Pieter Desmet developed a tool called PrEmo for measuring product emotions through short animated clips depicting facial expressions and body language. PrEmo uses 14 animations to measure both positive and negative emotional responses on a 3-point scale. Desmet validated PrEmo across different cultures and found it was an easy and effective way to measure emotions without using language. While promising, PrEmo still requires further refinement and standardization of its use.
Notes from Beth E. Koch's presentation, "Perception of Typefaces: A Quantitative Visual Methodology" at SOTA's TypeCon, Milwaukee, Wisconsin, USA, August 5, 2012
The document summarizes research on designing emotional experiences for mobile user interfaces. It describes:
1. Three empirical studies were conducted to identify emotions associated with smartphone use and design principles.
2. Positive and negative emotion sets were developed based on the studies. 30 positive emotions were identified as potential "emotional solutions".
3. 14 "general solutions" or high-level design principles were developed to deliver the emotional solutions. These include principles like "flow" and "superior quality".
4. 23 specific "UX solutions" were developed that embody the general solutions and can be applied to interface design with flexibility.
Multimodal Rhetorics
From Writer/Designer: A Guide to Making Multimodal Projects. Kristin L. Arola, Jennifer
Sheppard and Cheryl E. Ball. Boston: Bedford/St. Martin's. 2014.
Using Multimodal Rhetorics- Concepts and Activities
Purpose
Writing is not the only way people use rhetoric- ALL communication and argument is multimodal- meaning that
everything from images, video, gestures, body language, color, sound, spatial distance, and more contributes to
meaning and shapes how others are persuaded by it. Being better aware of how multimodal rhetorical choices
influence an audience can help you to be more critical of what others are saying to you, as well as to make use of
these strategies in your own communication. These notes and activities are excerpted from Writer/Designer:
Making Multimodal Projects by Kristin Arola, Jennifer Sheppard, and Cheryl Ball.
• Mode- a semiotic resource or means of
communication
• Multimodal- the ways we combine different
ways (or modes) of communicating in
everyday life
• Text- the artifact that results from
communicating in any mode or combination
of modes (words, images, sound, etc.)
• To produce a successful text, writers must
be able to consciously use different modes
both alone and in combination
• Each mode plays a role individually in the
overall message, but it’s their combination
that creates the full feel and function of the
text
• Five modes of communication:
o Linguistic- the use of language (word choice, delivery of spoken text, organization of writing or
speech into phrases, paragraphs, sentences, etc., the development and coherence of individual words
and ideas)
o Visual- images and other characteristics that can be seen (size, color, layout, style, etc.); very good at
communicating how something looks or how someone is feeling, how to do something
o Aural- focuses on sound as a means of communicating and/or understanding information (music,
sound effects, ambient noise/sound, silence, tone of voice in spoken language, volume of sound
emphasis, accent)- sound signals information
o Spatial- physical arrangement (layout, organization, proximity between people and/or objects)
o Gestural- includes facial expressions, hand gestures, body language, interaction between people-
provides an important way of making or understanding meaning, responses, and relationships
• Medium/Media- the specific expression of communication within a given mode (water color would be a
medium in the mode of visual expression)
• Affordances- the strengths and weakness of individual modes or media in a given rhetorical situation
One way to think about the different modes of communication is as a set of tools. You may not use all of them in a
single project because each mode has its own affordances and constraints (strengths and weaknesses)- just like a
wrench is probably more useful for fixing a faucet than a hammer. Sometimes, though, ...
The document discusses several talks and films related to design. It summarizes key points about design thinking, including that design is a system influenced by purpose and intentions. Activity theory frames human activity via social interaction. Design goes beyond aesthetics to consider functionality from various perspectives. A good design solves problems effectively. Typography and choice of fonts convey tone and meaning. Land artist Andy Goldsworthy creates temporary or permanent art forms using natural elements that transform over time.
The document discusses the challenges of translating mental models into virtual models. It outlines two main problems: 1) A mental model originator may have gaps or biases that prevent a clear shared understanding, and 2) Getting different individuals and disciplines on the same page due to varying communication styles and perspectives. The document proposes that finding consensus on requirements and representing the model through techniques like storyboarding can help address these problems, though developing a shared virtual representation of a mental model is a "wicked problem" with no definitive solution due to many complex variables.
