Blythe / Monk Funology 2

From Usability to Enjoyment
2. Auflage 2018
ISBN: 978-3-319-68213-6
Verlag: Springer International Publishing
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 550 Seiten

Reihe: Human-Computer Interaction Series

How should we understand and design for fun as a User Experience? This new edition of a classic book is for students, designers and researchers who want to deepen their understanding of fun in the context of HCI. The 2003 edition was the first book to do this and has been influential in broadening the field. It is the most downloaded book in the Springer HCI Series. This edition adds 14 new chapters that go well beyond the topics considered in 2003. New chapter topics include: online dating, interactive rides, wellbeing, somaesthetics, design fiction, critical design and participatory design methods. The first edition chapters are also reprinted, with new notes by their authors setting the context in which the 2003 chapter was written and explaining the developments since then. Taken with the new chapters this adds up to a total of 35 theoretical and practical chapters written by the most influential thinkers from academia and industry in this field.

Autoren/Hrsg.

Blythe, Mark

Monk, Andrew

Inhaltsverzeichnis

1;PREFACE - HOW TO USE THE SECOND EDITION;7
2;Contents;10
3;Contributors;14
4;Funology 2;18
5;1 Funology 2: Critique, Ideation and Directions;19
5.1;1 Methods and Techniques: Ideation;23
5.2;2 Design Case Studies: Approaches and Directions;26
5.3;References;28
6;“Critique”;30
7;2 The Thing and I (Summer of ’17 Remix);31
7.1;1 Introduction;31
7.2;2 A First, Process-Oriented Model of User Experience;32
7.3;3 A Second, Content-Oriented Model of User Experience;35
7.3.1;3.1 Overview of the Model;35
7.3.2;3.2 User Experience and Wellbeing;38
7.3.3;3.3 On the Relationship Between Experience and Interaction;38
7.3.4;3.4 Three Points for Discussion;39
7.4;4 Conclusion;41
7.5;5 Finally, on a More Personal Note;42
7.6;Acknowledgements;42
7.7;References;42
8;3 Can Games Be More Than Fun?;46
8.1;1 Games Are Very Engaging;46
8.2;2 A Note About “Games”;47
8.3;3 It’s Not All About Flow;48
8.4;4 Learning in Games;50
8.4.1;4.1 Learning Via Priming;52
8.4.2;4.2 Learning What in Games?;54
8.5;5 Where Does the Time Go?;55
8.6;6 Conclusions;57
8.7;References;57
9;4 What Is Pleasure?;60
9.1;1 Pleasure in the Literature;61
9.2;2 Pleasure: What Is in the Word?;63
9.3;3 Pleasure Is Wordly;64
9.4;4 Pleasure Is a Skill;66
9.5;5 Pleasure Is Ordinary;68
9.6;6 Pleasure Is Felt;70
9.7;7 Conclusions;71
9.8;References;72
10;5 The (Un)Enjoyable User Experience of Online Dating Systems;73
10.1;1 Introduction;73
10.2;2 Online Dating System Design;74
10.3;3 User Motivations for Using Online Dating Systems;75
10.4;4 What Makes Online Dating User Experiences (Un)Enjoyable?;76
10.5;5 Dissecting Unenjoyable Online Dating User Experiences;76
10.5.1;5.1 What if the Next One Is Better?: Shopping for Profile Pages;77
10.5.2;5.2 Pick Me, Pick Me: Temptations of Deception in Profile Pages;78
10.5.3;5.3 Private Messaging: What Do I Say, and When Do I Say It?;79
10.5.4;5.4 What Brings You Here?: Expressing and Identifying Relationship Goals for System-Use;81
10.6;6 Why Do Users Endure Unenjoyable Experiences?;82
10.7;7 Conclusion;84
10.8;Acknowledgements;84
10.9;References;85
11;6 “My Peaceful Vagina Revolution:” A Theory of a Design;88
11.1;1 HCI and Criticism;89
11.2;2 Design Artifacts as Theory/ies;90
11.3;3 A Theory of the Formoonsa Cup;92
11.3.1;3.1 The Formoonsa Cup;93
