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User experience - A research agendaMarc Hassenzahl, Noam Tractinsky · 2006Over the last decade, ‘user experience’ (UX) became a buzzword in the field of human–computer interaction (HCI) and interaction design. As technology matured, interactive products became not only more useful and usable, but also fashionable, fascinating things to desire. Driven by the impression that a narrow focus on interactive products as tools does not capture the variety and emerging aspects of technology use, practitioners and researchers alike, seem to readily embrace the notion of UX as a viable alternative to traditional HCI. And, indeed, the term promises change and a fresh look, without being too specific about itsdefinite meaning. The present introduction to the special issue on ‘Empirical studies of the user experience’ attempts to give a provisional answer to the question of what is meant by ‘the user experience’. It provides a cursory sketch of UX and how we think UX research will look like in the future. It is not so much meant as a forecast of the future, but as a proposal – a stimulus for further UX research.

UX of AI & PersonalizationResearch Papers

Emotional Design in Digital User ExperienceTanja Radovanović, Dijana KovačevićDesign and human interaction have, in the last two decades, spread from urban environments to digital ones, as the use of digital products has become a daily norm and a necessity for most of the world's population. In the process of making a successful product design, its function, construction, usability, price, and materials were almost always considered. Still, in this paper, we are shedding light on how people perceive products through emotions and why it is so important for users and product success to include this variable in the design strategy process to get a better user experience. Considering the amount of use of digital products, there is a need to make them designed and optimized for our emotional well-being, inclusivity, and gender equality. Emotions are part of every human experience, and they are brought on by neurophysiological changes, triggered by thoughts, feelings, and behavioral responses, and are fundamental in our decision-making. The impact of emotions is an emerging research topic in every field connected to human experience, from psychology to computer science, urban planning, etc. The questions we are asking are: ‘How do products elicit emotions?’, ‘How can designers influence these emotions?’ and ‘What are the patterns that can be used in the design of websites, apps, AR/VR, and metaverse spaces?’

Emotional DesignResearch Papers

Article Do Products Respond to User Desires? A Case Study. Errors and Successes in the Design Process, under the Umbrella of Emotional Design2020This article introduces a methodological approach to the evaluation of different industrial products according to Norman’s approach and dimensions, focusing on a specific case study. The study also shows different possibilities to guide industrial designers during the design process in order to create products with high emotional value. For those, the case study was done with 330 target specific users, submitting nine prototypes (designed for different targets) to the user experience evaluation and product perception analysis. The evaluated proposals were selected from a total of 45. The results show the visceral, behavioural and reflective levels perceived by those users to whom each product is intended, as well as the target deviation within the design process. In this sense, the emotional response reveals the asymmetric character of perception according to Norman’s dimensions.

Emotional DesignResearch Papers

Emotional design: the development of a process to envision emotion-centric new product ideas2019There is ample evidence, in many sectors, of the crucial importance of the emotional experiences in the interaction between users and products. Generating products with richer and significant emotional features is a complex challenge. In order to better face this challenge, professionals responsible for designing and developing new products could be facilitated with techniques and tools to understand emotions and to convey specific emotions in the new products. This paper presents the development of a process to support product design teams to envision emotion-focused new product ideas - Emotion- Driven Innovation (E-DI). We have adopted the process research methodology proposed by Platts, which encompasses four main steps: 1) state-of-the-art review, 2) process creation, 3) process development, and 4) process validation. This paper presents the results of the three first steps. The state-of-the-art literature review has been the foundation of the process creation step, which resulted in a three-phase workshop-based process: Emotion Knowledge Acquisition, Emotion Goal Definition, and Idea Generation. In the third step of the research methodology, the feasibility, usability, and utility have been tested through four studies which have involved master design students from Portugal and Italy. The results of these four tests show that Emotion-Driven Innovation process supports designers 1) to identify the occurrence of emotions in certain category of products present in the market, 2) to apply this information to make strategic decisions when defining the emotional intentions for the new product, and 3) to focus their creative thinking to develop strong and meaningful emotion-centric ideas. Teresa Alaniz et al. / Procedia Computer Science 158 (2019) 474–484 475 emotional attachment to products (Mugge, Schifferstein, & Schoormans, 2005; Schifferstein & Zwartkruis-Pelgrim, 2008). Emotions are “high-intensity, specific feeling states that are directed at a particular object, and direct ongoing thoughts and behaviours” (Desmet, Vastenburg, and Romero, 2016). Generating products with significant emotional features is a complex challenge, as professionals responsible for designing and developing new products should be able to focus the design effort in eliciting specific emotions. This challenge has been addressed in the design literature of the last 20 years, resulting in the development of different tools supporting the task of “designing for emotions” (e.g. Desm

