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2020 | Buch

Introduction—Feelings Matter Kapitel lesen Erstes Kapitel lesen

Emotions in Technology Design: From Experience to Ethics

herausgegeben von: Dr. Rebekah Rousi, Dr. Jaana Leikas, Dr. Pertti Saariluoma

Verlag: Springer International Publishing

Buchreihe : Human–Computer Interaction Series

Enthalten in: Springer Professional "Wirtschaft+Technik" , Springer Professional "Technik" , Springer Professional "Wirtschaft"

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Über dieses Buch

Understanding emotions is becoming ever more valuable in design, both in terms of what people prefer as well as in relation to how they behave in relation to it. Approaches to conceptualising emotions in technology design, how emotions can be operationalised and how they can be measured are paramount to ascertaining the core principles of design.

Emotions in Technology Design: From Experience to Ethics provides a multi-dimensional approach to studying, designing and comprehending emotions in design. It presents emotions as understood through basic human-technology research, applied design practice, culture and aesthetics, ethical approaches to emotional design, and ethics as a cultural framework for emotions in design experience. Core elements running through the book are: cognitive science – cognitive-affective theories of emotions (i.e., Appraisal); culture – the ways in which our minds are trained to recognise, respond to and influence design; and ethics – a deep cultural framework of interpretations of good versus evil. This ethical understanding brings culture and cognition together to form genuine emotional experience.

This book is essential reading for designers, technology developers, HCI and cognitive science scholars, educators and students (at both undergraduate and graduate levels) in terms of emotional design methods and tools, systematic measurement of emotion in design experience, cultural theory underpinning how emotions operate in the production and interaction of design, and how ethics influence basic (primal) and higher level emotional reactions. The broader scope equips design practitioners, developers and scholars with that ‘something more’ in terms of understanding how emotional experience of technology can be positioned in relation to cultural discourse and ethics.

Inhaltsverzeichnis

Frontmatter
Chapter 1. Introduction—Feelings Matter
Abstract
Emotions are a hot topic in design, human–computer interaction and any area of business these days. Their significance in areas in which people make choices, decisions and engage in action has been undeniable for at least the last 40 years of psychology and consumer scholarship. What once was an extremely contested, fuzzy and (almost) easily scientifically avoidable area, is now at the centre of everyone’s interest. In an era of cognitive computing, artificial intelligence (so-called learning and thinking machines), and optimization, all attention is placed on what makes us human, and the ways in which human thought actually operates. This emotional logic, intentionality and consciousness itself, drive not simply the ways in which individuals process (cognitise) information, but also ways in which society and the built world are structured. Emotions play as much a role in shaping technology design, as they do in the way we experience it. This introduction presents a book that takes many angles towards concretely understanding what it is in design that makes people emotionally experience it in the ways that they do. It introduces the main themes and concepts of the book that include ethics, culture, measurement and design methods. It additionally demonstrates a broader understanding of technology in chapters that investigate graffiti, urban and art experience, filmic experience, architecture and cultural movements. It is hoped that combining this broader cultural-emotional insight into one package will enable readers to connect their design practice and research to the broader system of emotions, culture, ethics, lived experience and technology.
Rebekah Rousi, Jaana Leikas, Pertti Saariluoma

Basic Research

Frontmatter
Chapter 2. User Psychology of Emotional Interaction—Usability, User Experience and Technology Ethics
Abstract
Human emotions are decisive in defining what the values of events and phenomena are for a person. This is why emotions are crucial in all our attempts to understand human–technology interaction. Emotions play a key role in all types of design and user-related issues, even in regard to simply whether or not people like a design, and why. Moreover, emotions are additionally important in all attempts to understand ethical issues. Especially, designers should see the explanatory value of emotional states when they pursue to discover why some design solutions function and why others do not. Therefore, it is important to decipher emotions, what they are, and what triggers them, as well as how they can be conceptualized in design research.
Pertti Saariluoma
Chapter 3. The Appraisal Theory of Emotion in Human–Computer Interaction
Abstract
This chapter reviews the appraisal theory of emotion and how it has been employed in human–computer interaction (HCI) research. This theory views emotion as a process that evaluates the subjective significance of an event. We demonstrate the usefulness of the perspective for HCI, as emotion is defined in terms of the events of the task environment and the goals and knowledge of the subject. Importantly, the appraisal theory ties these factors together in a cognitive appraisal process order to explain the variety of subjective emotional experiences. This is important for two reasons. First, a strong theoretical commitment allows researchers and designers to derive testable hypotheses from the theory. Second, only a theory that ties together goals, knowledge and emotion can explain the behaviour and experiences of users, who often have multiple—and at times conflicting—goals and motivations that may dynamically change in response to events in the environment.
Jussi P. P. Jokinen, Johanna Silvennoinen

