slides of my keynote talk at the quality of multimedia experience workshop in klagenfurt, juli 2013 - http://qomex2013.org

1. peter purgathofer
purg@igw.tuwien.ac.at
@peterpur
technische universität wien
fakultät ür informatik
institut ür gestaltungs- und wirkungsforschung

2. 6 factors to consider
in quality of media experience

3. 1 communities

6. »continuous partial attention« linda stone

7. 2 placebo effects

9. Neumann et al »Television Sound and Viewer Perceptions«

11. »The emperor's clothes in high resolution: An experimental study
of the framing effect and the diffusion of HDTV«

12. 3 authenticity

17. authenticity
factual – fictional
objective – subjective
truth – lie
complete – cutout
relevant – trivial

22. 4 interaction

23. usability

24. usability utility

25. usability utility
likability

26. valuable

27. valuable
useful
desirable
accessible
credible
findable
usable

28. valuable
useful
desirable
accessible
credible
findable
usable

29. useful!
valuable
useful

30. useful!

36. » «

41. faster
cheaper
smaller
more

43. faster
cheaper
smaller
more
who does what,
when, where, why,
how, and with
whom?

44. » «

47. simplicity any fool can make things complicated, but it
requires a genius to make things simple e. f.
schumacher, ökonom
simplicity is the ultimate sophistication.
leonardo da vinci
Simplicity isn't a bad design goal; complexity
isn't a good one. joshua porter

51. »for me, one of the most
important design principles is to
omit the unimportant in order to
emphasise the important.«
dieter rams

52. empty spot
for notes
empty spot
for notes
empty spot
for notes
empty spot
for notes
empty spot
for notes
quick access
button
quick access buttons feedback
LEDs
RFID
reader

55. less is more (more or less)

56. 5 aesthetics

57. usability utility
likability

58. usability utility
aesthetics

59. aesthetics
sensual or sensory experience, and the kind of taste
judgments that concern how something feels.

60. Principle 1
Principle 2
Principle 3
Principle 4
maximum effect for minimum means
unity in variety
most advanced, yet acceptable
optimal match
P. Hekkert: »Design aesthetics: principles of pleasure in design«

64. Principle 1
Principle 2
Principle 3
Principle 4
maximum effect for minimum means
unity in variety
most advanced, yet acceptable
optimal match
P. Hekkert: »Design aesthetics: principles of pleasure in design«

66. »In interaction design, we are not doing
visual art. The user’s aesthetic experience lies
in the interaction, the way in which the
system behaves and responds over time in
interplay with the user. To put it simply,
when we talk about aesthetics we need to
talk about look and feel, not merely about
look.«
J. Löwgren: »Five things I believe about
the aesthetics of interaction design«

67. Towards an articulation of
interaction aesthetics
Jonas Löwgren
manuscript, June 16, 2009
to appear in
The New Review of Hypermedia and Multimedia
ABSTRACT
Even though the emerging field of user experience generally acknowl-
edges the importance of aesthetic qualities in interactive products and
services, there is a lack of approaches recognizing the fundamentally
temporal nature of interaction aesthetics. By means of interaction criti-
cism, I introduce four concepts that begin to characterize the aesthetic
qualities of interaction. Pliability refers to the sense of malleability and
tightly coupled interaction that makes the use of an interactive visualiza-
tion captivating. Rhythm is an important characteristic of certain types
of interaction, from the sub-second pacing of musical interaction to the
hour-scale ebb and flow of peripheral emotional communication. Drama-
turgical structure is not only a feature of online role-playing games, but
plays an important role in several design genres from the most mundane
to the more intellectually sophisticated. Fluency is a way to articulate the
gracefulness with which we are able to handle multiple demands for our
attention and action in augmented spaces.
interaction aesthetics, aesthetic interaction qualities, expe-
interaction aesthetics
pliability
rhythm
dramaturgical structure
fluency
control
etc.

68. Jonas Löwgren:
»The use qualities
of digital designs«

69. Towards an articulation of
interaction aesthetics
Jonas Löwgren
manuscript, June 16, 2009
to appear in
The New Review of Hypermedia and Multimedia
ABSTRACT
Even though the emerging field of user experience generally acknowl-
edges the importance of aesthetic qualities in interactive products and
services, there is a lack of approaches recognizing the fundamentally
temporal nature of interaction aesthetics. By means of interaction criti-
cism, I introduce four concepts that begin to characterize the aesthetic
qualities of interaction. Pliability refers to the sense of malleability and
tightly coupled interaction that makes the use of an interactive visualiza-
tion captivating. Rhythm is an important characteristic of certain types
of interaction, from the sub-second pacing of musical interaction to the
hour-scale ebb and flow of peripheral emotional communication. Drama-
turgical structure is not only a feature of online role-playing games, but
plays an important role in several design genres from the most mundane
to the more intellectually sophisticated. Fluency is a way to articulate the
gracefulness with which we are able to handle multiple demands for our
attention and action in augmented spaces.
interaction aesthetics, aesthetic interaction qualities, expe-
pliability
It refers to the user's sense of
shaping a malleable material in a tight loop
of action and response.

70. pliability

72. Towards an articulation of
interaction aesthetics
Jonas Löwgren
manuscript, June 16, 2009
to appear in
The New Review of Hypermedia and Multimedia
ABSTRACT
Even though the emerging field of user experience generally acknowl-
edges the importance of aesthetic qualities in interactive products and
services, there is a lack of approaches recognizing the fundamentally
temporal nature of interaction aesthetics. By means of interaction criti-
cism, I introduce four concepts that begin to characterize the aesthetic
qualities of interaction. Pliability refers to the sense of malleability and
tightly coupled interaction that makes the use of an interactive visualiza-
tion captivating. Rhythm is an important characteristic of certain types
of interaction, from the sub-second pacing of musical interaction to the
hour-scale ebb and flow of peripheral emotional communication. Drama-
turgical structure is not only a feature of online role-playing games, but
plays an important role in several design genres from the most mundane
to the more intellectually sophisticated. Fluency is a way to articulate the
gracefulness with which we are able to handle multiple demands for our
attention and action in augmented spaces.
interaction aesthetics, aesthetic interaction qualities, expe-
pliability
It refers to the user's sense of
shaping a malleable material in a tight loop
of action and response.
»(selbst-)wirkungserfahrung«
effective experience?experience of agency?

74. 6 sharing

83. we share what we love

84. Once relegated to the legal
hinterlands, copyright has taken
center stage in recent years. Now,
copyright law is of direct
importance to the hundreds of
millions of individuals [...]
John Tehranian: Infringement Nation: Copyright
Reform and the Law/Norm Gap.

85. copyright has become a
major influence
on media experience

86. »Code is Law«
Lawrence Lessig

87. »Ultimately, I think the fact that
people will copy the stuff that
they like is not a problem; it’s a
fact. Problems are things you can
change. Facts are things you have
to get used to.«
Cory Doctorow

89. peppersprayingcop.tumblr.com

90. Copyright law is playing a profound role in
shaping our very identities. Copyright’s
regulation, propertization, and
monopolization of cultural content
determine who can draw upon such content in
the discursive process of identity formation.
J. Tehranian: Infringement Nation: Copyright
Reform and the Law/Norm Gap.

91. »read/write culture«
»read-only culture«

93. thank you for your attention

94. peter purgathofer
purg@igw.tuwien.ac.at
@peterpur