Blythe / Overbeeke / Monk Funology

From Usability to Enjoyment
1. Auflage 2006
ISBN: 978-1-4020-2967-7
Verlag: Springer Netherlands
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 3, 294 Seiten

Reihe: Human-Computer Interaction Series

This book reflects the move in Human Computer Interaction studies from standard usability concerns towards a wider set of problems to do with fun, enjoyment, aesthetics and the experience of use. Traditionally HCI has been concerned with work and task based applications but as digital technologies proliferate in the home fun becomes an important issue. There is an established body of knowledge and a range of techniques and methods for making products and interfaces usable, but far less is known about how to make them enjoyable. Perhaps in the future there will be a body of knowledge and a set of techniques for assessing the pleasure of interaction that will be as thorough as those that currently assess usability. This book is a first step towards that. It brings together a range of researchers from academia and industry to provide answers. Contributors include Alan Dix, Jacob Nielsen and Mary Beth Rosson as well as a number of other researchers from academia and industry.

Autoren/Hrsg.

Blythe, M. A.

Overbeeke, K.

Monk, A. F.

Wright, P. C.

Inhaltsverzeichnis

1;Contents;6
2;PREFACE - HOW TO USE THIS BOOK;8
3;FOREWORD BY PATRICK W. JORDAN;12
4;INTRODUCTION BY MARK BLYTHE AND PETER WRIGHT;14
5;SECTION ONE: THEORIES AND CONCEPTS;21
5.1;CHAPTER 1 LET'S MAKE THINGS ENGAGING;27
5.1.1;1. INTRODUCTION;27
5.1.2;2. WHAT IS WRONG?;28
5.1.3;3. HOW DO WE SEE IT?;29
5.1.4;4. HOW DO WE DO IT?;30
5.1.5;5. CONCLUSIONS;36
5.1.6;6. ACKNOWLEDGEMENT;37
5.1.7;7. REFERENCES;37
5.2;CHAPTER 2 THE ENGINEERING OF EXPERIENCE;39
5.2.1;1. FUN IS THE DREGS OF ENGINEERING EXPERIENCE;39
5.2.2;2. COMPUTER SCIENCE IS COMPUTATIONAL TAYLORISM (BUT DOESN’T NEED TO BE);40
5.2.3;3. THINK BEYOND BOTH WORK AND FUN;41
5.2.4;4. SOME EXPERIENCES DESIGNING EXPERIENCES;41
5.2.5;5. HOW TO DESIGN EXPERIENCE;45
5.2.6;6. THE ENGINEERING OF EVERYDAY LIFE, OR WHERE’S THE FUN?;47
5.2.7;7. DON’T JUST ENGINEER - LEARN TO LOVE COMPLEXITY AND SPEAK ITS LANGUAGE;48
5.2.8;8. ACKNOWLEDGEMENTS;48
5.2.9;9. REFERENCES;48
5.3;CHAPTER 3 THE THING AND I: UNDERSTANDING THE RELATIONSHIP BETWEEN USER AND PRODUCT;51
5.3.1;1. INTRODUCTION;51
5.3.2;2. A MODEL OF USER EXPERIENCE;51
5.3.3;3. SUMMARY AND CONCLUSION;61
5.3.4;4. ACKNOWLEDGEMENTS;61
5.3.5;5. REFERENCES;61
5.4;CHAPTER 4 MAKING SENSE OF EXPERIENCE;63
5.4.1;1. INTRODUCTION;63
5.4.2;2. CONCEPTUALISING EXPERIENCE;64
5.4.3;3. THE FRAMEWORK;66
5.4.4;4. THE FRAMEWORK IN USE;70
5.4.5;5. CONCLUSIONS;72
5.4.6;6. REFERENCES;72
5.5;CHAPTER 5 ENJOYMENT: LESSONS FROM KARASEK;75
5.5.1;1. INTRODUCTION;75
