBO –
coherency issues... Users
view moving towards robot
Kahn, P. H., Jr., Friedman, B., &
Hagman, J. (2002). "I Care About Him
as a Pal": Conceptions of Robotic Pets
in Online AIBO Discussion Forums.
Proceedings of CHI 2002, ACM Press.
Kahn, P., Friedman, B., PerezGranados, P. R., Freier, N. G (2004)
Robotic Pets in the Lives of Preschool
Children. Proceedings of CHI 2004.
Melson, G. F., Kahn, P., Beck, A. M.,
Friedman, B., Roberts, T., and Garret,
E. (2005) Robots as Dogs? –
Children’s Interactions with the Robotic
Dog AIBO and a Live Australian
Shepherd. In: Proceedings of CHI
2005.
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Emotions in IxD
Barney the talking dinosaur
– Sings, plays games, and plays peek-a-boo
– Interacts with computer via radiolink
– Had to be redesigned, too bossy initally (“Cover my eyes
to play peek-a-boo!”)… added friendly comments (“this is
fun!”, “I like you” etc!)
Strommen, E. (1998) When the Interface is a
Talking Dinosaur. ACM Press/Addison-Wesley
Publishing Co. New York, NY, USA, pages: 288 295 Series-Proceeding- Article
Sus Lundgren fall 2009
Emotions in IxD
Paro the robot seal;
therapy for elderly and hospitalized children
Wada, K., Shibata, T., Musha, T.,
and Kimura, S. (2005) Effects of
Robot Therapy for Demented
Patients Evaluated by EEG. In:
proceedings of the 2005
IEEE/RSJ International
Conference on Intelligent Robots
and Systems
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Emotions in IxD
You can design to
provoke via emotions
too...
Dunne & Raby, the
S.O.C.D. (Sexual
Obsessive Compulsive
Disorder); anti-porn
(also another ideal;
provocation, criticism)
Sus Lundgren fall 2009
Pleasure
Patrick Jordan
– Socio pleasure: gives status, strengthens or modifies
relationships
– Physio pleasure: sensations related to body (movement)
and senses
– Psycho pleasure: intellect and/or emotion
– Ideo pleasure: taste and values... ”the aesthetics of a
product and the values that the product embodies”
(–> aesthetics as a value, not inherent in the product?)
Your lit2-answers... Give me your examples
(Socio pressure!!!)
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Jordan: Designing for pleasure
Analyze users and context, apply pleasures
accordingly
1) Physio-characteristics: Related to users’ bodies
–
–
–
–
–
–
–
Physical condition, strength
Dexterity, agility
Body shape and weight
Left- or righthandedness
Disadvantages/disabilities (e.g. blind)
Dependencies (e.g. tobacco)
Personalization (tattoos, piercings, tanning, shaving...)
Sus Lundgren fall 2009
Jordan: Designing for pleasure
Analyze users and context, apply pleasures
accordingly
2) Socio-characteristics: Related to users’
relationships with others
– Sociological characteristics (culture/society-related values
and customs)
– Status
– Self-image; self-esteem, self-confidence
– Relationships (types, preferences, e.g. long friendships)
– Social labels (e.g. ”working class” or ””engineer”)
– Social personality traits (e.g. generous, shy, caring)
– Social lifestyle (e.g. socially active vs. hermit)
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Jordan: Designing for pleasure
Analyze users and context, apply pleasures
accordingly
3) Psycho-characteristics: Related to users’
cognitive and emotional characteristics
– Intelligence, creativity, memory
– Pschycological arousal (”state” e.g. tired, happy, afraid)
– Self confidence (believing in one’s ability to master
something)
– Learned skills and knowledge
Sus Lundgren fall 2009
Jordan: Designing for pleasure
Analyze users and context, apply pleasures
accordingly
4) Ideo-characteristics: Related to users’ values
– Personal ideology (lifestyle values, e.g. family values,
materialism etc)
– Religious beliefs
– Social ideology (e.g. environmetalism, moral beliefs)
– Aspirations (how does the user want to see him/herself;
e.g. successful, good parent, etc)
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Designing for pleasure
Analyze one of the following user groups and
design a camera for them.
