| User information for designers: a visual research package | | BIBAK | Full-Text | 1-5 | |
| Anu Antikainen; Mirja Kälviäinen; Hugh Miller | |||
| In this paper, we describe the development of a flexible, visually-based
on-line package, based on free sorting and multi-dimensional scaling to help
designers research users' emotional and social responses to designed objects. Keywords: design and emotion, multidimensional scaling, on-line methods, visual
research | |||
| Measuring the emotions elicited by office chairs | | BIBAK | Full-Text | 6-10 | |
| Karen Reijneveld; Michiel de Looze; Frank Krause; Pieter Desmet | |||
| Office chair designers have traditionally focused their design efforts on
optimizing the so-called 'ergonomic fit.' Although the effort to design chairs
that support physical comfort is commendable, the focus on ergonomics neglects
the possible impact of emotional responses on the general experience of
comfort. The general experience of comfort experienced when using a chair is
not only influenced by the ergonomic fit but also by the 'emotional fit,' i.e.
an emotional response that is desired by the user. In this paper, a study is
reported that was designed to measure emotional responses evoked by office
chair appearance. The study was part of a bigger project concerning attractive
and comfortable office chairs. The emotional responses evoked by 15 chairs were
measured with the Emocard method, a non-verbal self-report instrument. Some
differences were found in the results obtained with the Emocards and those
obtained with a standard verbal evaluation method. Although discriminative to
some extent, the non-verbal method was found to be less discriminative than the
verbal method. In the discussion section, some recommendations for the
development of the Emocard method are reported. It is discussed that, given
these feasible recommendations, the Emocard method can be a useful tool for
office chair designers that want to 'design for an emotional fit'. Keywords: emotions, non-verbal measurements, office chairs | |||
| Affective product shapes through image morphing | | BIBAK | Full-Text | 11-16 | |
| Lin-Lin Chen; G. F. Wang; Kun-An Hsiao; Joseph Liang | |||
| In this paper, we propose a framework for understanding how product shapes
evoke affective responses. For a set of representative product shapes, we first
conduct a survey to evaluate the affective characteristics of each product
shape. We then compute a spatial configuration that summarizes the affective
responses toward the set of shapes, by applying perceptual mapping techniques
to the survey data. A series of new product shapes that smoothly interpolate
among product shapes are then generated by using image morphing techniques.
With data from a followup survey, we inserted the new shapes into the spatial
configuration. The trajectory or distribution of the interpolated shapes
provides visualization of how affective characteristics change in response to
varying shapes. We found the relationship between the shapes and the affective
characteristic to be nonlinear and non-uniform. Keywords: affective design, image morphing, perceptual mapping, product design | |||
| Positive user experience and medical adherence | | BIBAK | Full-Text | 17-21 | |
| Daniel M. Gloyd | |||
| Nonadherence with medical regimens is a life-threatening problem. This paper
discusses how designing positive user experiences can lead to increased patient
adherence to medical regimens.
The importance of positive affect in relationship to medical adherence is well documented within the discipline of Health Psychology. Therefore, when designers are called on to positively shape a user's experience with technology-based medical devices, principles from this body of knowledge can provide a framework for designing products that increase the user's adherence to medical recommendations. From the Health Psychology discipline, Howard Leventhal's Dual Process Model provides a framework for understanding a patient's cognitive and emotional responses to medical advice. From the Design discipline Patrick Jordan's definition of product pleasure contains practical and emotional components. Parallels of these two approaches are discussed as examples of links between the Health Psychology and Design disciplines. Considering these commonalities in approach can help product designers create medical tools that lead to greater adherence. Keywords: affect, experience design, industrial design, information design,
interaction design, medical adherence, medical regimens | |||
| A wheelchair can be fun: a case of emotion-driven design | | BIBAK | Full-Text | 22-27 | |
| Pieter Desmet; Eva Dijkhuis | |||
| In this paper an approach to emotion-driven design is introduced and
demonstrated with a children's wheelchair design case. First, emotional
responses towards existing wheelchairs have been assessed with a non-verbal
self-report instrument. The results of this assessment were transformed to
starting points for a new design with the use of a theoretical model of product
emotions. With these starting points a new design was created and detailed into
a working prototype. In a second study, the emotional impact of the new design
was evaluated. It was found that, with respect to the emotional impact, this
new design differentiates in a positive way from existing models. In the light
of these findings, it is discussed how theoretical and empirical knowledge can
assist designers in their attempts to manipulate the emotional impact of their
designs. Keywords: emotion-driven design, non-verbal measurement, wheelchair | |||
| The fabric of society: a proposal to investigate the emotional and sensory experience of wearing denim clothing | | BIBAK | Full-Text | 28-33 | |
| Fiona Jane Candy | |||
| This paper introduces a project that intends to utilise research methods
derived from experience within Art and Design, to investigate the sensory and
emotional experience of wearing denim clothing in public. The researcher will
provide an explanation of context and identify the range of research methods
under consideration. The project is based on the premise that as a 21st century
