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Journal articles on the topic 'Interaction and experience design'

To see the other types of publications on this topic, follow the link: Interaction and experience design.

Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Takase, Noriko, Takahiro Takeda, Janos Botzheim, and Naoyuki Kubota. "Interaction, Communication, and Experience Design in Robot Edutainment." Abstracts of the international conference on advanced mechatronics : toward evolutionary fusion of IT and mechatronics : ICAM 2015.6 (2015): 159–60. http://dx.doi.org/10.1299/jsmeicam.2015.6.159.

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2

Streitz, Norbert, Carsten Magerkurth, Thorsten Prante, and Carsten Röcker. "From information design to experience design." Interactions 12, no. 4 (July 2005): 21–25. http://dx.doi.org/10.1145/1070960.1070979.

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3

Yujia Zhong and KyungSook Nam. "Visitors' Experience Design Satisfaction in Experience Exhibition Space Based on Interaction Design." Journal of Korea Intitute of Spatial Design 14, no. 3 (June 2019): 115–26. http://dx.doi.org/10.35216/kisd.2019.14.3.115.

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4

Gajendar, Uday. "FEATUREData, design, and soulful experience." Interactions 16, no. 6 (November 2009): 37–41. http://dx.doi.org/10.1145/1620693.1620702.

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5

Yousefzadeh, Mahnaz. "Can interaction design civilize the experience economy?" Interactions 20, no. 4 (July 2013): 44–47. http://dx.doi.org/10.1145/2486227.2486237.

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6

Harteveld, Casper, Eleonore ten Thij, and Marinka Copier. "Design for Engaging Experience and Social Interaction." Simulation & Gaming 42, no. 5 (October 2011): 590–95. http://dx.doi.org/10.1177/1046878111426960.

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7

Wodehouse, Andrew, and Sylvia Tzvetanova Yung. "Special issue on interaction and experience design." Journal of Engineering Design 26, no. 4-6 (June 3, 2015): 95–98. http://dx.doi.org/10.1080/09544828.2015.1030373.

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Albrecht, Carmen-Maria, Stefan Hattula, Torsten Bornemann, and Wayne D. Hoyer. "Customer response to interactional service experience." Journal of Service Management 27, no. 5 (October 17, 2016): 704–29. http://dx.doi.org/10.1108/josm-07-2015-0215.

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Purpose The purpose of this paper is to examine causal attribution in interactional service experiences. The paper investigates how triggers in the environment of a customer-employee interaction influence customer behavioral response to employees’ negative and positive affect. Additionally, it studies the role of sympathy and authenticity as underlying mechanisms of this relationship. Design/methodology/approach Two scenario-based experimental designs (N1=162; N2=138) were used. Videotaped scenarios served as stimulus material for the manipulation of two focal variables: the employee’s emotional display as either negative or positive and the availability of an emotion trigger in the interaction environment to convey the attribution dimension of cause uncontrollability. The emotion trigger’s visibility was varied in the two studies. Customer response was captured by buying intentions. Findings Customer responses are more favorable for both positive and negative interactional experiences when customers have access to information on cause uncontrollability (i.e. notice triggers in the interaction environment). Analyses reveal that these effects stem from feelings of sympathy for negative experiences and authenticity for positive experiences. Originality/value This research supports the relevance of causal attribution research on interactional service experiences, which have high-profit impact. Moreover, the findings underline the importance of the experience of fact in service interactions and thereby provide a more nuanced view on the discussion of whether service providers should use impression management strategies to engender customer satisfaction even when this behavior is “faked.”

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BATTARBEE, KATJA, and ILPO KOSKINEN. "Co-experience: user experience as interaction." CoDesign 1, no. 1 (March 2005): 5–18. http://dx.doi.org/10.1080/15710880412331289917.

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Zhu, Jingyuan, and Qing Wu. "Furniture design based on parent-child interaction experience." E3S Web of Conferences 179 (2020): 02098. http://dx.doi.org/10.1051/e3sconf/202017902098.

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To explore how children’s furniture can become a tool of parent-child interaction, so that furniture can not only satisfy children’s curiosity, but also bring new feelings and experiences to parents and children. It is necessary to establish a bond of love between parents and children by adding parent-child interaction projects. This children’s furniture will give children a warm family life experience. Background analysis of parent-child interaction furniture design was conducted by means of data search and market research to explore children’s physiological and psychological characteristics. It is necessary to analyze parent-child interaction mode and its elements and try to make compound chairs have interactive functions so that compound chairs can bring good interaction experience to parents and children. As a result, this compound chair can meet user needs. The design features of parent-child interactive furniture are analyzed with the physiological characteristics of children as the design elements. Personally interactive furniture can create an interactive world for children and parents in a limited living space. It is able to promote the emotional exchange between parents and children, create a space conducive to children’s physiological and psychological growth. Ultimately, this kind of interactive furniture can promote the physical and mental health of children.