Design

Frontmatter
Chapter 4. Research for Designing for Emotions
Abstract
Designing for emotion is very well established in older design disciplines such as advertising, fashion, graphic, interior and product design, and has made good progress in more recent disciplines such as service design. Design work integrates a range of creative practices with technical and business considerations. There is a continuum of practices from highly demanding technology design to highly creative craft work. Even at the most technical extreme, there are vital creative aspects, especially when faced with challenges that are novel for an area of design, such as designing for emotional aspects of technology usage. The outcomes of novel creative practices cannot be known in advance, making it impossible to fully plan creative work. Researching for design—that is, in support of truly novel creative design work—must carefully consider the work practices of the designers who are expected to benefit from new theories, knowledge, information, processes or procedures. Any research on emotions that assumes good science can be automatically applied to any design context will severely limit its potential impact and reach. It is unlikely to be attractive research that can be realistically applied. This chapter begins with the consideration of how emotions are considered in design, summarises the history of an affective focus in human–computer interaction and reviews the author’s practical support for an affective focus within interaction design. It then relates these three reviews to some key perspectives from creative design research to support an initial agenda for effective impact for research for affective design.
Gilbert Cockton
Chapter 5. An Innovative Humour Design Concept for Depression
Abstract
This chapter focuses on the design ideas of collaboration between the fields of design science and neuroscience to seek approaches to help people with depressive mood. Cutting-edge neuroscience research, involving sophisticated brain imaging techniques, can offer more and deeper insights into the cognitive processes of human being. These techniques explore different features in brain signals and functional brain regions to measure the biological factor changes related to the processing characteristics of depressive mood. Under the guidance of life-based design (LBD) and individual knowledge system (IKS) theories, resorting to mobile phones as the main media connecting potential users and future technical artefacts, the model proposed in this chapter was integrated with the emerging EEG-based brain–computer interfaces to provide a ‘four-in-one’ system: real-time recording, instant feedback, effective intervention and constant reinforcement to optimise the way to bridge scientific studies and real lives and investigate solutions of mood disturbance.
Huili Wang, Xueyan Li

Emotions, Culture and Aesthetics

Frontmatter
Chapter 6. The Good, the Bad and the Ugly Graffiti
Abstract
Emotions play an essential role in aesthetic and art experience. Graffiti is an example of urban visual communication, and it can also be understood as a form of art. Like other works of art, graffiti can evoke different aesthetic emotions in its audiences, such as pleasure, wonder, interest and pride but also disinterest, disappointment or embarrassment, and even anger and disgust—further impacting, for example, how they value this art form. However, few studies have explored what kinds of emotions people feel when they appraise graffiti. This chapter discusses emotions in graffiti using examples from participant interviews in the Purkutaide study. Interview quotes are assessed against theories regarding aesthetic emotions and art appreciation. There are several challenges associated with studying emotions inspired by graffiti. For instance, explicating emotions verbally is difficult, and the same graffiti work can be interpreted as beautiful or ugly, or good or bad, depending on multiple factors. Appraising graffiti is an interactive and iterative process that depends on both the perceived visual and non-perceivable symbolic features of the work. The sociocultural and physical context, viewing time, subjective motives, the work’s relation to the self, the level of learned graffiti-related expertise and other aspects may also influence what kinds of emotions graffiti evokes, and how it is judged in terms of good/bad or beautiful/ugly.
Mari Myllylä
Chapter 7. Emotional Film Experience
Abstract
Technological developments in the film industry have enriched the audio–visual language over the years, and made it possible to represent subtle aspects of the world so that audiences could experience fictional stories as realistically as possible, and be emotionally engaged and interested. This chapter reviews recent research and theories regarding emotional engagement, interest and empathy as complex cognitive emotional viewers’ experiences. In addition, we will discuss the use of non-narrative factors such as music or colour to elicit emotions. But more importantly, we will introduce methods and techniques that can be used to study viewers’ emotional responses to films. Our basic claim is that films, like other technological artefacts, can be studied using the methods of user experiences. Integrating ideas and methods from film theory, users’ experiences and cognitive psychological approaches to emotions might provide a useful framework to understand viewers’ experiences of films.
Jose Cañas-Bajo
Chapter 8. The Role of Cuteness Aesthetics in Interaction
Abstract
While many modern cultures around the world appreciate ‘cuteness’, few empirical studies have been conducted on the kinds of responses cuteness evokes. This chapter explores the results of two studies to examine people’s perceptions and preferences regarding cute aesthetics. The first study investigated 2D online gambling aesthetics in video games and compared cute versus non-cute imagery of a croupier and a treasure chest. A total of 37 adults participated in this online experiment, which featured open and closed question items. The adult participants (n = 17) who took part in the second study were shown a video of a 3D ambient media device, called Fuji-chan, designed to provide information about the meteorological conditions on, and the volcanic activity of, Mount Fuji in Japan. Participants were then invited to answer questions related to the perceived cuteness, information usefulness and importance of the Fuji-chan device. The findings of both studies show that an aesthetic design that follows the principles of cuteness does not guarantee that the imagery is perceived as such, and that the content of the imagery determines whether people evaluated cuteness at a sensory, aesthetic level or whether they attached a symbolic, situated meaning to it. We call on future work to elaborate a clear operationalisation of what constitutes cuteness, at both linguistic operational and aesthetic levels, and further this preliminary work on how people’s perceptions of and responses to cuteness in interaction depend on the context.
Stuart Medley, Bieke Zaman, Paul Haimes