Analysis on techniques used to recognize and identifying the Human emotions IJECEIAES
Facial expression is a major area for non-verbal language in day to day life communication. As the statistical analysis shows only 7 percent of the message in communication was covered in verbal communication while 55 percent transmitted by facial expression. Emotional expression has been a research subject of physiology since Darwin’s work on emotional expression in the 19th century. According to Psychological theory the classification of human emotion is classified majorly into six emotions: happiness, fear, anger, surprise, disgust, and sadness. Facial expressions which involve the emotions and the nature of speech play a foremost role in expressing these emotions. Thereafter, researchers developed a system based on Anatomic of face named Facial Action Coding System (FACS) in 1970. Ever since the development of FACS there is a rapid progress in the domain of emotion recognition. This work is intended to give a thorough comparative analysis of the various techniques and methods that were applied to recognize and identify human emotions. This analysis results will help to identify proper and suitable techniques, algorithms and the methodologies for future research directions. In this paper extensive analysis on various recognition techniques used to identify the complexity in recognizing the facial expression is presented.
Handout for "Proven Presentation Techniques", an InfoComm approved workshop b...Thomas Zangerle
This workshop will show you how you can transform your ideas into convincing interactive presentations. The most important elements of successful presentations, training sessions and meetings are straightforward to name, but not always quite so easy to implement. It's essential for the presenter to capture and maintain the attention of the audience, to present effectively, create interest, encourage excitement and to captivate the participants. In this training session we will explore how you can increase understanding and retention in a presentation. You will receive background information based on scientific research, about improving communication techniques and about the workings of the brain. You will also see examples of best practices, effective communication, and presentation designs, all of which contribute to the creation of long-lasting impressions.
Notes from Beth E. Koch's presentation, "Perception of Typefaces: A Quantitative Visual Methodology" at SOTA's TypeCon, Milwaukee, Wisconsin, USA, August 5, 2012
The document summarizes research on designing emotional experiences for mobile user interfaces. It describes:
1. Three empirical studies were conducted to identify emotions associated with smartphone use and design principles.
2. Positive and negative emotion sets were developed based on the studies. 30 positive emotions were identified as potential "emotional solutions".
3. 14 "general solutions" or high-level design principles were developed to deliver the emotional solutions. These include principles like "flow" and "superior quality".
4. 23 specific "UX solutions" were developed that embody the general solutions and can be applied to interface design with flexibility.
Multimodal Rhetorics
From Writer/Designer: A Guide to Making Multimodal Projects. Kristin L. Arola, Jennifer
Sheppard and Cheryl E. Ball. Boston: Bedford/St. Martin's. 2014.
Using Multimodal Rhetorics- Concepts and Activities
Purpose
Writing is not the only way people use rhetoric- ALL communication and argument is multimodal- meaning that
everything from images, video, gestures, body language, color, sound, spatial distance, and more contributes to
meaning and shapes how others are persuaded by it. Being better aware of how multimodal rhetorical choices
influence an audience can help you to be more critical of what others are saying to you, as well as to make use of
these strategies in your own communication. These notes and activities are excerpted from Writer/Designer:
Making Multimodal Projects by Kristin Arola, Jennifer Sheppard, and Cheryl Ball.
• Mode- a semiotic resource or means of
communication
• Multimodal- the ways we combine different
ways (or modes) of communicating in
everyday life
• Text- the artifact that results from
communicating in any mode or combination
of modes (words, images, sound, etc.)
• To produce a successful text, writers must
be able to consciously use different modes
both alone and in combination
• Each mode plays a role individually in the
overall message, but it’s their combination
that creates the full feel and function of the
text
• Five modes of communication:
o Linguistic- the use of language (word choice, delivery of spoken text, organization of writing or
speech into phrases, paragraphs, sentences, etc., the development and coherence of individual words
and ideas)
o Visual- images and other characteristics that can be seen (size, color, layout, style, etc.); very good at
communicating how something looks or how someone is feeling, how to do something
o Aural- focuses on sound as a means of communicating and/or understanding information (music,
sound effects, ambient noise/sound, silence, tone of voice in spoken language, volume of sound
emphasis, accent)- sound signals information
o Spatial- physical arrangement (layout, organization, proximity between people and/or objects)
o Gestural- includes facial expressions, hand gestures, body language, interaction between people-
provides an important way of making or understanding meaning, responses, and relationships
• Medium/Media- the specific expression of communication within a given mode (water color would be a
medium in the mode of visual expression)
• Affordances- the strengths and weakness of individual modes or media in a given rhetorical situation
One way to think about the different modes of communication is as a set of tools. You may not use all of them in a
single project because each mode has its own affordances and constraints (strengths and weaknesses)- just like a
wrench is probably more useful for fixing a faucet than a hammer. Sometimes, though, ...