5.5.2;2. DEMANDS AND ENJOYMENT: CHALLENGE AND VARIATION;76
5.5.3;3. DECISION LATITUDE AND ENJOYMENT: SKILL DISCRETION AND DECISON AUTHORITY;79
5.5.4;4. SOCIAL SUPPORT AS ENJOYMENT: CO-ACTIVITY AND SOCIAL COHESION;80
5.5.5;5. CONCLUSION;82
5.5.6;6. ACKNOWLEDGEMENT;83
5.5.7;7. REFERENCES;83
5.6;CHAPTER 6 FUN ON THE PHONE: THE SITUATED EXPERIENCE OF RECREATIONAL TELEPHONE CONFERENCES;87
5.6.1;1. INTRODUCTION;87
5.6.2;2. FUN AS SITUATED EXPERIENCE;87
5.6.3;3. ANALYSING FUN ON THE PHONE;92
5.6.4;4. CONCLUSION;98
5.6.5;5. FOOTNOTES;99
5.6.6;6. REFERENCES;99
5.7;CHAPTER 7 THE ENCHANTMENTS OF TECHNOLOGY;101
5.7.1;1. INTRODUCTION;101
5.7.2;2. WHAT DO WE MEAN BY ENCHANTMENT?;102
5.7.3;3. ENCHANTMENTS OF TECHNOLOGY;104
5.7.4;4. ENCHANTMENT IN THE SPACE OF PUBLIC APPEARANCE;107
5.7.5;5. REFERENCES;110
5.8;CHAPTER 8 THE SEMANTICS OF FUN: DIFFERENTIATING ENJOYABLE EXPERIENCES;111
5.8.1;1. INTRODUCTION;111
5.8.2;2. PLEASURE FROM A PSYCHOLOGICAL PERSPECTIVE: FLOW;111
5.8.3;3. THE POLITICS OF FUN;112
5.8.4;4. CONTEXT DEPENDENCY;114
5.8.5;5. THE EXPERIENCE OF FUN AND PLEASURE;115
5.8.6;6. CONCLUSION;120
5.8.7;7. REFERENCES;120
6;SECTION TWO: METHODS AND TECHNIQUES;121
6.1;USER EMPOWERMENT AND THE FUN FACTOR;123
6.2;INTRODUCTION TO SECTION 2;127
6.3;CHAPTER 9 MEASURING EMOTION: DEVELOPMENT AND APPLICATION OF AN INSTRUMENT TO MEASURE EMOTIONAL RESPONSES TO PRODUCTS;131
6.3.1;1. INTRODUCTION;131
6.3.2;2. APPROACHES TO MEASURE EMOTION;131
6.3.3;3. THE PRODUCT EMOTION MEASUREMENT INSTRUMENT;134
6.3.4;4. CROSS-CULTURAL APPLICATION;138
6.3.5;5. DISCUSSION;141
6.3.6;6. ACKNOWLEDGEMENTS;142
6.3.7;7. REFERENCES;142
6.4;CHAPTER 10 THAT’S ENTERTAINMENT!;145
6.4.1;1. INTRODUCTION;145
6.4.2;2. METHOD;147
6.4.3;3. RESULTS;152
6.4.4;4. DISCUSSION AND CONCLUSIONS;155
6.4.5;5. REFERENCES;156
6.5;CHAPTER 11 DESIGNING FOR FUN: USER-TESTING CASE STUDIES;157
6.5.1;1. INTRODUCTION;157
6.5.2;2. CASE STUDIES;158
6.5.3;3. CONCLUSION;168
6.5.4;4. ACKNOWLEDGMENTS;170
6.5.5;5. REFERENCES;170
6.6;CHAPTER 12 PLAYING GAMES IN THE EMOTIONAL SPACE;171
6.6.1;1. INTRODUCTION;171
6.6.2;2. FARAWAY;172
6.6.3;3. ANOTHER REALITY;173
6.6.4;4. DESIGNING THE GAMES;174
6.6.5;5. THE IF ONLY GAMES;174
6.6.6;6. CONCLUSIONS;181
6.6.7;7. REFERENCES;183
6.7;CHAPTER 13 DECONSTRUCTING EXPERIENCE: PULLING CRACKERS APART;185
6.7.1;1. WORDS;185
6.7.2;2. PICTURES;187
6.7.3;3. CRACKERS;190
6.7.4;4. EXPERIENCE;192
6.7.5;5. REFLECTION;195
6.7.6;6. DISTILLATION;196
6.7.7;7. ACKNOWLEDGEMENTS;197
6.7.8;8. NOTES;197
6.7.9;9. REFERENCES;198
6.8;CHAPTER 14 DESIGNING ENGAGING EXPERIENCES WITH CHILDREN AND ARTISTS;199
6.8.1;1. INTRODUCTION;199
6.8.2;2. ZAP SCAN;199
6.8.3;3. A WALK IN THE WIRED WOODS;201
6.8.4;4. SOUNDSCAPE WORKSHOPS;203
6.8.5;5. DISCUSSION;205
6.8.6;6. REFERENCES;207