11.3.2;3.2 Seeing like a Hymen;94
11.3.3;3.3 Seeing like a Taiwanese Menstrual Cup;96
11.4;4 Seeing like a Critical Computing Researcher;99
11.4.1;4.1 In What Way Did We Offer a “Theory” of the Formoonsa Cup?;99
11.4.2;4.2 How Can Such a Theory Inform HCI?;100
11.5;References;101
12;“Ideation”;103
13;7 Improv for Designers;104
13.1;1 Introduction;104
13.2;2 Design Practice;105
13.3;3 Improvisation Practice;105
13.4;4 Beyond Performance: Improvisation in Human Computer Interaction Design;106
13.5;5 Approach;107
13.6;6 Shared Practices of Improvisation and Design;108
13.7;7 Collaboration;109
13.8;8 Exploration;110
13.9;9 Generation;111
13.10;10 Experimentation;112
13.11;11 Communication;113
13.12;12 From Stage to Studio;114
13.13;13 Guidelines for Adoption;115
13.14;14 Limitations;116
13.15;15 Conclusion;116
13.16;Acknowledgements;117
13.17;Appendix;117
13.18;References;117
14;8 Playing with Provocations;120
14.1;1 From Design-For to Design-With;120
14.2;2 Three Approaches to Exploring Provocations with Participants;122
14.2.1;2.1 Questionable Concepts;123
14.2.2;2.2 Invisible Design;125
14.2.3;2.3 Experience Design Theatre;128
14.3;3 Reflections on Using Provocations in Participatory Design;131
14.3.1;3.1 Balancing Technological and Social Imaginaries;131
14.3.2;3.2 Harness Critique as Creativity;132
14.3.3;3.3 Fun as a Resource for Design;133
14.3.4;3.4 Getting It Wrong;134
14.4;Acknowledgements;135
14.5;References;136
15;9 Sketching the Polyphonic Design Space of Theme Parks;138
15.1;1 Introduction;138
15.2;2 The Theme Park;140
15.3;3 Consuming Experience;141
15.4;4 Concept Sketching;142
15.5;5 Character-Driven Scenarios;145
15.6;6 Souvenir Concept Sketches;148
15.6.1;6.1 Daemon Guide;148
15.6.2;6.2 Snackshacks;150
15.6.3;6.3 Magic Cam;152
15.7;7 Engaging Design Through the Picture Book;153
15.8;8 Picture Book for Prototyping;159
15.9;9 Closing Discussion;160
15.10;Acknowlegements;161
15.11;References;161
16;10 Playful Research Fiction: A Fictional Conference;165
16.1;1 Introduction;165
16.2;2 Play in Research Fiction;166
16.3;3 A Fictional Conference;167
16.4;4 Response;174
16.5;5 Building the Programme;174
16.6;6 Discussion;175
16.6.1;6.1 Humour;176
16.6.2;6.2 Form;177
16.6.3;6.3 Confusion;177
16.6.4;6.4 Authors;178
16.7;7 Conclusion;178
16.8;Acknowledgements;179
16.9;References;180
17;“Approaches and Directions”;182
18;11 Slow, Unaware Things Beyond Interaction;183
18.1;1 Introduction;183
18.2;2 Concepts of Slowness, Unawareness, Thingness;185
18.3;3 Slowness;186
18.4;4 Unawareness;188
18.5;5 Thingness;190
18.6;6 Emerging Design Vocabulary for Going Beyond Interaction;192
18.7;7 Conclusion and Future Directions;194
18.8;Acknowledgements;195
18.9;References;195
19;12 Designing for Joyful Movement;198
19.1;1 Introduction;198
19.2;2 Sensing One’s Body: The Enchanting Joys of Bellyaches;199
19.3;3 What Technology Can Sense: The Magic and Mysteries of Movement Feedback;202
19.4;4 Performance and Spectatorship: There Is No Business Like Show Business;205
19.5;5 Tiny Movements and Full Body Experiences, Move That Body!;207
19.6;6 Conclusion;209
19.7;References;210
20;13 Discomfort—The Dark Side of Fun;213
20.1;1 Introduction;213
20.2;2 Blast Theory;214
20.3;3 Brendan Walker;217
20.4;4 Uncomfortable Interactions;221
20.5;5 The Appropriate Use of Uncomfortable Interactions;225
20.6;6 But Is It Fun?;226
20.7;Acknowledgements;227
20.8;References;227
21;14 Reorienting Geolocation Data Through Mischievous Design;229
21.1;1 Introduction;229
21.2;2 Mischief Making as Research;230