Ethics and Culture

Frontmatter
Chapter 9. That Crazy World We’ll Live in—Emotions and Anticipations of Radical Future Technology Design
Abstract
Humans behave towards and experience technological design in conflicting and contradictory ways. On the one hand, the very mention of the word ‘future’ conjures expectations of the radically new and unexpected. On the other hand, previous research has shown that people have a threshold for the level of change and the unexpected that they can cope with. Their expectations are dominated by mental images of familiar associations with what has been previously associated with the future. As a rule, humans cope with incremental changes, yet have difficulty accepting the entirely unfamiliar. This makes it harder to imagine a future of radical technology design and interactions, particularly when attempting to predict possible emotional outcomes. This chapter describes the emotional balance between the familiar and the unfamiliar in design creations, which has also been observed in theories such as the Most Advanced Yet Acceptable (MAYA) theory. The MAYA theory emphasises the complexity and irony of incremental versus radical changes in renewing design language and technological systems for the future. By carefully observing classical cases of previous game-changing technological innovations, including their hype and acceptance curves, a model is proposed that illustrates how a radical design future may be achieved by tapping into emotional, ideological and interactive logic, rather than formalistic (material-based) design choices. This chapter highlights the role that culture and cultural discourse play in cognition and emotions when considering future technology design in terms of ‘thinking outside the box’.
Rebekah Rousi
Chapter 10. Aesthetic Well-Being and Ethical Design of Technology
Abstract
Aesthetics is a central quality attribute of a product. Research into the relationship between aesthetics in human–technology interaction and the well-being of older people is still in its infancy. In care homes, aesthetics can play a major role in creating a ‘feeling of home’, which is important when the transition to assisted living may involve multiple changes and losses that affect an older person’s well-being. This chapter discusses the potential of aesthetic design to address older people’s emotional well-being. Aesthetics in technology and technological environments provides a new ethical way of looking at valuable problems in design—meaningfulness in terms of personal and individual symbolic values and the harmonizing potential of artefacts to create a ‘feeling of home’. Promoting the aesthetic well-being of older people in care homes (and in general) deserves further attention.
Jaana Leikas
Chapter 11. Emotions and Technoethics
Abstract
The relationship between emotions and ethics has been debated for centuries. The act of understanding emotions through the framework of ethics involves accepting that emotions are to some extent culturally dependent. By linking emotions in design to larger ethical discussions, it may be accepted that ethics and design are both technological constructions designed to shape a collective worldview. While both are cultural constructions, they are in constant dialogue with one another through social discourse and individualistic cognitive–affective appraisal processes. This chapter presents an account of technoethics that challenges ideas of ethical values embedded within technology, drawing attention to the role of human intentionality as a definitive ethical factor in human–technology relationships. The chapter problematises simplistic views of ethics and emotional technology experience to reveal the ambiguous and dynamic nature of cognitive–emotional–cultural interdependencies in technology experience.
Pertti Saariluoma, Rebekah Rousi
Metadaten
Titel
Emotions in Technology Design: From Experience to Ethics
herausgegeben von
Dr. Rebekah Rousi
Dr. Jaana Leikas
Dr. Pertti Saariluoma
Copyright-Jahr
2020
Electronic ISBN
978-3-030-53483-7
Print ISBN
978-3-030-53482-0
DOI
https://doi.org/10.1007/978-3-030-53483-7

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