mass-produced product, denim typifies the processes inherent within design and
commercial culture. Although culturally complex, its current ubiquity and
'ordinariness' make it particularly significant to be used as a model for
inquiry into affective qualities in relation to the design of products in
general. At the time of writing the project is at the planning stage, but first
outcomes are planned for June 2003. Keywords: denim, design, identity, jeans, material culture, society | |||
| People are doing it for themselves | | BIBAK | Full-Text | 34-39 | |
| David Weightman; Deana McDonagh | |||
| To date, the objective of creating pleasurable products has concentrated on
designers articulating and interpreting user needs as part of the product
creation process. This paper explores approaches to enable users to adapt,
modify, specify or create products to match their needs directly. Using the
potential of new technologies, active consumers can now become product
creators, paralleling developments in graphics, music and digital media
production. Empowered users, self-builders, recreational manufacturers,
web-connected silver surfers (retired individuals using the web) and punk
manufacturers [1] all exemplify this new relationship between users and
products, and the evolving role of designers [2]. Keywords: customisation, democratisation of design, supra-functional needs, user
participation | |||
| Archetypal icon and delightful design | | BIBAK | Full-Text | 40-44 | |
| Ming-Huang Lin | |||
| An archetype is considered to be a recurring image, symbol, or a motif in
art, literature, Culture and religion that appeals to instinct, emotion and
creative inspiration. This research borrows the view of C. G. Jung in
analytical psychology, and Northrop Frye in literary criticism to classify the
concept of archetype and practices in design. Besides building up the
collection of archetypal designs, it initially divides them into three groups-
'reconstructive archetypes', 'borrowing archetypes' and 'breaking archetypes'.
The learning was then applied to education in order to guide student projects,
and their outcomes certainly achieved joyful effects and entertained users in
varying manners. Keywords: archetype, delightful, icon, industrial design | |||
| Exploring user's emotional relationships with IT products: a structural equation model | | BIBAK | Full-Text | 45-50 | |
| Poh Wah Khong; Jing Pu Song | |||
| Decades of ergonomics research change the consumers' criteria by which they
value and choose an IT product. Compared with the emphasis placed on new
functions, reliability, and good after-service in past, emotional response to
products has become an important user requirement to improve the customer
acceptance in the market. This study develops a model and validates two
specific antecedent variables-computer experience and capability-which are
hypothesized to be fundamental determinants of users' emotional response to IT
products usage. Adding four more variables-such as attitude, belief, end user
satisfaction and impact-test the parsimony of the model further. The research
data were derived from a questionnaire survey circulated to 618 people in the
worldwide and LISREL, a technique for modeling structural equation systems, was
used to analyze the responses. Keywords: IT product, emotional response, structure equation model | |||
| When negative emotions effect positive change | | BIBAK | Full-Text | 51-54 | |
| Audrey Bennett | |||
| This paper introduces emotive aesthetics as visual language that expresses
and/or evokes an emotion or a series of emotions from the target audience for a
rhetorical purpose. (e.g. persuading them to make a positive change in a
life-threatening behaviorial pattern). Historically, political graphics have
been popular examples of products that use emotive aesthetics to promote
positive social change. However, there's a problem today with the lack of time
graphic designers have to devote their skills to the continued development of
polemical products. A solution lies in broadening the scope of graphic design
into a research discipline by demystifying the graphic design process with a
methodological view of its components. Keywords: emotive aesthetics, graphic design pedagogy, graphic design process,
political graphics, social change | |||
| Interacting with an embodied emotional character | | BIBAK | Full-Text | 55-60 | |
| Christoph Bartneck | |||
| A salient feature of the ambient intelligent home of the future will be the
natural interaction between the home and its inhabitants through speech. An
embodied home character is necessary to ensure a natural dialogue by
continuously providing intuitive feedback in the form of conversational and
emotional body language. This study experimentally investigates the influence
of the character's embodiment (screen character and robotic character) and its
emotional expressiveness on the enjoyability of the interaction. The presence
of emotional expressions significantly increased the enjoyability of the
interaction with the robotic character. The embodiment had no significant
influence on the enjoyability. However, in the robotic character condition a
social facilitation effect and a high forgiveness for speech recognition errors
was observed. Keywords: ambient intelligent home, character, embodied, emotion, enjoyability, robot | |||
| Umm and the matchbox: 'the object of desire and the desired object' | | BIBAK | Full-Text | 61-66 | |
| Michael R. Dickinson | |||
| When Hans Christian Andersen wrote 'The Little Match Girl' [1] he was not
writing a product endorsement. Far from it. But we have been left with a
glowing example of a product that was affective. The experience may have been
fleeting, but the euphoric pleasure experienced by the girl was real. As we
explore the notion of pleasure in the designed object we must not forget how
much pleasure is context-driven. As designers, we must understand that context
is not always in our control; that our designs, like our children, will live
their own lives. Pleasure is found when the moment is right, when events align.
