Funology 2 (eBook)

PREFACE - HOW TO USE THE SECOND EDITION 7
Contents 10
Contributors 14
Funology 2 18
1 Funology 2: Critique, Ideation and Directions 19
1 Methods and Techniques: Ideation 23
2 Design Case Studies: Approaches and Directions 26
References 28
“Critique” 30
2 The Thing and I (Summer of ’17 Remix) 31
1 Introduction 31
2 A First, Process-Oriented Model of User Experience 32
3 A Second, Content-Oriented Model of User Experience 35
3.1 Overview of the Model 35
3.2 User Experience and Wellbeing 38
3.3 On the Relationship Between Experience and Interaction 38
3.4 Three Points for Discussion 39
4 Conclusion 41
5 Finally, on a More Personal Note 42
Acknowledgements 42
References 42
3 Can Games Be More Than Fun? 46
1 Games Are Very Engaging 46
2 A Note About “Games” 47
3 It’s Not All About Flow 48
4 Learning in Games 50
4.1 Learning Via Priming 52
4.2 Learning What in Games? 54
5 Where Does the Time Go? 55
6 Conclusions 57
References 57
4 What Is Pleasure? 60
1 Pleasure in the Literature 61
2 Pleasure: What Is in the Word? 63
3 Pleasure Is Wordly 64
4 Pleasure Is a Skill 66
5 Pleasure Is Ordinary 68
6 Pleasure Is Felt 70
7 Conclusions 71
References 72
5 The (Un)Enjoyable User Experience of Online Dating Systems 73
1 Introduction 73
2 Online Dating System Design 74
3 User Motivations for Using Online Dating Systems 75
4 What Makes Online Dating User Experiences (Un)Enjoyable? 76
5 Dissecting Unenjoyable Online Dating User Experiences 76
5.1 What if the Next One Is Better?: Shopping for Profile Pages 77
5.2 Pick Me, Pick Me: Temptations of Deception in Profile Pages 78
5.3 Private Messaging: What Do I Say, and When Do I Say It? 79
5.4 What Brings You Here?: Expressing and Identifying Relationship Goals for System-Use 81
6 Why Do Users Endure Unenjoyable Experiences? 82
7 Conclusion 84
Acknowledgements 84
References 85
6 “My Peaceful Vagina Revolution:” A Theory of a Design 88
1 HCI and Criticism 89
2 Design Artifacts as Theory/ies 90
3 A Theory of the Formoonsa Cup 92
3.1 The Formoonsa Cup 93
3.2 Seeing like a Hymen 94
3.3 Seeing like a Taiwanese Menstrual Cup 96
4 Seeing like a Critical Computing Researcher 99
4.1 In What Way Did We Offer a “Theory” of the Formoonsa Cup? 99
4.2 How Can Such a Theory Inform HCI? 100
References 101
“Ideation” 103
7 Improv for Designers 104
1 Introduction 104
2 Design Practice 105
3 Improvisation Practice 105
4 Beyond Performance: Improvisation in Human Computer Interaction Design 106
5 Approach 107
6 Shared Practices of Improvisation and Design 108
7 Collaboration 109
8 Exploration 110
9 Generation 111
10 Experimentation 112
11 Communication 113
12 From Stage to Studio 114
13 Guidelines for Adoption 115
14 Limitations 116
15 Conclusion 116
Acknowledgements 117
Appendix 117
References 117
8 Playing with Provocations 120
1 From Design-For to Design-With 120
2 Three Approaches to Exploring Provocations with Participants 122
2.1 Questionable Concepts 123
2.2 Invisible Design 125
2.3 Experience Design Theatre 128
3 Reflections on Using Provocations in Participatory Design 131
3.1 Balancing Technological and Social Imaginaries 131
3.2 Harness Critique as Creativity 132
3.3 Fun as a Resource for Design 133
3.4 Getting It Wrong 134
Acknowledgements 135
References 136
9 Sketching the Polyphonic Design Space of Theme Parks 138
1 Introduction 138
2 The Theme Park 140
3 Consuming Experience 141
4 Concept Sketching 142
5 Character-Driven Scenarios 145
6 Souvenir Concept Sketches 148
6.1 Daemon Guide 148
6.2 Snackshacks 150
6.3 Magic Cam 152