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Clarke, Rachel. "Rethinking the participatory design conference experience." Interactions 29, no. 3 (May 2022): 6–7. http://dx.doi.org/10.1145/3530308.

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The Interactions website (interactions.acm.org) hosts a stable of bloggers who share insights and observations on HCI, often challenging current practices. Each issue we'll publish selected posts from some of the leading and emerging voices in the field.

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12

Tognazzini, Bruce "Tog." "Why engineers own user experience design." Interactions 12, no. 3 (May 2005): 32–34. http://dx.doi.org/10.1145/1060189.1060212.

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13

Kuniavsky, Mike. "FEATUREUser experience design for ubiquitous computing." Interactions 15, no. 6 (November 2008): 20–22. http://dx.doi.org/10.1145/1409040.1409045.

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Yi, Ji Hyun, and Hae Sun Kim. "User Experience Research, Experience Design, and Evaluation Methods for Museum Mixed Reality Experience." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–28. http://dx.doi.org/10.1145/3462645.

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Wearable Mixed Reality (MR) technology is a tool that gives people a new enhanced experience that they have not encountered before. This study shows the process of designing new museum experiences while considering how this technology changes previous museum experiences, what those experiences are, and what people should feel through these experiences. This process was systematically conducted according to the UX design process of analysis, synthesis, and evaluation. In the analysis step, six types of museum artifact viewing experiences were defined: knowing, restoring, exploring, expanded scale, encountering, and sharing experience through research and user surveys related to the museum experience. In addition, through research analysis related to MR technology, presence, flow, and natural interaction were defined as three essential factors that users should feel in the MR experience. In the synthesis stage, optimized wearable MR experiences were designed and implemented by applying the necessary experience types and essential factors according to the characteristics of each artifact. In the evaluation stage, user experience evaluations such as user experience tests for essential factors in the MR experience, User Experience Questionnaire (UEQ) tests for interaction products, and the Visual Aesthetics of Websites Inventory (VisAWI) test for visual experiences from various perspectives were conducted on the developed results. Through these evaluations, users gave positive scores to the design results based on the experience types and essential factors defined in this study. When applying new media technologies such as wearable MR technology, improved technology implementation is important, but an understanding of the applied field must first be obtained, and user analysis must first be thoroughly conducted. This study will be a guide to the systematic development process to be followed when applying wearable MR technology to other fields.

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Wessel, David. "Interaction design and the active experience of music." Journal of the Acoustical Society of America 134, no. 5 (November 2013): 4053. http://dx.doi.org/10.1121/1.4830791.

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Demir, Arife Dila, Kristi Kuusk, and Nithikul Nimkulrat. "Squeaky/Pain: Articulating the Felt Experience of Pain for Somaesthetic Interactions." Temes de Disseny, no. 38 (July 27, 2022): 162–78. http://dx.doi.org/10.46467/tdd38.2022.162-178.

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This pictorial illustrates the methodological tools for articulating the felt experience of chronic pain used for designing somaesthetic interactions. To do this, it presents the design process of a case study named Squeaky/Pain, a soma extension aiming to augment somaesthetic awareness of the pain involved in the appreciation of both pleasant and disturbing feelings and sensations. The soma extension is an interactive wearable that facilitates a sound-motion interaction to mimic the wearer’s pain experience, from agony to relief. The case study focuses on a less explored aspect of somaesthetic interactions which is the mediation of disturbing experiences for sensory awareness. Through the soma extension that mediates disturbing experiences, the study aims to improve people’s somatic knowledge and their lives as a result. The design process of Squeaky/Pain requires detailed accounts of lived bodily experiences to create somaesthetic interactions. To access a detailed articulation of felt experiences, various tools are employed to articulate the first- and second-person pain experience for design use. These are different types of body maps, video analysis, material and form explorations, journals, in-depth interviews and self-interviews. The ideation and the testing phases have proven that such tools complement one another to access the versatile aspects of felt experiences. In this pictorial, we demonstrate ways in which visual, verbal and written tools can be applied to reveal implicit bodily experiences to inform somaesthetic interaction design.

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Alfaras, Miquel, William Primett, Muhammad Umair, Charles Windlin, Pavel Karpashevich, Niaz Chalabianloo, Dionne Bowie, et al. "Biosensing and Actuation—Platforms Coupling Body Input-Output Modalities for Affective Technologies." Sensors 20, no. 21 (October 22, 2020): 5968. http://dx.doi.org/10.3390/s20215968.