21.3;3 Blowtooth;232
21.4;4 Feckr;234
21.5;5 Fearsquare;236
21.6;6 GetLostBot;238
21.7;7 Discussion;240
21.8;8 Conclusions;241
21.9;Acknowledgements;242
21.10;References;242
22;15 From Evaluation to Crits and Conversation;245
22.1;1 Introduction;245
22.2;2 The Varieties of Evaluation;246
22.3;3 Mixed Reviews;247
22.4;4 Process;249
22.5;5 Developing Repentir;250
22.6;6 Comment and Crits;251
22.7;7 Conversation;253
22.8;8 So What?;255
22.9;9 Parallax Views;255
22.10;Acknowledgements;257
22.11;References;257
23;Funology 1;259
24;How to Use Funology 1;259
25;16 Introduction to: Funology 1;262
25.1;1 From Usability to Enjoyment: Book Introduction, as Printed in the 2003 Edition;262
25.1.1;1.1 Ontological Problems and Relevant Literatures;263
25.1.2;1.2 The Limits of Traditional Conceptions of Usability;266
25.1.3;1.3 The Breadth of Approaches;267
25.2;2 Theories and Concepts;268
25.3;3 Methods and Techniques;271
25.4;4 Case Studies in Design;273
25.5;References;275
26;“Theories and Concepts”;276
27;17 Let’s Make Things Engaging;277
27.1;1 Introduction;278
27.2;2 What Is Wrong?;278
27.3;3 How Do We See It?;280
27.4;4 How Do We Do It?;280
27.4.1;4.1 Trying to Answer the Question;281
27.4.2;4.2 Examples;284
27.5;5 Conclusions;287
27.6;Acknowledgements;288
27.7;References;288
28;18 The Engineering of Experience;289
28.1;1 Fun Is the Dregs of Engineering Experience;291
28.2;2 Computer Science Is Computational Taylorism (but Doesn’t Need to Be);292
28.3;3 Think Beyond Both Work and Fun;292
28.4;4 Some Experiences Designing Experiences;293
28.5;5 How to Design Experience;297
28.6;6 The Engineering of Everyday Life, or Where’s the Fun?;299
28.7;7 Don’t just Engineer—Learn to Love Complexity and Speak Its Language;300
28.8;Acknowledgements;300
28.9;References;300
29;19 The Thing and I: Understanding the Relationship Between User and Product;302
29.1;1 Introduction;302
29.2;2 A Model of User Experience;303
29.2.1;2.1 From the Intended and Apparent Product Character to Consequences;304
29.2.2;2.2 Product Character: Pragmatic and Hedonic Attribute;305
29.2.2.1;2.2.1 Pragmatic Attributes: Manipulation;305
29.2.2.2;2.2.2 Hedonic Attributes: Stimulation, Identification, and Evocation;306
29.2.2.3;2.2.3 ACT and SELF Product Characters;307
29.2.3;2.3 Consequences: Satisfaction, Pleasure and Appealingness;309
29.2.4;2.4 Situation: Goal and Action Mode;310
29.3;3 Summary and Conclusion;312
29.4;Acknowledgements;312
29.5;References;313
30;20 Making Sense of Experience;315
30.1;1 Introduction;318
30.2;2 Conceptualising Experience;319
30.3;3 The Framework;321
30.3.1;3.1 The Four Threads of Experience;322
30.3.1.1;3.1.1 The Compositional Thread;322
30.3.1.2;3.1.2 The Sensual Thread;323
30.3.1.3;3.1.3 The Emotional Thread;323
30.3.1.4;3.1.4 The Spatio-Temporal Thread;323
30.3.2;3.2 Making Sense in Experience;324
30.3.2.1;3.2.1 Anticipating;324
30.3.2.2;3.2.2 Connecting;325
30.3.2.3;3.2.3 Interpreting;325
30.3.2.4;3.2.4 Reflecting;325
30.3.2.5;3.2.5 Appropriating;326
30.3.2.6;3.2.6 Recounting;326
30.4;4 The Framework in Use;327
30.5;5 Conclusions;328
30.6;References;329
31;21 Enjoyment: Lessons from Karasek;331
31.1;1 Introduction;331
31.1.1;1.1 Karaseks Demand-Control-Support Model;332
31.2;2 Demands and Enjoyment: Challenge and Variation;332
31.2.1;2.1 Challenges;333
31.2.2;2.2 Variation—And the Surpassing of Users’ Expectations;334
31.3;3 Decision Latitude and Enjoyment: Skill Discretion and Decision Authority;335
31.3.1;3.1 Skill Discretion: The Opportunity to Use and Develop Skills;335