7 Engaging Design Through the Picture Book 153
8 Picture Book for Prototyping 159
9 Closing Discussion 160
Acknowlegements 161
References 161
10 Playful Research Fiction: A Fictional Conference 165
1 Introduction 165
2 Play in Research Fiction 166
3 A Fictional Conference 167
4 Response 174
5 Building the Programme 174
6 Discussion 175
6.1 Humour 176
6.2 Form 177
6.3 Confusion 177
6.4 Authors 178
7 Conclusion 178
Acknowledgements 179
References 180
“Approaches and Directions” 182
11 Slow, Unaware Things Beyond Interaction 183
1 Introduction 183
2 Concepts of Slowness, Unawareness, Thingness 185
3 Slowness 186
4 Unawareness 188
5 Thingness 190
6 Emerging Design Vocabulary for Going Beyond Interaction 192
7 Conclusion and Future Directions 194
Acknowledgements 195
References 195
12 Designing for Joyful Movement 198
1 Introduction 198
2 Sensing One’s Body: The Enchanting Joys of Bellyaches 199
3 What Technology Can Sense: The Magic and Mysteries of Movement Feedback 202
4 Performance and Spectatorship: There Is No Business Like Show Business 205
5 Tiny Movements and Full Body Experiences, Move That Body! 207
6 Conclusion 209
References 210
13 Discomfort—The Dark Side of Fun 213
1 Introduction 213
2 Blast Theory 214
3 Brendan Walker 217
4 Uncomfortable Interactions 221
5 The Appropriate Use of Uncomfortable Interactions 225
6 But Is It Fun? 226
Acknowledgements 227
References 227
14 Reorienting Geolocation Data Through Mischievous Design 229
1 Introduction 229
2 Mischief Making as Research 230
3 Blowtooth 232
4 Feckr 234
5 Fearsquare 236
6 GetLostBot 238
7 Discussion 240
8 Conclusions 241
Acknowledgements 242
References 242
15 From Evaluation to Crits and Conversation 245
1 Introduction 245
2 The Varieties of Evaluation 246
3 Mixed Reviews 247
4 Process 249
5 Developing Repentir 250
6 Comment and Crits 251
7 Conversation 253
8 So What? 255
9 Parallax Views 255
Acknowledgements 257
References 257
Funology 1 259
How to Use Funology 1 259
16 Introduction to: Funology 1 262
1 From Usability to Enjoyment: Book Introduction, as Printed in the 2003 Edition 262
1.1 Ontological Problems and Relevant Literatures 263
1.2 The Limits of Traditional Conceptions of Usability 266
1.3 The Breadth of Approaches 267
2 Theories and Concepts 268
3 Methods and Techniques 271
4 Case Studies in Design 273
References 275
“Theories and Concepts” 276
17 Let’s Make Things Engaging 277
1 Introduction 278
2 What Is Wrong? 278
3 How Do We See It? 280
4 How Do We Do It? 280
4.1 Trying to Answer the Question 281
4.2 Examples 284
5 Conclusions 287
Acknowledgements 288
References 288
18 The Engineering of Experience 289
1 Fun Is the Dregs of Engineering Experience 291
2 Computer Science Is Computational Taylorism (but Doesn’t Need to Be) 292
3 Think Beyond Both Work and Fun 292
4 Some Experiences Designing Experiences 293
5 How to Design Experience 297
6 The Engineering of Everyday Life, or Where’s the Fun? 299
7 Don’t just Engineer—Learn to Love Complexity and Speak Its Language 300
Acknowledgements 300
References 300
19 The Thing and I: Understanding the Relationship Between User and Product 302
1 Introduction 302
2 A Model of User Experience 303
2.1 From the Intended and Apparent Product Character to Consequences 304
2.2 Product Character: Pragmatic and Hedonic Attribute 305
2.2.1 Pragmatic Attributes: Manipulation 305
2.2.2 Hedonic Attributes: Stimulation, Identification, and Evocation 306
2.2.3 ACT and SELF Product Characters 307
2.3 Consequences: Satisfaction, Pleasure and Appealingness 309