This happens despite our planning and skill, or our analysis and rigour. The message of this paper, wrapped in the style of an Andersen story, looks at the relationship between two objects. One is desired, enjoyed, treasured, and the other an ordinary matchbox. Unwrap at your pleasure. Keywords: affective, context, design, enjoyment, product design | |||
| From seduction to fulfillment: the use of anthropomorphic form in design | | BIBAK | Full-Text | 67-72 | |
| Carl DiSalvo; Francine Gemperle | |||
| In this paper, we discuss the use of anthropomorphic form in the design of
products. We assert that anthropomorphic form is not merely an embellishment
but that it can be used as a means of solving design problems. Through a series
of examples we illustrate the various uses of anthropomorphic form in the
design of products. Our distinctions provide designers and researchers a way to
classify and understand the use of anthropomorphic form in design and in doing
so, increase the potential that anthropomorphic form be used in an appropriate
and compelling manner. Keywords: anthropomorphism, design, design research, interaction design, product
design, robots | |||
| XM SKYFi: searching for extreme usability | | BIBAK | Full-Text | 73-76 | |
| Clay Burns; Daniel Formosa | |||
| The Delphi XM SKYFi satellite radio is the first receiver and radio system
of its kind, enabling users to navigate through XM's line-up of 101 digitally
beamed channels. Introduced in October 2002, the system is the result of an
aggressive nine month development effort between XM Satellite Radio, Smart
Design, and Delphi Consumer Electronics. This paper discusses the design
process, not in the traditional phase-by-phase sense, but in terms of the
fundamental stages and focal points that guided how the project actually
happened. Four fundamental stages -- Approach, Vision, Solution, Realization --
further defined by key focal points -- Diverse-Minded Team, Innovate on Access,
Primary Elements, and Details, Details -- became the essence of the project,
and resulted in substantial innovation for XM and its customers. Keywords: interface, methodology, usability | |||
| Choreographing obsolescence -- ecodesign: the pleasure/dissatisfaction cycle | | BIBAK | Full-Text | 77-81 | |
| Martin Woolley | |||
| The paper is an exploration of the concepts of pleasure and dissatisfaction
over time, with regard to the design of products. The case is made for a
greater understanding of their interrelationships on the part of designers and
producers and for analysts and theorists to develop more informed and affective
research models and design methods. Shortcomings in the way that products are
time-proofed are identified and it is proposed that 'pleasure-over-time' should
be extended to parallel and assist in extending the life of products, which
should result in more affective design. The primary purpose being to reduce the
environmentally destructive effect brought about by the short
pleasure/dissatisfaction cycles associated with contemporary, unsustainable
patterns of consumption. Keywords: design methods, life-cycle analysis, product design, sustainability, user
centered design, user research | |||
| Field of play: sensual interface | | BIBAK | Full-Text | 82-86 | |
| Liz C. Throop | |||
| Focusing on intuitive, non-expert users as audience yields an interface that
maximizes the sensuous features of the desktop environment, including sound,
color, and pattern. It fits into a category that is not computer games or
graphics software per se, but a kind of art that makes art. Digital activities
of this sort can act as a bridge to more analytical aspects of computers. Keywords: art and technology, computer games -- social aspects, computer graphics --
case studies, interactivity | |||
| Competitive advantage through pleasurable products | | BIBAK | Full-Text | 87-91 | |
| Wilson Oh; Poh Wah Khong | |||
| Firms have realised that establishing competitive advantage is critical to
their survival. With Customer requirements having evolved from merely meeting
functional requirements and expecting quality, to the present demand for
pleasurable features as well, the design of pleasurable products is beginning
to take centre stage as firms try to gain competitive advantage through the
establishment of strong product demand. While the result of this is very
visible, it is important to realise that the application of pleasurable
products actually contributes more significantly to a firm's competitive
advantage when introduced to the work environment. This is due to improved
performance which in turn leads to the development of intellectual products of
higher quality, hence sustaining the established competitive advantage. Keywords: competitive advantage, intellectual capital, intellectual products,
intellectual resources, pleasurable products | |||
| From perception to experience, from affordances to irresistibles | | BIBAK | Full-Text | 92-97 | |
| Kees C. J. Overbeeke; Stephan S. A. G. Wensveen | |||
| What is design doing at universities, and organizing conferences on
pleasurable products? Keywords: author's kit, conference publications, guides, instructions | |||
| Only when miss universe snatches me: teasing in MMS messaging | | BIBAK | Full-Text | 98-102 | |
| Esko Kurvinen | |||
| When new technology is adopted to everyday life, existing patterns of
behavior relevant to the application are transferred to this new media. In this
process, some things will also change and evolve.