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Research in the use of ubiquitous technologies, tracking systems and wearables within mental health domains is on the rise. In recent years, affective technologies have gained traction and garnered the interest of interdisciplinary fields as the research on such technologies matured. However, while the role of movement and bodily experience to affective experience is well-established, how to best address movement and engagement beyond measuring cues and signals in technology-driven interactions has been unclear. In a joint industry-academia effort, we aim to remodel how affective technologies can help address body and emotional self-awareness. We present an overview of biosignals that have become standard in low-cost physiological monitoring and show how these can be matched with methods and engagements used by interaction designers skilled in designing for bodily engagement and aesthetic experiences. Taking both strands of work together offers unprecedented design opportunities that inspire further research. Through first-person soma design, an approach that draws upon the designer’s felt experience and puts the sentient body at the forefront, we outline a comprehensive work for the creation of novel interactions in the form of couplings that combine biosensing and body feedback modalities of relevance to affective health. These couplings lie within the creation of design toolkits that have the potential to render rich embodied interactions to the designer/user. As a result we introduce the concept of “orchestration”. By orchestration, we refer to the design of the overall interaction: coupling sensors to actuation of relevance to the affective experience; initiating and closing the interaction; habituating; helping improve on the users’ body awareness and engagement with emotional experiences; soothing, calming, or energising, depending on the affective health condition and the intentions of the designer. Through the creation of a range of prototypes and couplings we elicited requirements on broader orchestration mechanisms. First-person soma design lets researchers look afresh at biosignals that, when experienced through the body, are called to reshape affective technologies with novel ways to interpret biodata, feel it, understand it and reflect upon our bodies.

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Marcus, Aaron. "Extremes of user experience and design thinking." Interactions 23, no. 4 (June 28, 2016): 8–9. http://dx.doi.org/10.1145/2939960.

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Noh, Ok Young, and Sung Ho Choi. "A Study on Mixverse Experience and Design Utilization." Korea Institute of Design Research Society 7, no. 4 (December 31, 2022): 171–82. http://dx.doi.org/10.46248/kidrs.2022.4.171.

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Recently, the IP-based theme space has become a content cultural space that is activated early due to the recognition of IP, enjoys the world view as a play, and enjoys organic exchange between virtual and reality. However, if the experience of content is low, the continuity of revisit and purchase promotion will be reduced, which affects sustainable growth and operation. Against this background, the necessity of research was raised, and a measure of success for sustainable growth and operation was set as an experience level, and a plan to enhance experience was found in the Mixverse platform strategy that experienced a mixture of real and virtual worlds. For analysis, four pop-up stores with outstanding character use were selected, and experience elements of senses, emotions, cognition, behavior, and relationships were derived from the experience theory of previous researchers, and experience and world view elements were redefined, and then analyzed by suggesting them as an analysis model. As a result of the analysis, the experience scale was high in the order of behavior, cognition, and relationship, and the sense and sensitivity were relatively low, indicating that the experience factors that induce active change and interaction of experienced people who want to participate in the world view were superior. Based on the analysis results, first, it is necessary to establish various platform strategies to strengthen the experience by focusing on all people's activities so that voluntary participation can take place. Second, experiences provided for stories and interactions that can be empathized, immersed, and enjoyed should be planned with an emphasis on personalization and customization. Third, it is necessary to establish and support a community for participation and relationships so that interest and knowledge can be formed in a good direction through positive perception. Finally, a flexible operation plan that collaborates with various fields, expands diversity, and increases the frequency of events for creative communication should be established. This study has limitations in categorizing due to the small number of samples in the analysis, but the experience for sustainable growth and operation of the theme space based on character IP can also be used as basic data to confirm the direction of improvement.

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Silvennoinen, Johanna M., and Jussi P. P. Jokinen. "Appraisals of Salient Visual Elements in Web Page Design." Advances in Human-Computer Interaction 2016 (2016): 1–14. http://dx.doi.org/10.1155/2016/3676704.

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Visual elements in user interfaces elicit emotions in users and are, therefore, essential to users interacting with different software. Although there is research on the relationship between emotional experience and visual user interface design, the focus has been on the overall visual impression and not on visual elements. Additionally, often in a software development process, programming and general usability guidelines are considered as the most important parts of the process. Therefore, knowledge of programmers’ appraisals of visual elements can be utilized to understand the web page designs we interact with. In this study, appraisal theory of emotion is utilized to elaborate the relationship of emotional experience and visual elements from programmers’ perspective. Participants (N=50) used 3E-templates to express their visual and emotional experiences of web page designs. Content analysis of textual data illustrates how emotional experiences are elicited by salient visual elements. Eight hierarchical visual element categories were found and connected to various emotions, such as frustration, boredom, and calmness, via relational emotion themes. The emotional emphasis was on centered, symmetrical, and balanced composition, which was experienced as pleasant and calming. The results benefit user-centered visual interface design and researchers of visual aesthetics in human-computer interaction.