2.4 Situation: Goal and Action Mode 310
3 Summary and Conclusion 312
Acknowledgements 312
References 313
20 Making Sense of Experience 315
1 Introduction 318
2 Conceptualising Experience 319
3 The Framework 321
3.1 The Four Threads of Experience 322
3.1.1 The Compositional Thread 322
3.1.2 The Sensual Thread 323
3.1.3 The Emotional Thread 323
3.1.4 The Spatio-Temporal Thread 323
3.2 Making Sense in Experience 324
3.2.1 Anticipating 324
3.2.2 Connecting 325
3.2.3 Interpreting 325
3.2.4 Reflecting 325
3.2.5 Appropriating 326
3.2.6 Recounting 326
4 The Framework in Use 327
5 Conclusions 328
References 329
21 Enjoyment: Lessons from Karasek 331
1 Introduction 331
1.1 Karaseks Demand-Control-Support Model 332
2 Demands and Enjoyment: Challenge and Variation 332
2.1 Challenges 333
2.2 Variation—And the Surpassing of Users’ Expectations 334
3 Decision Latitude and Enjoyment: Skill Discretion and Decision Authority 335
3.1 Skill Discretion: The Opportunity to Use and Develop Skills 335
3.2 The Decision-Making Authority of the User 336
4 Social Support as Enjoyment: Co-activity and Social Cohesion 337
4.1 Co-activity 337
4.2 Social Cohesion 338
5 Conclusion 339
Acknowledgements 340
References 340
22 Fun on the Phone: The Situated Experience of Recreational Telephone Conferences 342
1 Introduction 342
2 Fun as Situated Experience 343
2.1 Schemata of Frame Analysis 344
2.2 Frames as Interactional Achievements 346
2.2.1 Thick External Bracket 346
2.2.2 Internal Brackets as an Interactional Achievement 347
3 Analysing Fun on the Phone 347
3.1 From Formal to Fluid Interaction 348
3.1.1 The Primary Frame of the Telephone 349
3.1.2 Framing the Call—Introductions as Thick External Brackets 350
3.1.3 Two Forms of Internal Brackets—Formal and Fluid 351
4 Conclusion 355
References 355
23 The Enchantments of Technology 357
1 Introduction 360
2 What Do We Mean by Enchantment? 361
3 Enchantments of Technology 364
4 Enchantment in the Space of Public Appearance 367
References 370
24 The Semantics of Fun: Differentiating Enjoyable Experiences 372
1 Introduction 374
2 Pleasure from a Psychological Perspective: Flow 375
3 The Politics of Fun 375
4 Context Dependency 377
5 The Experience of Fun and Pleasure 378
5.1 Triviality and Relevance 380
5.2 Repetition and Progression 381
5.3 Spectacle and Aesthetics 382
5.4 Transgression and Commitment 383
6 Conclusion 383
References 384
“Methods and Techniques” 385
25 Measuring Emotion: Development and Application of an Instrument to Measure Emotional Responses to Products 386
1 Introduction 387
2 Approaches to Measure Emotion 388
2.1 Non-verbal Instruments to Measure Emotions 388
2.2 Verbal Instruments to Measure Emotions 389
3 The Product Emotion Measurement Instrument 390
3.1 Emotions Measured by PrEmo 391
3.2 Dynamic Cartoon Animations 392
3.3 Validity and Reliability 393
4 Cross-Cultural Application 394
4.1 Between-Culture Differences 396
5 Discussion 397
Acknowledgements 398
References 398
26 That’s Entertainment! 400
1 Introduction 401
1.1 Motivation for the Project 401
1.2 Entertainment on the Web 401
2 Method 402
2.1 Overview of User Centred Design Approach 402
2.2 Users 403
2.3 Iteration 1: Usability Design Walkthroughs 403
2.4 Iteration 2: The Design and Evaluation of the Interactive Prototypes 404
2.4.1 Usability Test Procedure 407
3 Results 408
3.1 User Ratings of Tours 408
3.2 A Comparison of Singles and Pairs 410
3.3 User Debrief Data 410
4 Discussion and Conclusions 411
References 412
27 Designing for Fun: User-Testing Case Studies 414