31.3.2;3.2 The Decision-Making Authority of the User;336
31.4;4 Social Support as Enjoyment: Co-activity and Social Cohesion;337
31.4.1;4.1 Co-activity;337
31.4.2;4.2 Social Cohesion;338
31.5;5 Conclusion;339
31.6;Acknowledgements;340
31.7;References;340
32;22 Fun on the Phone: The Situated Experience of Recreational Telephone Conferences;342
32.1;1 Introduction;342
32.2;2 Fun as Situated Experience;343
32.2.1;2.1 Schemata of Frame Analysis;344
32.2.2;2.2 Frames as Interactional Achievements;346
32.2.2.1;2.2.1 Thick External Bracket;346
32.2.2.2;2.2.2 Internal Brackets as an Interactional Achievement;347
32.3;3 Analysing Fun on the Phone;347
32.3.1;3.1 From Formal to Fluid Interaction;348
32.3.1.1;3.1.1 The Primary Frame of the Telephone;349
32.3.1.2;3.1.2 Framing the Call—Introductions as Thick External Brackets;350
32.3.1.3;3.1.3 Two Forms of Internal Brackets—Formal and Fluid;351
32.4;4 Conclusion;355
32.5;References;355
33;23 The Enchantments of Technology;357
33.1;1 Introduction;360
33.2;2 What Do We Mean by Enchantment?;361
33.3;3 Enchantments of Technology;364
33.4;4 Enchantment in the Space of Public Appearance;367
33.5;References;370
34;24 The Semantics of Fun: Differentiating Enjoyable Experiences;372
34.1;1 Introduction;374
34.2;2 Pleasure from a Psychological Perspective: Flow;375
34.3;3 The Politics of Fun;375
34.4;4 Context Dependency;377
34.5;5 The Experience of Fun and Pleasure;378
34.5.1;5.1 Triviality and Relevance;380
34.5.2;5.2 Repetition and Progression;381
34.5.3;5.3 Spectacle and Aesthetics;382
34.5.4;5.4 Transgression and Commitment;383
34.6;6 Conclusion;383
34.7;References;384
35;“Methods and Techniques”;385
36;25 Measuring Emotion: Development and Application of an Instrument to Measure Emotional Responses to Products;386
36.1;1 Introduction;387
36.2;2 Approaches to Measure Emotion;388
36.2.1;2.1 Non-verbal Instruments to Measure Emotions;388
36.2.2;2.2 Verbal Instruments to Measure Emotions;389
36.3;3 The Product Emotion Measurement Instrument;390
36.3.1;3.1 Emotions Measured by PrEmo;391
36.3.2;3.2 Dynamic Cartoon Animations;392
36.3.3;3.3 Validity and Reliability;393
36.4;4 Cross-Cultural Application;394
36.4.1;4.1 Between-Culture Differences;396
36.5;5 Discussion;397
36.6;Acknowledgements;398
36.7;References;398
37;26 That’s Entertainment!;400
37.1;1 Introduction;401
37.1.1;1.1 Motivation for the Project;401
37.1.2;1.2 Entertainment on the Web;401
37.2;2 Method;402
37.2.1;2.1 Overview of User Centred Design Approach;402
37.2.2;2.2 Users;403
37.2.3;2.3 Iteration 1: Usability Design Walkthroughs;403
37.2.4;2.4 Iteration 2: The Design and Evaluation of the Interactive Prototypes;404
37.2.4.1;2.4.1 Usability Test Procedure;407
37.3;3 Results;408
37.3.1;3.1 User Ratings of Tours;408
37.3.2;3.2 A Comparison of Singles and Pairs;410
37.3.3;3.3 User Debrief Data;410
37.4;4 Discussion and Conclusions;411
37.5;References;412
38;27 Designing for Fun: User-Testing Case Studies;414
38.1;1 Introduction;415
38.1.1;1.1 Methods and Games;416
38.2;2 Case Studies;416
38.2.1;2.1 Combat Flight Simulator;417
38.2.2;2.2 MechWarrior 4: Vengeance;419
38.2.3;2.3 Halo: Combat Evolved;422
38.2.4;2.4 RalliSport Challenge;424
38.3;3 Conclusion;427
38.4;Acknowledgements;428
38.5;References;428
39;28 Playing Games in the Emotional Space;429
39.1;1 Introduction;430
39.2;2 FARAWAY;431
39.3;3 Another Reality;432
39.4;4 Designing the Games;433
39.5;5 The IF ONLY Games;435
39.5.1;5.1 This Is How I Feel;435
39.5.2;5.2 Here I Am/Take Me with You;436
39.5.3;5.3 You Gave Me This;439
39.6;6 Conclusions;441