Emotional DesignResearch Papers

Developing Emotional Design: Emotions as Cognitive Processes and their Role in the Design of Interactive TechnologiesAmon Rapp · 2017In the last 20 years, the debate on the role of emotions in the field of industrial design has grown exponentially. Emotional Design emerged as the effort to promote positive emotions \(Norman, 2007\) or pleasure in users \(Jordan, 2002; Green and Jordan, 2003\) by means of design properties of products and services. According to Van Gorp and Adams \(2012\), design based on emotions can affect overall user experience deeply, since emotions influence decision making, affect attention, memory, and generate meaning. It is possible to identify two main approaches to applied emotional design. The first is based on the modification of object's aesthetic appearance or interface, the latter focuses on promoting fluent and engaging interactions.

Emotional DesignResearch Papers

Designing Products with Added Emotional Value: Development and Appllcation of an Approach for Research Through Design2017*In this paper a design approach is introduced for designing products with added emotional value. First, the approach is established, based on a theoretical framework and a non-verbal instrument to measure emotional responses. Second, the value of the design approach was assessed by applying it to the design of mobile telephones. Mobile telephones were found to be useful vehicles as people appear to have strong feelings about this product. A user study was conducted which resulted in the identification of two user groups ('trend followers' and 'security seekers') and for each group an emotional profile. Four telephones were designed which, for each group, either were intended to or were not intended to match the group's profile. Finally, these designs were evaluated with the nonverbal instrument. The results indicate that the approach is appropriate for designing products with added emotional value. The advantages and disadvantages of the approach are discussed and further research directions indicated*

Emotional DesignResearch Papers

Emotional Design in Web Interfaces2017In the area of human-computer interaction, over the last decade, there has been a growing interest on emotional factors, valuing above all the user experience. Emotions play a crucial role - in terms of both performance and influence - in areas such as attention, motivation, memory, decision- making and behavior. Therefore, not only emotion influences the interaction with websites but they also trigger emotional responses, and these responses can determine which website users choose. Therefore, were analyzed the emotional responses triggered in the interaction with Duolingo's interface (a learning languages website) taking into account the different components of emotional design, using data gathering instruments such as eye tracking and self-reporting methods. In this way, the present work intended to contribute to the design of interfaces that appeal in a greater extent to the users' emotions, in order to improve their user experience while increasing their level of engagement.

Emotional DesignResearch Papers

Designing Visceral, Behavioural and Reflective Products2017Designers and manufacturers often see con- sumption as the primary objective of a product – with implications such as discarded products, obsolete wastes, and ecological degradation. The paper aims to find the answer to the question, how emotional design can adapt the discarded and undesirable products into something valu- able in a long term? This paper presents a framework combining Chapman’s theory and Norman’s theory on three levels of emotional design to highlight what long lasting connection with products entails. A design approach is presented combing the Wabi Sabi philosophy that pro- motes the celebration of decay and damage. This is used as one of the design principles for the experiments conducted on discarded products. Through constant user interaction before, during and after the experiments the evaluation of design as an agent of transformation is done. The user conducted the evaluation based on the Kansei elements of looks, sound, smell, and feel of the product. The experi- ments confirmed that a long-term value is only achieved through redesigning and reconstructing the perception of people towards products on a reflective level, rather than the visceral and behavioural elements of the product. The research found attachment to the visceral and behavioural elements of a product instead of an emotional one was causing users to discard products faster than required. The research indicated that many people, including designers and manufacturers, are unconsciously focusing on usability (behavioural level) and physical look (visceral level) of a product that are easily replaced, than on a meaningful way (reflective level) to create and maintain long-lasting emo- tions. The research concluded with a proposition towards digitization of products which could perhaps be an all round solution to make products more appropriate to human emotions. Digitization could give products the ability to capture, store and then communicate the stories, journey and memories back, in order to empower people to understand the value of longer-term use of products.