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Gayler, Tom, Corina Sas, and Vaiva Kalnikaitė. "Exploring the Design Space for Human-Food-Technology Interaction: An Approach from the Lens of Eating Experiences." ACM Transactions on Computer-Human Interaction 29, no. 2 (April 30, 2022): 1–52. http://dx.doi.org/10.1145/3484439.

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Embedded in everyday practices, food can be a rich resource for interaction design. This article focuses on eating experiences to uncover how bodily, sensory, and socio-cultural aspects of eating can be better leveraged for the design of user experience. We report a systematic literature review of 109 papers, and interviews with 18 professional chefs, providing new understandings of prior HFI research, as well as how professional chefs creatively design eating experiences. The findings inform a conceptual framework of designing for user experience leveraging eating experiences. These findings also inform implications for HFI design suggesting the value of multisensory flavor experiences, external and internal sensory stimulation and deprivation, aspects of eating for communicating meaning, and designing with contrasting pleasurable and uncomfortable experiences. The article concludes with six charts as novel generative design tools for HFI experiences focused on sensory, emotional, communicative, performative, and temporal experiences.

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Olawole, David Oluwasegun. "User experience: tool for Human-Computer Interaction (HCI) design." AFRREV STECH: An International Journal of Science and Technology 7, no. 2 (November 20, 2018): 61. http://dx.doi.org/10.4314/stech.v7i2.6.

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23

Yenimazman, Deniz. "'Digital Experience Design: Ideas, Industries, Interaction' by Linda Leung." Information, Communication & Society 14, no. 5 (May 25, 2011): 755–56. http://dx.doi.org/10.1080/1369118x.2011.556656.

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24

Roussos, George, Mirco Musolesi, and George D. Magoulas. "Human behavior in ubiquitous environments: Experience and interaction design." Pervasive and Mobile Computing 6, no. 5 (October 2010): 497–98. http://dx.doi.org/10.1016/j.pmcj.2010.09.001.

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VanHeuvelen, Jane S. "Isolation or interaction: healthcare provider experience of design change." Sociology of Health & Illness 41, no. 4 (February 8, 2019): 692–708. http://dx.doi.org/10.1111/1467-9566.12850.

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Battistoni, Pietro, Marianna Di Gregorio, Marco Romano, Monica Sebillo, Giuliana Vitiello, and Alessandro Brancaccio. "Interaction Design Patterns for Augmented Reality Fitting Rooms." Sensors 22, no. 3 (January 27, 2022): 982. http://dx.doi.org/10.3390/s22030982.

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In this work, we explore the role of augmented reality as a meta-user interface, with particular reference to its applications for interactive fitting room systems and the impact on the related shopping experience. Starting from literature and existing systems, we synthesized a set of nine interaction design patterns to develop AR fitting rooms and to support the shopping experience. The patterns were evaluated through a focus group with possible stakeholders with the aim of evaluating and envisioning the effects on the shopping experience. The focus group analysis shows as a result that the shopping experience related to an AR fitting room based on the proposed patterns is influenced by three main factors, namely: the perception of the utility, the ability to generate interest and curiosity, and the perceived comfort of the interaction and environment in which the system is installed. As a further result, the study shows that the patterns can successfully support these factors, but some elements that emerged from the focus group should be more investigated and taken into consideration by the designers.

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Latham, Kiersten F., and Jodi Kearns. "OKF-Ref: using the object knowledge framework to understand the reference experience." Reference Reviews 30, no. 2 (February 15, 2016): 1–7. http://dx.doi.org/10.1108/rr-05-2015-0119.

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Purpose – The aim of this paper is to offer a platform for thinking about the reference interaction experience by borrowing from museum studies literature, particularly from a holistic understanding of the museum visitor’s experience. Design/methodology/approach – The goal of this paper is to offer a platform for thinking about the reference interaction experience by borrowing from museum studies literature, particularly from a holistic understanding of the museum visitor’s experience. Findings – Object knowledge framework-reference (OKF-Ref) enables reference staff to connect patrons with resources to enable deeper thinking and research. Practical implications – OKF-Ref seeks to permit reference transactions as experiences rooted in synchronous individual, group and material potential connections made between resources and information seekers. Originality/value – New considerations in lived reference experience encourages reference librarians to think about the whole experience of reference interactions, allowing intermediaries to be proactive toward the goal of unified experiences for patrons.