The document discusses several talks and films related to design. It summarizes key points about design thinking, including that design is a system influenced by purpose and intentions. Activity theory frames human activity via social interaction. Design goes beyond aesthetics to consider functionality from various perspectives. A good design solves problems effectively. Typography and choice of fonts convey tone and meaning. Land artist Andy Goldsworthy creates temporary or permanent art forms using natural elements that transform over time.
The document discusses the challenges of translating mental models into virtual models. It outlines two main problems: 1) A mental model originator may have gaps or biases that prevent a clear shared understanding, and 2) Getting different individuals and disciplines on the same page due to varying communication styles and perspectives. The document proposes that finding consensus on requirements and representing the model through techniques like storyboarding can help address these problems, though developing a shared virtual representation of a mental model is a "wicked problem" with no definitive solution due to many complex variables.
Analysis on techniques used to recognize and identifying the Human emotions IJECEIAES
Facial expression is a major area for non-verbal language in day to day life communication. As the statistical analysis shows only 7 percent of the message in communication was covered in verbal communication while 55 percent transmitted by facial expression. Emotional expression has been a research subject of physiology since Darwin’s work on emotional expression in the 19th century. According to Psychological theory the classification of human emotion is classified majorly into six emotions: happiness, fear, anger, surprise, disgust, and sadness. Facial expressions which involve the emotions and the nature of speech play a foremost role in expressing these emotions. Thereafter, researchers developed a system based on Anatomic of face named Facial Action Coding System (FACS) in 1970. Ever since the development of FACS there is a rapid progress in the domain of emotion recognition. This work is intended to give a thorough comparative analysis of the various techniques and methods that were applied to recognize and identify human emotions. This analysis results will help to identify proper and suitable techniques, algorithms and the methodologies for future research directions. In this paper extensive analysis on various recognition techniques used to identify the complexity in recognizing the facial expression is presented.
Handout for "Proven Presentation Techniques", an InfoComm approved workshop b...Thomas Zangerle
This workshop will show you how you can transform your ideas into convincing interactive presentations. The most important elements of successful presentations, training sessions and meetings are straightforward to name, but not always quite so easy to implement. It's essential for the presenter to capture and maintain the attention of the audience, to present effectively, create interest, encourage excitement and to captivate the participants. In this training session we will explore how you can increase understanding and retention in a presentation. You will receive background information based on scientific research, about improving communication techniques and about the workings of the brain. You will also see examples of best practices, effective communication, and presentation designs, all of which contribute to the creation of long-lasting impressions.
Narrative and essay planning for section 1bhasnmedia
This document provides guidance on how to structure a response analyzing one of the student's coursework productions in relation to the concept of narrative. It recommends including an introductory paragraph stating which production will be discussed and how it relates to narrative conventions. The main body should have 4-5 paragraphs analyzing how the production conformed to and challenged narrative concepts, referring to specific examples and media theorists. The conclusion paragraph should summarize how influential narrative was in planning and producing the piece.
The document provides guidance for answering exam questions on media studies. It discusses potential topics that could be covered, including digital technology, creativity, research and planning, and post-production. It also provides examples of questions and suggests how to structure answers. Theorists that could be referenced are mentioned, such as Barthes, Levi-Strauss, and Propp. Examiners' reports are included that address what makes a successful response, such as relating digital technologies used to the development process and final product, including a range of examples, and comparing AS and A2 work.
Facial Expression Recognition System: A Digital Printing Applicationijceronline
International Journal of Computational Engineering Research (IJCER) is dedicated to protecting personal information and will make every reasonable effort to handle collected information appropriately. All information collected, as well as related requests, will be handled as carefully and efficiently as possible in accordance with IJCER standards for integrity and objectivity.
Facial Expression Recognition System: A Digital Printing Applicationijceronline
International Journal of Computational Engineering Research (IJCER) is dedicated to protecting personal information and will make every reasonable effort to handle collected information appropriately. All information collected, as well as related requests, will be handled as carefully and efficiently as possible in accordance with IJCER standards for integrity and objectivity.
The document discusses automatic recognition of emotions in speech. It describes technical steps for affect annotation and automatic emotion recognition using software. Emotions are conveyed through speech as well as other modalities like facial expressions and gestures. Raw data from recordings first needs to be transcribed and annotated to tag emotional content before automatic recognition can analyze the data.