This paper takes an empirical look at mobile multimedia messaging. Within this new technological environment I focus on teasing, an established form of social control prevalent also in MMS (Multimedia Messaging Services) Messaging. I draw from conversation analysis [15] and ethnomethodology [5]. My analysis describes the sequential structures of teases in MMS messages. I will conclude with discussion on the effects images have on mundane social conduct. Keywords: 3G, MMS, mobile imaging, multimedia messaging, visual communication | |||
| Perceptive sorting: a method for understanding responses to products | | BIBAK | Full-Text | 103-108 | |
| Jodi Forlizzi; Francine Gemperle; Carl DiSalvo | |||
| Products engender complex experiences that go far beyond aesthetics and ease
of use. We believe that by better understanding people's functional and
emotional relationships to existing products, we might better understand how to
design future products. This paper presents the Perceptive Sorting exercise
(PS), a method inspired by the field of visual research to gain responses to
product familiarity, product function, and aesthetic considerations. We report
on a study using the PS with coffeemakers, watches, and consumer robotic
products. The results provided information about how participants assess
product attributes, assign value, and tell stories of product use. Keywords: design research methods, elders, interaction design, product design, robots | |||
| Defining co-experience | | BIBAK | Full-Text | 109-113 | |
| Katja Battarbee | |||
| In the context of design for experience this paper presents a review of
existing models of user experience. In response to a prevalent view of
experience as something individual, this paper suggests how these models should
grow to include social use as well. Examples from a multimedia messaging study
are discussed to this end and the concept of co-experience is introduced to
take into account the social aspects of user experience and the experiences
that users create for themselves with designed artefacts. Keywords: co-experience, interaction design, user experience | |||
| Dancing with a machine: a case of experience-driven design | | BIBAK | Full-Text | 114-119 | |
| Paul Hekkert; Marc Mostert; Guido Stompff | |||
| For experience-driven design to become an influential design strategy, much
effort should be put into method development and elaborate case studies. In the
present paper, we present the design of an experiential copier on the basis of
an interaction-centred design approach, called ViP. The approach supported us
to pre-define the interaction with the machine, in the form of a multi-faceted
experience. This experience was translated into a concept design of a copier.
The result is a design that affords the intended, rich experience in every
design feature: it 'invites you for a dance'. Keywords: emotion, experience design, interaction, product design | |||
| When you can't talk to customers: using storyboards and narratives to elicit empathy for users | | BIBAK | Full-Text | 120-125 | |
| Heather L. McQuaid; Aradhana Goel; Mickey McManus | |||
| Although an essential part of customer-centered design is the customers
themselves, in some circumstances, talking with them is not always an option.