Emotional DesignResearch Papers

Unconscious Human Behaviour in Product Design: Designers' Perception, Analysis, and Reflection2014The purpose of this paper is to evaluate a new perimeter of design thinking with respect to the value of unconscious human behaviour, as well as the direction for the development of innovative product design. In this study, Verbal Protocol Analysis (VPA) is used as a method to bring out into the open that somewhat mysterious cognitive ability of designers. Designers were asked to sketch a conceptual product design based on given design brief. The design brief consist with four images of interaction between user and products which are categorized into four attributes of unconscious everyday human behaviour. In this session, designers verbalized their thoughts, feelings and beliefs while doing their conceptual sketches. There are two objectives in this study. The first objective of this paper is to find out what words are generally used by designers to describe their perception towards the theory of unconscious human behaviour in product design. The second objective is to determine how designers reflect the theory by generating the innovative concept. This has led to the following implications: 1. The identification of general understanding and perception of the theory of unconscious human behaviour in product design, including the similarities and contradicting elements. 2. The development of an understanding on how these perceptions, expressed as an adjective, influences or can be used as a basis of identifying problem in design. The study has shown that in finding a fit between human values, designers should start to understand critically and look at every tiny factor existing in human unconscious behaviour. It is hoped the study will establish an understanding of the value of unconscious human behaviour, achieve a new knowledge and develop significant information on understanding the user’s implicit needs to design concept of an innovative solution. Key Words: unconscious human behaviour; design thinking; conceptual sketches

Emotional DesignResearch Papers

Unconscious Human Behavior at Visceral Level of Emotional Design2013In the near future, the emphasis on product design innovation will be on finding a fit between technology and human values. However, there is still a limited discussion available on the unconscious human behaviour as well as inadequate literature related to the visceral level of emotional design. The purpose of this study is to manipulate the respect to the emotional design, as well as the direction for the development of innovative product design. © 2013 Published by Elsevier Ltd. Selection and peer-review under responsibility of the Centre for Environment- Behaviour Studies (cE-Bs), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.

Emotional DesignResearch Papers

Emotional Design in Human Factors and Ergonomics2010The concept of emotion is closely related to affect, which is an encompassing term and it consists of emotions, feelings, moods, and evaluations (Simon, Clark, & Fiske, 1982). The most important concept is probably emotion. Nevertheless, in psychology, the theories about emotion consider it a 'very confused and confusing field of study' (Ortony, Clore, & Collins, 1988) and thus there is no consensus on a definition. Various factors are associated with emotions, including subjective factors, environmental factors, and neural and hormonal processes. In this chapter, we make use of the summary of emotion provided by Kleinginna and Kleinginna (1981), which incorporates the key elements of definitions in psychology as follows: (1) Emotions give rise to affective experience, such as pleasure or displeasure. (2) Emotions stimulate us to generate cognitive explanations to attribute the cause to ourselves or to the environment, for example. (3) Emotions trigger a variety of internal adjustments in the autonomic nervous system, such as an increased heart rate and a decreased skin conductance response. (4) Emotions elicit behaviors that are often, but not always, expressive (laughing or crying), goal-directed (approaching or avoiding), and adaptive (removal of a potential threat).

Emotional DesignResearch Papers

Framework of Product Experience2007In this paper, we introduce a general framework for product experience that applies to all affective responses that can be experienced in human-product interaction. Three distinct components or levels of product experiences are discussed: aesthetic experience, experience of meaning, and emotional experience. All three components are distinguished in having their own lawful underlying process. The aesthetic level involves a product's capacity to delight one or more of our sensory modalities. The meaning level involves our ability to assign personality or other expressive characteristics and to assess the personal or symbolic significance of products. The emotional level involves those experiences that are typically considered in emotion psychology and in everyday language about emotions, such as love and anger, which are elicited by the appraised relational meaning of products. The framework indicates patterns for the processes that underlie the different types of affective product experiences, which are used to explain the personal and layered nature of product experience.

Emotional DesignResearch PapersUX of AI & Personalization

Nine sources of product emotion2007This paper introduces a framework of nine sources of product-evoked emotions, which each can be considered to be the outcome of a unique pattern of eliciting conditions. Three main theories of product affect served as the fundament for this framework that combines the two key variables ‘stimulus’ (related to the product) and ‘concern’ (related to the person). The framework of nine sources of product emotion can be used as a basis for understanding and exploring the complex and layered emotional responses often elicited by products and services. Because the framework is based on empirical evidence of how people experience emotions, and of how products elicit emotions, it can support designers in their efforts to design for emotions. In addition, the framework can be used to structure research efforts reported in the research literature and to identify opportunities for new research efforts.