6.9;CHAPTER 15 BUILDING NARRATIVE EXPERIENCES FOR CHILDREN THROUGH REAL TIME MEDIA MANIPULATION: POGO WORLD;209
6.9.1;1. INTRODUCTION;209
6.9.2;2. NARRATIVE ACTIVITY IN CLASSROOM;210
6.9.3;3. POGO WORLD;211
6.9.4;4. THE EVALUATION OF POGO;215
6.9.5;5. CONCLUSIONS;218
6.9.6;6. ACKNOWLEDGEMENTS;219
6.9.7;7. REFERENCES;219
7;SECTION THREE: CASE STUDIES IN DESIGN;221
7.1;INTRODUCTION TO SECTION 3;223
7.2;CHAPTER 16 THE JOY OF TELEPHONY: DESIGNING APPEALING INTERACTIONS;225
7.2.1;1. TELEPHONY – EASY AND FUN TO USE?;225
7.2.2;2. EASYCOM – TELEPHONY MADE EASY;225
7.2.3;3. FUN OF USE BOOSTS PRODUCTIVITY AND SALES;226
7.2.4;4. REAL GRAPHICAL INTERFACES MAKE MORE FUN;227
7.2.5;5. USERS ARE INDIVIDUALS;228
7.2.6;6. TELEPHONY – LIKE PLAYING A GAME;230
7.2.7;7. CONCLUSIONS;230
7.2.8;8. REFERENCES;231
7.3;CHAPTER 17 FROM USABLE TO ENJOYABLE INFORMATION DISPLAYS;233
7.3.1;1. INTRODUCTION;233
7.3.2;2. A CASE STUDY OF INFORMATIVE ART;236
7.3.3;3. CONCLUSION;240
7.3.4;4. REFERENCES;240
7.4;CHAPTER 18 FUN FOR ALL: PROMOTING ENGAGEMENT AND PARTICIPATION IN COMMUNITY PROGRAMMING PROJECTS;243
7.4.1;1. INTRODUCTION;243
7.4.2;2. THE COMMUNITYSIMS PROJECT;244
7.4.3;3. PARTICIPANT REACTIONS;246
7.4.4;4. DISCUSSION AND FUTURE WORK;250
7.4.5;5. ACKNOWLEDGEMENTS;251
7.4.6;6. REFERENCES;251
7.5;CHAPTER 19 STORYTELLING & CONVERSATION TO IMPROVE THE FUN FACTOR IN SOFTWARE APPLICATIONS;253
7.5.1;1. INTRODUCTION;253
7.5.2;2. CONVERSATION AND NARRATION AS HUMAN-CENTRED STRUCTURES OF INFORMATION;253
7.5.3;3. CONVERSATION MODELLING IN USER INTERFACES;254
7.5.4;4. INTERACTIVE STORYTELLING FOR PROVIDING INFORMATION;255
7.5.5;5. THE 'GEIST' PROJECT;258
7.5.6;6. CONCLUSION;260
7.5.7;7. REFERENCES;260
7.6;CHAPTER 20 DECONSTRUCTING GHOSTS;263
7.6.1;1. FEAR IS FUN;263
7.6.2;2. THE VIRTUAL VAULTS;264
7.6.3;3. ACKNOWLEDGMENTS;267
7.6.4;4. REFERENCES;267
7.7;CHAPTER 21 INTERFACING THE NARRATIVE EXPERIENCE;269
7.7.1;1. INTRODUCTION;269
7.7.2;2. LIVE ROLE-PLAYING GAMES;270
7.7.3;3. LRP CASE STUDY;271
7.7.4;4. PRINCIPLES FOR DESIGN;273
7.7.5;5. CONCLUSION;275
7.7.6;6. ACKNOWLEDGEMENTS;276
7.7.7;7. REFERENCES;276
7.8;CHAPTER 22 WHOSE LINE IS IT ANYWAY? ENABLING CREATIVE APPROPRIATION OF TELEVISION;277
7.8.1;1. INTRODUCTION;277
7.8.2;2. TO BOLDLY GO…;279
7.8.3;3. DISCUSSION;281
7.8.4;4. ACKNOWLEDGMENTS;282
7.8.5;5. REFERENCES;282
7.9;CHAPTER 23 THE INTERACTIVE INSTALLATION ISH: IN SEARCH OF RESONANT HUMAN PRODUCT INTERACTION;285
7.9.1;1. THE HUMAN AS A WHOLE;285
7.9.2;2. RESONANCE;286
7.9.3;3. A DESIGN EXAMPLE: THE INTERACTIVE INSTALLATION CALLED ISH;288
7.9.4;4. EVALUATION ISH AND CONCLUSIONS WITH RESPECT TO RESONANCE;293
7.9.5;5. ACKNOWLEDGEMENTS;294
7.9.6;6. REFERENCES;294
7.10;CHAPTER 24 FUN WITH YOUR ALARM CLOCK: DESIGNING FOR ENGAGING EXPERIENCES THROUGH EMOTIONALLY RICH INTERACTION;295
8;INTEGRATED BIBLIOGRAPHY;303