What can designers do in such situations to better understand peoples'
physical, cognitive, and emotional needs? In this paper, we discuss our
attempts to elicit customers' needs and emotions without talking with them. We
discuss how we: 1) used customer surrogates (in the form of direct-experience
storyboarding, personas and narratives) to understand customers' frustrating
and pleasurable experiences with a national, public library; 2) communicated
the customer experience to stakeholders and helped them empathize with
customers; and 3) relied on the personas and narratives to develop design
recommendations. Keywords: contextual inquiry, direct-experience story-boarding, ethnographic research,
human-centered design, information architecture, interdisciplinary, interviews,
library, narratives, personas, scenarios, storyboards, task analysis, tiger
teams, user-centered design | |||
| Observing and probing | | BIBAK | Full-Text | 126-131 | |
| Vesa Jääskö; Tuuli Mattelmäki | |||
| In this paper, we discuss and compare two user centred methods applied in
concept design: observation and probes. The comparison is based on findings
from two case studies. In these studies, user data was first inquired and then
interpreted by a multidisciplinary design team, in order to support early user
centered concept creation phase. The gathered user data and the current
understanding of user experience served as a base for this reflection. In order
to compare the findings, a framework of user experience qualities was generated
from the point of view of concept design. Keywords: concept design, contextual design, cultural probes, empathic design,
observation, user experience, user-centered design | |||
| Modeling the socio-cultural context | | BIBAK | Full-Text | 132-133 | |
| Pertti Aula; Janne Pekkala; Jenni Romppainen | |||
| It's been noticed that recognizing the end user's needs and expectations are
increasingly important factors for creating successful products. In the
Mode-project we are studying the socio-cultural context of users and products
and developing methods to model it for the use of industrial design and product
development. The functionality or usefulness of products is not our main
interest, instead we are keen to know what kind of meanings people give to
products and what kind of role they have in the social interaction. The
starting point for the method development is scenario building. Design
scenarios make the context understandable and they can be used as a
communication tool during the product development process. Keywords: context, design method, industrial design, scenario, user-centered design | |||
| The impact of affective design of product packaging upon consumer purchase decisions | | BIBAK | Full-Text | 134-135 | |
| Cathy Barnes; Christian Southee; Brian Henson | |||
| Affective design aims to create a product that has expected levels of
functionality and usability but, additionally offers the user a positive
emotional experience. Some success has been achieved by using the Kansei
engineering approach but this has not been explicitly applied to packaging
design.
This paper reports on the first stages of an Affective Packaging Design research programme and presents the result of experiments that explore the relationships between consumer selection and packaging shape using a combination of questionnaires, focus groups and the semantic differential technique. The stimuli for the experiment were examples of confectionery packaging. Results will be presented which indicate relationships between confectionery packaging shape and recipient demographic profile. It is concluded that to inform the design process the study it is important to consider the whole purchase experience, for example, product purchaser, product user and purchase reasons. Keywords: affective design, packaging design | |||
| Understanding affective design in a late-modernity perspective | | BIBAK | Full-Text | 136-137 | |
| Mads Bødker; Martin S. Christensen; Anker Helms Jørgensen | |||
| This poster discusses the advent of emotional/affective interfaces and key
areas of late modernity, and it proposes that there could be said to exist some
parallels between the development of computer interface design and the
development of society as a whole. The poster suggests that research into
social and cultural aspects of design may be conducive to understanding the
user in a contemporary societal setting. Consequently, the poster explores why
and how theories of modernity matter in understanding the practice of designing
affective interfaces. Keywords: affective design, late-modernity theory | |||
| www.a.site.for.things-that.bring.back.memories | | BIBAK | Full-Text | 138-139 | |
| Vera Damazio; Pablo Dias | |||
| This poster provides an overview of an ongoing dissertation research on the
relationship between people and things that bring back memories. Its intention
is to present "affective memory" as a promising field of research for affective
design and for the questions such as: How can we measure emotional response to
products? What theories can be applied to affective design? Keywords: affective design, emotional response, material culture, social memory | |||
| Use of characters and scenarios in gear shift design | | BIBAK | Full-Text | 140-141 | |
| Dan Högberg | |||
| The employment of the design methods of characters and scenarios in the
conceptual design of a gearshift system for future automobiles is presented.
The main objective for the project was to provide design suggestions for a
gearshift system that people will appreciate in future cars in view of market
trends, technology developments and environmental demands. The methods were
tested for concept evaluation at a Swedish car component manufacturer. The
methods gave rough, but important, indications of possible appreciation and
acceptance of design proposals, and assisted consideration of user diversity.