1 Introduction 415
1.1 Methods and Games 416
2 Case Studies 416
2.1 Combat Flight Simulator 417
2.2 MechWarrior 4: Vengeance 419
2.3 Halo: Combat Evolved 422
2.4 RalliSport Challenge 424
3 Conclusion 427
Acknowledgements 428
References 428
28 Playing Games in the Emotional Space 429
1 Introduction 430
2 FARAWAY 431
3 Another Reality 432
4 Designing the Games 433
5 The IF ONLY Games 435
5.1 This Is How I Feel 435
5.2 Here I Am/Take Me with You 436
5.3 You Gave Me This 439
6 Conclusions 441
References 443
29 Deconstructing Experience: Pulling Crackers Apart 444
1 Words 447
2 Pictures 449
3 Crackers 452
4 Experience 454
5 Reflection 458
6 Distillation 459
Acknowledgements 460
References 460
30 Designing Engaging Experiences with Children and Artists 461
1 Introduction 461
2 Zap Scan 462
3 A Walk in the Wired Woods 463
4 Soundscape Workshops 465
5 Discussion 468
References 469
31 Building Narrative Experiences for Children Through Real Time Media Manipulation: POGO World 471
1 Introduction 474
2 Narrative Activity in Classroom 474
3 POGO World 476
3.1 The POGO Tools 476
4 The Evaluation of POGO 479
4.1 Impact on the Narrative Activity Phases 480
5 Conclusions 483
Acknowledgements 484
References 484
“Case Studies in Design” 485
32 From Usable to Enjoyable Information Displays 486
1 Introduction 488
1.1 An Example of Informative Art 490
2 A Case Study of Informative Art 491
2.1 Comments from Students Who Attended the Briefing 493
2.2 Comments from Students Who Did not Attend the Briefing 494
2.3 Discussion 495
3 Conclusion 495
References 496
33 Fun for All: Promoting Engagement and Participation in Community Programming Projects 498
1 Introduction 499
1.1 Programming as a Community Activity 499
2 The CommunitySims Project 500
2.1 The Stagecast Creator Environment 500
2.2 Cross-Generational Programming Workshops 502
3 Participant Reactions 503
3.1 General Reactions to Workshop Activities 503
3.2 Reactions to the Example Simulations 504
3.3 Ratings of Hypothetical Simulation Characteristics 505
4 Discussion and Future Work 507
4.1 Summary of Workshops and Reactions 507
4.2 Promoting Engagement and Participation in Community Programming 507
Acknowledgements 508
References 508
34 Deconstructing Ghosts 510
1 Fear Is Fun 510
1.1 Deconstructing Ghosts 511
2 The Virtual Vaults 511
2.1 Method 512
2.2 Results 512
2.3 Discussion 514
Acknowledgements 515
References 515
35 Interfacing the Narrative Experience 516
1 Introduction 516
2 Live Role-Playing Games 517
2.1 Live Versus Online Role-Playing 518
3 LRP Case Study 518
3.1 Players, Costume, and Character Identity 519
3.1.1 Objects and Locations 519
4 Principles for Design 521
4.1 A Believable Game World 522
4.2 Magical Interfaces 522
4.3 Tangible and Aesthetic Interfaces 524
4.4 Dedicated Versus Token Representation 524
5 Conclusion 524
Acknowledgements 525
References 525
36 Whose Line Is It Anyway? Enabling Creative Appropriation of Television 526
1 Introduction 526
1.1 Television Fans as Producers 527
1.2 Engineering 527
2 To Boldly Go… 528
2.1 Findings 529
3 Discussion 531
Acknowledgements 532
References 532
37 The Interactive Installation ISH: In Search of Resonant Human Product Interaction 533
1 The Human as a Whole 533
2 Resonance 534
3 A Design Example: The Interactive Installation Called ISH 536
4 Evaluation ISH and Conclusions with Respect to Resonance 538
Acknowledgements 543
References 543
38 Fun with Your Alarm Clock: Designing for Engaging Experiences Through Emotionally Rich Interaction 544
References 550