Picture on right: From the Why to the What and the How: Three levels to consider when designing technology-mediated experiences.
http://www.interaction-design.org/encyclopedia/user_experience_and_experience_design.html
Notes from video Experience Design 3/4:
· designing as a dialogue user wants designer gives, not a one way road.
· Model: Why (<- needs and emotions surrounding it, should put why first), what (people can do with it, core functionality), how (the way you interact with it)
· the interaction should reflect the type of need, e.g. intimacy and control should have different ways.
· the EXPERIENCE you want to deliver, through product you should MATERIALIZE AND CONTEXTUALIZE THIS
· interactive products are not static, but dynamic!
· assume close links between actions, thoughts and emotions
· An experience is subjective, holistic, situated, dynamic, and worthwhile.
· being able to relate to the actions and processes, not demanding products but encouraging, the style of storytelling matters!
· At the moment, the majority of commercially available interactive devices is either too practical or too open-ended.
· Experience Design stands for technology, which suggests meaningful, engaging, valuable, and aesthetically pleasing experiences in itself. Thinking "communication experiences" rather than "mobile devices" opens up a huge design space for possible devices - even slippers (Chen et al 2006) or pillows (Laschke et al 2010).
· Dunne (2006, p. 69) explains: "[... B]ehavior is a narrative experience arising from the interaction between our desire to act through products and the social and behavioural limitations imposed [...] through [their] conceptual models."
· But what is in an experience? Psychologically, an experience emerges from the integration of perception, action, motivation, and cognition into an inseparable, meaningful whole
- While the immediate moment-by-moment experience is certainly interesting, memorized experience is of more practical relevance. This is simply because most of our waking time, we are feasting on vivid memories of the past (or anticipations) rather than on immediate pleasures.
- Books recommended in Design Talks by Mark : Though the transformation to a post-materialistic experience society has been recognized by business, as indicated by books such as The Experience Economy (Pine & Gilmore, 1999) or Experiential Marketing (Schmitt 1999),
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Kinetic Design
(…)industrial designers will not just create forms, but choreograph those forms’ movements through space. Kinetic Design will literally open a new dimension for the aesthetic development of physical objects and the world will be richer for it.
It is universally understood that rigorous aesthetic control over all the aspects of an object’s development produces more beautiful and pleasing results. Designer Raymond Loewy explained it succinctly saying, “Ugliness does not sell.”
developing or recording a spatial event that takes place over time.
Critical Elements of Kinetic Design Methodology
1. A Vocabulary for Motion. Designers must be able to clearly explain and discuss their ideas about movement. To this end, they should borrow openly and freely from every discipline, though at first glance they may seem only remotely related. If choreographers can talk about “transition,” “climax,” and “balance,” so can designers. All of these principles apply to movement in products. If puppeteers can describe a movement as “lumbering” or “stiff,” so can designers. In turn, Design will create its own words and conventions as kinetic sophistication evolves.
2. Methods for Sketching Motion. In order to attack a kinetic problem aesthetically, words alone simply will not do. Designers must be able to model moving concepts. Most practicing designers already have the training and experience to create simple sketches and models of static objects. From there, it’s not that huge a leap to sketch a kinetic model. As long as one doesn’t get too concerned with the engineering/mechanical specifics, a sketch model can contain ample information to communicate an idea. The technical workings of a concept can be developed later.
2. Methods for Sketching Motion. In order to attack a kinetic problem aesthetically, words alone simply will not do. Designers must be able to model moving concepts. Most practicing designers already have the training and experience to create simple sketches and models of static objects. From there, it’s not that huge a leap to sketch a kinetic model. As long as one doesn’t get too concerned with the engineering/mechanical specifics, a sketch model can contain ample information to communicate an idea. The technical workings of a concept can be developed later.
Fancy hardware or mechanical elements are not necessary for such models and, in fact, can become a hindrance. As long as a sketch moves as it should, it doesn’t matter how it’s made or from what. Dirty, fast, and cheap sketches are usually sufficient to demonstrate a motion concept. One can use simple materials like foamcore, tape, hot glue, and balsa wood. The model itself is not important — just how it moves.
3. Recording Motion. A kinetic concept is only as useful as the record of that idea. In order to effectively analyze, develop, and refine a movement, it must be repeatable. There are a variety of recording methods that allow designers to capture movement and these will vary depending on the nature of the sketch. Sometimes, a series of drawings or photos can capture a gesture. In other cases, a 3D model can be “spring-loaded,” allowing the user to execute and then reset a movement event indefinitely. Ultimately, video is the most natural and effective method to record motion concepts. It might require several takes from various angles to accurately capture what’s going on, but nothing can compare to video for precisely documenting a kinetic model’s movements through space, over time. If a designer creates a model of a new kind of car door, for example, he can use video to help determine how quickly that door should open. Perhaps he tries opening the door at various speeds and analyzes the movements from different camera angles. This will create a useful record of his efforts to design the pacing of that door’s movement through space.
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Underneath: Task analysis Template Image
Microsoft Future vision video – of interaction design and interfaces.
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