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Nousiainen, Tuula, and Marja Kankaanranta. "Exploring Children's Requirements for Game-Based Learning Environments." Advances in Human-Computer Interaction 2008 (2008): 1–7. http://dx.doi.org/10.1155/2008/284056.

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End users' expertise in the development of new applications is acknowledged in user-centered and participatory design. Similarly, children's experience of what they find enjoyable and how they learn is a valuable source of inspiration for the design of products intended for them. In this paper, we explore experiences obtained from collaboration with elementary school children in the design of learning environments, based on three projects and three requirements gathering techniques. We also discuss how the children experienced the participation. The children's contribution yielded useful, both expected and unanticipated, outcomes in regard to the user interface and contents of the learning environments under development. Moreover, we present issues related to design collaboration with children, especially in terms of the children's feeling of ownership over the final outcome.

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Skarlatidou, Artemis, Marisa Ponti, James Sprinks, Christian Nold, Muki Haklay, and Eiman Kanjo. "User experience of digital technologies in citizen science." Journal of Science Communication 18, no. 01 (January 17, 2019): E. http://dx.doi.org/10.22323/2.18010501.

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The growing interest in citizen science has resulted in a new range of digital tools that facilitate the interaction and communications between citizens and scientists. Considering the ever increasing number of applications that currently exist, it is surprising how little we know about how volunteers interact with these technologies, what they expect from them, and why these technologies succeed or fail. Aiming to address this gap, JCOM organized this special issue on the role of User Experience (UX) of digital technologies in citizen science which is the first to focus on the qualities and impacts of interface and user design within citizen science. Seven papers are included that highlight three key aspects of user-focused research and methodological approaches. In the first category, "design standards", the authors explore the applicability of existing standards, build and evaluate a set of guidelines to improve interactions with citizen science applications. In the second, "design methods", methodological approaches for getting user feedback, analysing user behaviour and exploring different interface designs modes are explored. Finally, "user experience in the physical and digital world" explores crossovers with other fields to improve our understanding of user experiences and demonstrate how design choices not only influence digital interactions but also shape interactions with the wider world.

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Ozorhon, Guliz, and Gulbin Lekesiz. "Re-considering the Architectural Design Studio after Pandemic: Tools, Problems, Potentials." Journal of Design Studio, no. 1 (July 20, 2021): 19–36. http://dx.doi.org/10.46474/jds.927181.

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The Covid-19 outbreak has significantly influenced all disciplines from economics to politics, especially health, and forced every discipline to develop new strategies to adapt to this situation. For this reason, education has been suspended as of mid-March 2020 in our country; after the break, education methods have changed in a mandatory and rapid way and largely switched to distance education. This compulsory transformation has required the creation of new methods and approaches, especially for applied courses. In this context, this article focuses on a remote architectural design studio experience and explores this experience's problems and potential. This research is in the framework of an adapted architectural design studio setup enriched by authors with online environment-specific tools, including components that centralize participatory production (collaborative learning approach) and enable interaction such as workshops and seminars. The studio (201 A) was experienced in the 2020-21 fall semester by remote conducting with 2nd-grade architecture students. In the article, the process is revealed in detail, and the architectural design studio has been discussed extensively with the student survey and the instructors' experiences. As a result, it has been observed that the studio's components, such as interaction, collectivism, multilayeredness, dynamism, making criticism, and juries, can survive in distance education. Although verbal communication difficulties were experienced in the remote studio, visuality/screen sharing supported the communication throughout the process. However, it is obvious that the content, methods, and tools for remote architectural design studio education should be developed with a different and new approach than face-to-face education. In order to develop more effective methods in this scope, research is required to continue, prepare a large number of experience environments supported by these studies and, most importantly, share these experiences.

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Johnson, Cheryl I., Daphne E. Whitmer, Jacob Entinger, Eric K. Peterson, and Briana M. Sobel. "Interacting with Virtual Reality with a Controller Instead of the Body Benefits Performance and Perceptions." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 66, no. 1 (September 2022): 1294–98. http://dx.doi.org/10.1177/1071181322661371.

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Methods of interaction within virtual environments, such as virtual reality (VR), typically include hand-held controllers, but recent advances in technology are making body-based interactions possible, such as eye and hand tracking. These modern interaction methods may prove to be more natural and intuitive for users and improve their experience by reducing the mental effort associated with learning a new interaction. In this within-subjects experiment, we compared users’ performance on a speeded button selection task and ratings of their experience in five different interaction methods: controller-based (Trigger, Push, and Raycasting) and body-based (Eyetracking and Handtracking). We found that participants performed best with controller-based interactions and rated their experiences more favorably than the body-based interactions. Participants reported higher mental and physical effort in the body-based conditions than the controller-based conditions. Implications for VR system design and future research are discussed.