Leseproben

CHAPTER 19 STORYTELLING & CONVERSATION TO IMPROVE THE  FUN  FACTOR IN SOFTWARE APPLICATIONS by NORBERT BRAUN  (p. 233-234)


1. INTRODUCTION

In this chapter, we describe the general structure of an approach to the design of enjoyable storytelling applications and describe its usage with a project example. First, we give an overview (with a view on related work) of our two level approach, using storytelling (as one level) and conversation (as a second level) to provide a dramatic experience for the user. The two levels are separate modules and each can be used on their own. Used together, they build the basis of dramatic conversational interactions between users and virtual characters - the story level to provide a general dramatic structure, the conversation level to provide a human-like interaction metaphor for the story.

Then we give a project example: We used the approach to prototype a ghost story within an augmented reality environment at the castle of Heidelberg, Germany. The example explains how the two levels, the storytelling level (to automatically provide a dramatic structure), and the conversation level (to let the user experience the several sub-pieces of a interactive drama in a conversational way) are used to involve the user in a dramatic story.

The story itself is played by virtual characters (ghosts). These characters interact with the user in a conversational way (by talking, gesturing, miming) and play a story that is alterable by the user. As our basic goal is fun for the user, we start with an explanation of our two level approach and its relation to user enjoyment.
 

2. CONVERSATION AND NARRATION AS HUMAN-CENTRED STRUCTURES OF INFORMATION

We distinguish between two forms of user satisfaction with an application - short term and medium term. For short-term satisfaction, we suggest a human-centred user interface. Humancentred means that for every task to be performed with the application, there is a task-optimised interface. Depending on the task and the difficulty of the problem, the applications utilize different interface approaches.

A conversation metaphor is useful for the organization of discourses between computer and user, as it is oriented to interpersonal communication. Medium-term satisfaction is determined by the meaning and sense of the application and eludes in this context a universal definition. But, even in this case, its possible to define structures that organize content in ways that are found enjoyable by people.

Throughout history stories have been used to organize information in a way that is comprehensible and enjoyable. The use of story to provide information gives the user an easy structure with which to remember information – much easier than a simple database interface that forces the users to build their own information structure among the queried data.

The following sections focus on the abstract modelling of stories and conversation; the rendering of characters is referenced in separate literature.