This low-cost approach is sufficient for evaluation purposes at early design
stages, but may be complemented with more thorough studies if time and money
permits. Keywords: characters, gear shift, product design methods, scenarios | |||
| Why we choose the more attractive looking objects: somatic markers and somaesthetics in user experience | | BIBAK | Full-Text | 142-143 | |
| Titti Kallio | |||
| There is a general growing emphasis on aesthetics in the human-computer
interaction field (HCI). I suggest Antonio Damasio's Somatic Marker Hypothesis
to be taken as a starting point when we consider how pleasant interfaces do get
users to use a service. Damasio describes an automated mechanism where previous
experiences leave marks about choices we have made, and how these marks affect
our decision-making. I also suggest applying Richard Shusterman's concept of
Somaesthetics in the discussions about aesthetic experiences. I suggest that
these two disciplines could be included in the further work on aesthetics in
the human-computer interactions area. Keywords: aesthetics, somaesthetics, somatic marker hypothesis, user experience | |||
| The visual information load as a parameter for designing pleasurable environment | | BIBAK | Full-Text | 144-145 | |
| Marin Katov; Noriaki Nomura; Kuniaki Ito | |||
| This paper reports a study on the relation between the informational content
of an artificially built environment and the emotional response to this
environment. It presents the hypothesis that human response to a visual scene
is influenced by the information of the scene and there is a uniform
relationship between informational load of an architectural scene and the
affective response. The paper defines an estimation function for entropy in a
visual scene, then describes an experiment in which observers were asked to
indicate their affective response to a computer generated renderings of an
architectural interior, manipulated to have varying information on content by
addition of textures and furnishing. The computer measured informational load
was compared with the subjective evaluations of the respondents, for important
interior characteristics like comfort, relaxation and attractiveness. The paper
presents proofs that the measurement of the informational load of the scene is
a unique characteristic of the given architectural interior. Keywords: behavior models, design, informational load | |||
| The lack of usability in design icons: an affective case Study about Juicy Salif | | BIBAK | Full-Text | 146-147 | |
| Beatriz Russo; Anamaria de Moraes | |||
| This poster is the first part of a research project about the lack of
usability in products with a strong aesthetic appeal. The hypothesis of this
research is that products -- Icons, influenced by marketing and admired by
consumers for aesthetic priority, have a disabled usability because of the
absence of ergonomics approach during the design phase. Here, a short history
about the arise of industrial aesthetic is presented, together with a study
about product's pleasurability. This research begins with a case study about
the lemon squeezer JUICY SALIF, a design icon considered product. Usability
tests were applied and analyzed, as questionnaires and comments suggested by
admirers through an internet forum. Keywords: emotions, industrial aesthetic, product design, usability | |||
| Sensual surfaces: engaging consumers through surface textures | | BIBAK | Full-Text | 148-149 | |
| John Sedgwick; Brian Henson; Cathy Barnes | |||
| Research is being carried out at the University of Leeds in collaboration
with the Faraday Packaging Partnership that aims to enhance consumers'
enjoyment of products by carefully designing the surfaces and textures of the
packaging. The aim of the research reported in the poster is to develop a
service for the members of the Faraday Packaging Partnership that could inform
them of the physical characteristics of the surfaces of their packaging that
would enhance the consumers' emotional engagement with their product. The
methodology is to characterize the surface textures of the packaging of
personal care products and to correlate properties of the surfaces to the
emotions evoked from consumers recorded through the use of focus groups and the
semantic differential technique. Initial results give us confidence that the
semiotic techniques give consistent and valid results for the tactile domain. Keywords: affective design, kansei engineering, product packaging | |||
| A semantic differential study of the influence of aesthetic properties on product pleasure | | BIBAK | Full-Text | 150-151 | |
| Zeynep Sevener | |||
| In this paper, the influence of the aesthetic properties of products on
inducing the feeling of product pleasure on consumers is investigated. In the
context of this study, aesthetic properties are considered as a synonym for
visual aspects of the products. It is essential to solicit the perspective of a
consumer, as different perspectives lead to different perceptions of the same
product. The perception about a product is the determining factor for the
emotions evoked in the consumer, which will evidently affect the extent of the
pleasure. Semantic Differential (SD) method is used in order to examine the
evaluation of table-clock samples with dissimilar aesthetic properties. In the
SD questionnaire, 14 image-word pairs are employed for the evaluation of 8
table-clock designs, which are presented to 40 subjects. The results indicate
that the property 'form' is utterly effective in consumers' perception. The
effects of the other aesthetic properties are discussed as well as the
classification of the products with respect to the adjectives. Keywords: aesthetic properties, pleasure, semantic differential method | |||
| Exploring the role of emotion in the interaction design of digital music players | | BIBAK | Full-Text | 152-153 | |
| John Zimmerman | |||
| This paper documents students' interaction designs for digital music players
that consider both the emotional quality of interaction as well as usability. Keywords: affective design, interaction design, music interface | |||