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Mao, Xiao Meng. "Research on Emotional Interaction Design of Mobile Terminal Application." Advanced Materials Research 989-994 (July 2014): 5528–31. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.5528.

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Discusses the realization of the path of the mobile terminal application software emotional interaction design. Analyzed design features of mobile terminal application software with combined hardware and software features. Analysis of the current features of emotional interaction design software applications. People's basic functional requirements of the mobile terminal application software for rising to the emotional and reflective user experience. Realize the emotional user experience needs improvements of interactive mode; interface design patterns; human-computer interaction applications feedback and deep-rooted experience of the target software features.

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Niman, Bruno von, Alejandro Rodríguez-Ascaso, Steve Brown, and Torbjørn Sund. "User experience design guidelines for telecare (e-health) services." Interactions 14, no. 5 (September 2007): 36–40. http://dx.doi.org/10.1145/1288515.1288537.

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Dulake, Nick, Eva Hornecker, and Daniela Petrelli. "A conversation around the design and experience of artifacts." Interactions 26, no. 5 (August 22, 2019): 52–57. http://dx.doi.org/10.1145/3344941.

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Jokinen, Jussi P. P., Johanna Silvennoinen, and Tuomo Kujala. "Relating Experience Goals With Visual User Interface Design." Interacting with Computers 30, no. 5 (August 28, 2018): 378–95. http://dx.doi.org/10.1093/iwc/iwy016.

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Sulaiman, Suziah, Ann Blandford, and Paul Cairns. "Haptic experience and the design of drawing interfaces." Interacting with Computers 22, no. 3 (May 2010): 193–205. http://dx.doi.org/10.1016/j.intcom.2009.11.009.

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Chorianopoulos, Konstantinos, and David Geerts. "Introduction to user experience design for TV Apps." Entertainment Computing 2, no. 3 (January 2011): 149–50. http://dx.doi.org/10.1016/j.entcom.2011.03.009.

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Höök, Kristina. "Affective loop experiences: designing for interactional embodiment." Philosophical Transactions of the Royal Society B: Biological Sciences 364, no. 1535 (December 12, 2009): 3585–95. http://dx.doi.org/10.1098/rstb.2009.0202.

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Involving our corporeal bodies in interaction can create strong affective experiences. Systems that both can be influenced by and influence users corporeally exhibit a use quality we name an affective loop experience. In an affective loop experience, (i) emotions are seen as processes, constructed in the interaction, starting from everyday bodily, cognitive or social experiences; (ii) the system responds in ways that pull the user into the interaction, touching upon end users' physical experiences; and (iii) throughout the interaction the user is an active, meaning-making individual choosing how to express themselves—the interpretation responsibility does not lie with the system. We have built several systems that attempt to create affective loop experiences with more or less successful results. For example, eMoto lets users send text messages between mobile phones, but in addition to text, the messages also have colourful and animated shapes in the background chosen through emotion-gestures with a sensor-enabled stylus pen. Affective Diary is a digital diary with which users can scribble their notes, but it also allows for bodily memorabilia to be recorded from body sensors mapping to users' movement and arousal and placed along a timeline. Users can see patterns in their bodily reactions and relate them to various events going on in their lives. The experiences of building and deploying these systems gave us insights into design requirements for addressing affective loop experiences, such as how to design for turn-taking between user and system, how to create for ‘open’ surfaces in the design that can carry users' own meaning-making processes, how to combine modalities to create for a ‘unity’ of expression, and the importance of mirroring user experience in familiar ways that touch upon their everyday social and corporeal experiences. But a more important lesson gained from deploying the systems is how emotion processes are co-constructed and experienced inseparable from all other aspects of everyday life. Emotion processes are part of our social ways of being in the world; they dye our dreams, hopes and bodily experiences of the world. If we aim to design for affective interaction experiences, we need to place them into this larger picture.

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최정민 and 정의철. "User Experience(UX) Design Curriculum Bridging Physical and Screen Interaction." Journal of Korea Design Forum ll, no. 50 (February 2016): 155–62. http://dx.doi.org/10.21326/ksdt.2016..50.013.

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Mahut, Theo, Carole Bouchard, Jean-Francois Omhover, Carole Favart, and Daniel Esquivel. "Interdependency between user experience and interaction: a Kansei design approach." International Journal on Interactive Design and Manufacturing (IJIDeM) 12, no. 1 (February 28, 2017): 105–32. http://dx.doi.org/10.1007/s12008-017-0381-4.