1) First, analyze your group in terms of physio-,
socio-, psycho- and ideo-characteristics.
2) Then, design physio-, socio-, psycho- and ideopleasures accordingly.
– Focus on aspects of design that are not universal, e.g. size,
color, appearance, which functionalities it has, what
happens when a picure is taken (interaction, expressions,
what one wants to communicate by using your camera
(Male teenagers from low-status suburbs, female super models, retired
academics, )
Sus Lundgren fall 2009
Pragmatism
Engaging as many senses as possible in an
experience
“An experience has a unity that gives it its name, that
meal, that storm, that rupture of friendship.”
“In an experience, flow is from something to
something. As one part leads into another and as
one part carries on what went on before, each gains
distinctness in itself. The enduring whole is
diversified by successive phases that are emphases
of its varied colors.”
– John Dewey in ”Art as Experience” (pp.37-38)
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Pragmatism in IxD
Petersen et al (2004) Aesthetic interaction: a
pragmatist's aesthetics of interactive systems
– Pragmatist perspective; socio-cultural
background matters when assessing
aesthetics
– Design ambiguous systems aiming at
playful interaction and improvisation
Sus Lundgren fall 2009
Pragmatism in IxD
Fiore et al: pragmatism as deisgn method when
designing for blind people (storytelling)
A pragmatist way of seeing requires us to understand
the experiences of the blind person in relation to
ourselves and it is here that we identify empathy. In
other words, we see how the designer’s expression of
empathy in the object designed […] is connected to the
experience of the user or perceiver.
– Salvatore Fiore et al in “A pragmatist aesthetics approach
to the design of a technological artefact”, p. 131
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Somaesthetics
Shusterman’s somaestehics (2000)
– Combination of Dewey’s pragmatic ideas
and others”
– Closer to Baumgarten’s original
intention; that aesthetics should comprise
a general theory of sensory knowledge.
– Involving the bodily experience in one’s
appreciation of the aesthetic; what is
sensed by the senses but also how the body
moves and operates (Shusterman 2000, ch.
10).
Sus Lundgren fall 2009
Pragmatism/somaesthetics in IxD
Schiphorst; soft(n) themes
– Experience (what the senses
detect)
– Poetics (meaning-maiking)
– Materiality (material properties)
– Semsantics of caress (measuring
touch)
But how does it work? :)
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Tangibility
Djajadiningrat et al:
– Much of today’s interaction design is about pressing
buttons, perhaps pressing a button ten times in order
to achive something
– Design for richer tangible interaction
Sus Lundgren fall 2009
Tangibility
Djajadiningrat et al:
”If aesthetics improve the perceived usability of a
product, this leads to the question: what kinds of
aesthetic sources do interaction designers have at
their disposal?” ...”[we explore] how interaction
with physical objects can exploit mankind’s
sophisticated perceptual-motor skills” ... ” From
frustration of motor skills to challenge and pride.
– Djajadiningrat et al (2007) Easy doesn't do it: skill and
expression in tangible aesthetics , In: Journal Personal
and Ubiquitous Computing, Volume 11, Number 8 /
December, 2007, Pages 657-676, Springer London
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Tangbility
Djajdiningrat et al: tangible products:
Aesthetics follow usability...products should
be beautiful in use
– Interaction patterns; timing, rhythm, flow (as in
many games)
– Richness of motor actions; not just pushing
buttons, actions that require some skill instead,
and are more precise
– Freedom of interaction: many possible ways/paths
of interaction in order to attain the same result
Sus Lundgren fall 2009
Tangibility
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Tangibility
Sus Lundgren fall 2009
Djajadiningrat et al
Tangibility and feedforward; but
how?
– Unity of location; action and
feedback in same location
– Unity of direction; direction of
feedback, same as direction of
action
– Unity of modality; modality of
feedback same as action
(modality = e.g.
visual/audial/physical)
– Unity of time; feedback & action
coincide in time
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