39.7;References;443
40;29 Deconstructing Experience: Pulling Crackers Apart;444
40.1;1 Words;447
40.2;2 Pictures;449
40.3;3 Crackers;452
40.4;4 Experience;454
40.5;5 Reflection;458
40.6;6 Distillation;459
40.7;Acknowledgements;460
40.8;References;460
41;30 Designing Engaging Experiences with Children and Artists;461
41.1;1 Introduction;461
41.2;2 Zap Scan;462
41.3;3 A Walk in the Wired Woods;463
41.4;4 Soundscape Workshops;465
41.5;5 Discussion;468
41.6;References;469
42;31 Building Narrative Experiences for Children Through Real Time Media Manipulation: POGO World;471
42.1;1 Introduction;474
42.2;2 Narrative Activity in Classroom;474
42.3;3 POGO World;476
42.3.1;3.1 The POGO Tools;476
42.4;4 The Evaluation of POGO;479
42.4.1;4.1 Impact on the Narrative Activity Phases;480
42.5;5 Conclusions;483
42.6;Acknowledgements;484
42.7;References;484
43;“Case Studies in Design”;485
44;32 From Usable to Enjoyable Information Displays;486
44.1;1 Introduction;488
44.1.1;1.1 An Example of Informative Art;490
44.2;2 A Case Study of Informative Art;491
44.2.1;2.1 Comments from Students Who Attended the Briefing;493
44.2.2;2.2 Comments from Students Who Did not Attend the Briefing;494
44.2.3;2.3 Discussion;495
44.3;3 Conclusion;495
44.4;References;496
45;33 Fun for All: Promoting Engagement and Participation in Community Programming Projects;498
45.1;1 Introduction;499
45.1.1;1.1 Programming as a Community Activity;499
45.2;2 The CommunitySims Project;500
45.2.1;2.1 The Stagecast Creator Environment;500
45.2.2;2.2 Cross-Generational Programming Workshops;502
45.3;3 Participant Reactions;503
45.3.1;3.1 General Reactions to Workshop Activities;503
45.3.2;3.2 Reactions to the Example Simulations;504
45.3.3;3.3 Ratings of Hypothetical Simulation Characteristics;505
45.4;4 Discussion and Future Work;507
45.4.1;4.1 Summary of Workshops and Reactions;507
45.4.2;4.2 Promoting Engagement and Participation in Community Programming;507
45.5;Acknowledgements;508
45.6;References;508
46;34 Deconstructing Ghosts;510
46.1;1 Fear Is Fun;510
46.1.1;1.1 Deconstructing Ghosts;511
46.2;2 The Virtual Vaults;511
46.2.1;2.1 Method;512
46.2.2;2.2 Results;512
46.2.3;2.3 Discussion;514
46.3;Acknowledgements;515
46.4;References;515
47;35 Interfacing the Narrative Experience;516
47.1;1 Introduction;516
47.2;2 Live Role-Playing Games;517
47.2.1;2.1 Live Versus Online Role-Playing;518
47.3;3 LRP Case Study;518
47.3.1;3.1 Players, Costume, and Character Identity;519
47.3.1.1;3.1.1 Objects and Locations;519
47.4;4 Principles for Design;521
47.4.1;4.1 A Believable Game World;522
47.4.2;4.2 Magical Interfaces;522
47.4.3;4.3 Tangible and Aesthetic Interfaces;524
47.4.4;4.4 Dedicated Versus Token Representation;524
47.5;5 Conclusion;524
47.6;Acknowledgements;525
47.7;References;525
48;36 Whose Line Is It Anyway? Enabling Creative Appropriation of Television;526
48.1;1 Introduction;526
48.1.1;1.1 Television Fans as Producers;527
48.1.2;1.2 Engineering;527
48.2;2 To Boldly Go…;528
48.2.1;2.1 Findings;529
48.3;3 Discussion;531
48.4;Acknowledgements;532
48.5;References;532
49;37 The Interactive Installation ISH: In Search of Resonant Human Product Interaction;533
49.1;1 The Human as a Whole;533
49.2;2 Resonance;534
49.3;3 A Design Example: The Interactive Installation Called ISH;536
49.4;4 Evaluation ISH and Conclusions with Respect to Resonance;538
49.5;Acknowledgements;543
49.6;References;543
50;38 Fun with Your Alarm Clock: Designing for Engaging Experiences Through Emotionally Rich Interaction;544
50.1;References;550