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Cheng, Haibo. "How does interaction design affect user experience throughonline shopping interfaces?" IOP Conference Series: Materials Science and Engineering 573 (August 2, 2019): 012076. http://dx.doi.org/10.1088/1757-899x/573/1/012076.

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Ramirez Gomez, Argenis, and Michael Lankes. "Eyesthetics." Proceedings of the ACM on Human-Computer Interaction 5, CHI PLAY (October 5, 2021): 1–24. http://dx.doi.org/10.1145/3474686.

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Gaze interaction has been growing fast as a compelling tool for control and immersion for gameplay. Here, we present a conceptual framework focusing on the aesthetic player experience and the potential interpretation (meaning) players could give to playing with gaze interaction capabilities. The framework is illustrated by a survey of state of the art research-based and commercial games. We complement existing frameworks by reflecting on gaze interaction in games as the attention relationship between the player (the subject) and the game (the object) with four dimensions: Identity; Mapping; Attention; and Direction. The framework serves as a design and inquiry toolbox to analyse and communicate gaze mechanics in games, reflect on the complexity of gaze interaction, and formulate new research questions. We visualise the resulting design space, highlighting future opportunities for gaze interaction design and HCI gaze research through the framework's lens. We deem, this novel approach advocates for the design of gaze-based interactions revealing the richness of gaze input in future meaningful game experiences.

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Moggridge, Bill. "Design: Expressing experiences in design." Interactions 6, no. 4 (July 1999): 17–25. http://dx.doi.org/10.1145/306412.306430.

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Ma, Xue Liang, Jie Sun, and Shao Fu Shan. "Based on Man-Machine Interaction Interface Design of Product." Applied Mechanics and Materials 229-231 (November 2012): 1785–88. http://dx.doi.org/10.4028/www.scientific.net/amm.229-231.1785.

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This paper describes the human-computer interaction theory, experience from the user's point of view, with the aid of system design, the use of products in the process of non amenity factors, industrial product interface design and analyzes the existing problems, puts forward product interface design principles and methods, through the analysis of the user model, points out the good interaction the design can realize the user experience, improve people's quality of life.

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Eriksson, Eva, Anne Linda Kok, Wolmet Barendregt, Camilla Gyldendahl Jensen, and Elisabet M. Nilsson. "Teaching for Values in Interaction Design: A Discussion About Assessment." Interaction Design and Architecture(s), no. 52 (June 10, 2022): 221–33. http://dx.doi.org/10.55612/s-5002-052-012.

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We experience an increased attention in the Human-Computer Interaction (HCI) field towards the social and environmental responsibilities of interaction designers. In line with this increased attention, a need arises to teach students about values in interaction design and consequentially assess their learning. However, there are few academic examples of how to assess whether students know how to deal with values in interaction design or whether they have become responsible interaction designers. In this paper, we aim to start a conversation on assessment of teaching for values in interaction design. We first introduce our own experiences with teaching for values in interaction design, and extend this with an argument for authentic, formative assessment forlearning, including active participation of students in the design of learning goals and assessment activities.

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Höök, Kristina, Steve Benford, Paul Tennent, Vasiliki Tsaknaki, Miquel Alfaras, Juan Martinez Avila, Christine Li, et al. "Unpacking Non-Dualistic Design: The Soma Design Case." ACM Transactions on Computer-Human Interaction 28, no. 6 (December 31, 2021): 1–36. http://dx.doi.org/10.1145/3462448.

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We report on a somaesthetic design workshop and the subsequent analytical work aiming to demystify what is entailed in a non-dualistic design stance on embodied interaction and why a first-person engagement is crucial to its unfoldings. However, as we will uncover through a detailed account of our process, these first-person engagements are deeply entangled with second- and third-person perspectives, sometimes even overlapping. The analysis furthermore reveals some strategies for bridging the body-mind divide by attending to our inner universe and dissolving or traversing dichotomies between inside and outside ; individual and social ; body and technology . By detailing the creative process, we show how soma design becomes a process of designing with and through kinesthetic experience, in turn letting us confront several dualisms that run like fault lines through HCI’s engagement with embodied interaction.

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Liu, Dou. "User Experience Design of Text Creation Products Based on Human-Computer Interaction System." Highlights in Science, Engineering and Technology 23 (December 3, 2022): 65–71. http://dx.doi.org/10.54097/hset.v23i.3129.