Emotional DesignResearch Papers

EXPLOITING EMOTIONS FOR SUCCESSFUL PRODUCT DESIGN2007The ever-increasing competitiveness in product design is resulting in good product functionality and usability no longer being sufficiently effective differentiators in the market place. As a result stakeholder’s attention is shifting to other product attributes such as the pleasurable emotions experienced during interaction. Designing for product-emotions is a relatively new emerging field in product design which is however being accredited increasing importance because of its new product development and marketing potential. This research paper reports the research being conducted at the Concurrent Engineering Research Unit (CERU) in the Department of Manufacturing Engineering (DME) at the University of Malta (UOM) via a research project entitled Demo. This research contributes to this field with the development of a phenomena model of product emotion elicitation that will lead to the future development of the required knowledge to provide an envisaged computational Design for Emotion (DFe) support for designers.

Emotional DesignResearch Papers

Emotional Design; Application of a Research-Based Design Approach2006In this paper, we discuss an approach to ‘design for wow’ that focuses on the emotions that constitute a wow-experience. In this approach, the eliciting conditions of these emotions are used to define a product character with a high wow-impact. In addition to the approach, a measurable wow-index is introduced. First, a concept of wow is described in which wow is explained as a combination of fascination, pleasant surprise, and desire. The eliciting conditions of these three emotions are examined and combined to a ‘wow-appraisal.’ This concept is applied in the design of a mobile telephone. A combination of qualitative and quantitative research methods was used to formulate concern themes relevant for the wow-appraisal. These themes were used to create a layered product character and a prototype of the final design. An evaluation study demonstrated that the product designed with this approach rated higher on the wow-index than alter- native products.

Emotional DesignResearch Papers

Towards customized emotional design: An explorative study of user personality and user interface skin preferences2005Two key elements in the area of cognitive ergonomics are user-system performance and the user similarity. However, with the introduction of skinnable user interfaces, a technology that gives the user interface a chameleon-like ability, elements such as aesthetic, fun, and especially user individuality and identity become more important. This paper presents two explorative studies on user personality in relation to skin preferences. In the studies participants were asked to rate their preference of a set of Windows Media Player skins and to complete the BIS/BAS and the IPIP-NEO personality inventories. The results of the first study suggest colour and similarity-attraction as two possible underlying factors for the correlations found between personality traits and skin preferences. The results of the second study partly confirm these findings, however not for similar personality traits and skin types correlations.

Emotional DesignResearch Papers

REVIEW ESSAY: EMOTIONAL DESIGN by DONALD A. NORMANJohn Mueller · 2004The previous books do not need to be read to appreciate "Emotional Design," but that would enrich the feeling of synthesis that is reached in the fourth volume. Norman's past efforts have focused largely on long neglected usability issues, but now his work moves to combine functionality with aesthetics, and with rational explanation. Norman describes his personal journey in the final chapter on "Personal Reflections." I recommend that chapter be read first, as an orientation for newcomers to the everyday-things series, or as refresher for those who have read the earlier volumes.

Emotional DesignResearch Papers

From Disgust to Desire: How Products Elicit Emotions2003| Article · October 2003 | | | |-------------------------------------------------------------------------------------|--------------------------------------------------------------------|-------| | | DOI: 10.1201/9780203608173-c2 | | | | | | | CITATIONS | | READS | | 20 | | 1,281 | | 1 author: | | | | | Pieter Desmet | | | | Delft University of Technology | | | | 158 PUBLICATIONS 6,877 CITATIONS | | | | SEE PROFILE | | | | | | | Some of the authors of this publication are also working on these related projects: | | | | | Design - + Negative emotions for Positive experiences View project | | | | PHD Project View project | |

Emotional DesignResearch Papers

Human factors for pleasure in product usePatrick W. Jordan · 1998The importance of user centred design is increasingly being recognised. Perhaps the most significant evidence for thJs is the growing number of human factors professionals employed both in academia and in industry. Further evidence includes the burgeoning literature addressing issues relating to user centred design, th.e number of conferences concerned with human factors issues and the use of slogans such as 'ergonomically designed' in product advertisements.

Emotional DesignResearch Papers

Pleasure with Products: Design based on KanseiSeungHee Lee · 1997When a designer starts to design the form of a new product, she needs to integrate many demands and wishes that the prospective users of the product may have. Not only technical and objective demands are important, but also aesthetic, emotional, and other experiential factors, some of which are hard or impossible to express objectively. In design practice, the designer has to balance between objective and subjective properties, between functional technology and emotional expressiveness, between information and inspiration. Design development by '*Kansei* (subjective criteria) science' or '*Kansei* engineering' is a new approach which originated in these conditions.

Emotional DesignResearch Papers