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This paper investigates the use of human-computer interaction in the user experience design of cultural and creative products. Based on human-computer interaction, a human-computer system model of user experience design is constructed, and human-computer interaction is used to clarify the relationship between "user-cultural product-cultural environment". In addition, the cultural contact points of users are identified from the cultural experience layer, and finally, the feasibility of the method is verified through design cases. With the purpose of strengthening users' cultural experience, it analyzes users' cultural experience process using human-computer interaction, defines experience points from it and then completes the design. Starting from the source of users' initial contact with culture experience, the process of cultural experience of users before contacting physical products is deeply explored, and the design points of user experience are sorted out and optimized by taking Tujia brocade cultural and creative products as an example (products include Internet products and physical products). Ultimately, the Tujia brocade cultural service website is used as a carrier to deliver the user experience design of cultural and creative products for the purpose of optimizing cultural experience.

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Hakobyan, Lilit, Jo Lumsden, and Dympna O'Sullivan. "Participatory Design." International Journal of Mobile Human Computer Interaction 7, no. 3 (July 2015): 78–92. http://dx.doi.org/10.4018/ijmhci.2015070106.

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Ongoing advances in mobile technologies have the potential to improve independence and quality of life of older adults by supporting the delivery of personalised and ubiquitous healthcare solutions. The authors are actively engaged in participatory, user-focused research to create a mobile assistive healthcare-related intervention for persons with age-related macular degeneration (AMD): the authors report here on our participatory research in which participatory design (PD) has been positively adopted and adapted for the design of our mobile assistive technology. The authors discuss their work as a case study in order to outline the practicalities and highlight the benefits of participatory research for the design of technology for (and importantly with) older adults. The authors argue it is largely impossible to achieve informed and effective design and development of healthcare-related technologies without employing participatory approaches, and outline recommendations for engaging in participatory design with older adults (with impairments) based on practical experience.

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GÜVENİR, CAN, HATİCE HÜMANUR BAĞLI, and ÖZGE DEMİRBAŞ. "DESIGN THINKING COURSE EXAMPLE IN THE STUDENT INTERACTION IN MASSIVE OPEN ONLINE COURSES." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (July 1, 2022): 606–24. http://dx.doi.org/10.7456/11203100/004.

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The applications of Massive Open Online Courses (MOOCs), which are increasingly common today, are developing within the framework of student needs and these contents require different educational approaches in time. The social pattern in the focus of the social constructivist theory, on which applied education is based, differs in distance education compared to face-to-face education. In particular, the need to investigate the forms of student interaction has arisen, with the transfer of social constructivist applied courses, where the interaction of the student with the teacher is important, to the MOOC format, which reduces teacher interaction. This research aimed to explore the ways in which students interact with teachers and students in MOOCs given in the example of Design Thinking (DT) course which is an increasingly common and applied education today. In this context, 15 DT MOOCs given in October 2020 were analyzed and it was concluded that student-student interactions took place in three types of interaction: messaging, forum and assignment, and evaluation methods were listed under two headings as quiz and assignment. All of the examined courses have a forum tool and they have been actively used throughout the course. In the courses, the messaging and assignment interaction tool between students was not preferred much in the course structure, but the potential of these tools for reflections on the basis of applied education was emphasized. As for the assessment method, assignment was used in most of the courses examined. In this context, how the forms of interaction affect the educational structure and educational materials, and the relationship of the online platforms where the courses are given with the learning experience are discussed. The importance of student interaction in the field of distance education is increasing and it has been emphasized that it greatly affects the learning experience. With this study, the interaction between MOOC learning experiences in the focus of TOD was investigated and potential topics for future studies were identified.

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Md Nor, Romiza, and Muhammad Hafizuddin Abdul Razak. "Interactive Design in Enhancing User Experience in Museum." Journal of Computing Research and Innovation 6, no. 3 (September 13, 2021): 86–91. http://dx.doi.org/10.24191/jcrinn.v6i3.249.

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A museum can be a suitable context to experiment with a new interaction technique which guiding visitors and improving their experience for a successful learning environment also to enrich user experience. Mobile technology is used to enhance user experience in a cultural environment that offers more information than physically exposed technology. Therefore, the introduction of augmented reality (AR) that allow visitor to experience interaction in a way that increased knowledge, learning and give additional information with any artefact exhibitions they interact in the museum is applied in this project. The objectives of this research are to develop an interactive design in enhancing user experience in artefact display and evaluate user experience. ADDIE Model is applied as the methodology that consists of five phases which are analysis, design, development, implementation, and evaluation. Principles of Interactive Design is utilized in designing the mobile AR application and developed using Unity, Blender and Vuforia. User Experience evaluation method is conducted where findings shows that most respondents are satisfied, and usage of mobile AR has enhanced their experience through navigation during museum visit that also give a lot of new insight on historical artefact that being displayed.

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