Handout for "Getting the message across" a presentation by Thomas Zangerle/Wo...Thomas Zangerle
This document provides tips for creating effective presentations. It discusses focusing on significance for the audience, structuring the presentation simply with 3-4 key points, and avoiding overloading slides with text. The document emphasizes using visuals like images and charts to aid recall. It also stresses rehearsing and practicing the presentation to feel confident presenting and engaging the audience with stories and interaction.
Digital Media Project Presentation by student Tswelelo Keteng about developing an emotion detection system using audio and visual inputs. The project aims to make people aware of how speech conveys emotions and influences communication. It will analyze speech parameters like pitch, tone, tempo and facial expressions to detect basic emotions like happiness, sadness, anger, fear, surprise and disgust. Keteng will represent the different emotions detected with abstract shapes and colors in the installation. The conceptual diagrams and functional specification sheet provide more details on how the emotion detection system will work.
Howard Gardner's Multiple IntelligencesMavict Obar
Howard Gardner introduced the theory of multiple intelligences which identified 8-9 different types of intelligences that people possess. The document discusses each of these intelligences and provides teaching strategies to engage each type of intelligence. It also includes a multiple intelligence survey for participants to determine their dominant intelligence by scoring highest in specific sections that correspond to the different intelligences.
1) Affective computing aims to expand human emotional intelligence to machines by creating socially intelligent machines that can respond appropriately according to the situation and interlocutor.
2) There are two main approaches to modeling emotions in affective computing: discrete theories that identify basic emotions like Ekman's six emotions, and continuous theories that describe emotions along dimensions of arousal and valence.
3) Empath's goal is to recognize emotions from speech regardless of language, which presents challenges of combining speech processing with emotion recognition from voice cues alone. Empath is developing methods to extract pitch, intensity, and speech rate from voice samples to train models to classify emotions.
Use Your Words: Content Strategy to Influence BehaviorLiz Danzico
What if we were truly open to the language in our cities, our neighborhoods, our city blocks? What is our environment telling us to do?
In this workshop, we’ll let the language of the city guide us to explore how words, specifically the words of our immediate contexts, shape our behavior. By being open to the possibilities, we’ll explore how language influences both the micro and macro actions we take. We’ll go on expeditions in the morning—studying street signs to doorways to receipts—comparing patterns in the language maps we’ll construct. In the afternoon, we’ll look at what these patterns suggest for the products and services we design.
You’ll walk away having learned how words influence behavior, how products and services have used language for behavior change, and having tools for thinking about language and behavior change in the work you do.
Spend the day letting words use you, so you can go back to work to use them with renewed wisdom.
Module seven presenting social science concepts and researchjack60216
This document discusses art therapy and presentation scripts. It describes art therapy as a mental health profession that uses visual art, dance, and music to address health issues and improve well-being. Research has shown positive outcomes for art therapy patients, including improved mood and behavior. The document also discusses guidelines for creating presentation scripts, noting they should be professional, polished, and directed at the intended audience. Scripts are generally necessary when content must be worded correctly, when multiple contributors are involved, or for standardized training presentations.
This document is Kees Overbeeke's inaugural lecture as a professor at Technische Universiteit Eindhoven on October 26, 2007. The lecture discusses Overbeeke's beliefs that have guided his research group, the Designing Quality in Interaction Group, in designing for human perceptual-motor, emotional, cognitive, and social skills. Some key projects from the group include interactive lamps that respond to touch. Overbeeke argues that meaning emerges from action and embodiment rather than rational thought alone. The goal of the department is to design intelligent systems, products, and services that adapt based on user needs. Overbeeke's research group sits at the intersection of professional design practice and academic research.
David papini escape emotional intelligence trapsDavid Papini
What happens to emotional IQ in a daily practice to pursue freedom? Answer is in the way we use language and body.
In the session attendees will learn how to connect emotional intelligence theory with clean linguistic and cognitive practices. They will experiment simple techniques to leverage emotions in any goal-oriented setting, be it their work, their teamwork or their relationships. They will learn also to convert very common misconceptions about emotions in powerful, mindset changing and practical behaviors. The tools that we’ll use in the session are language and body. We will learn that language can be effective or not in emotional intelligence, depending on how we use it (and we’ll see the four main uses of language) and also that speech and body are not alternative means of getting things done and goals achieved.
The document discusses sensemaking as the process of understanding ambiguous situations and establishing situational awareness to make decisions. It defines sensemaking from both textbook and expert perspectives. It then discusses different contexts where sensemaking occurs, including at the individual, organizational, and societal levels. Finally, it outlines different models and methodologies for studying sensemaking, emphasizing the need to understand complex problems and situations before designing interventions.
Slides from Beth E. Koch's presentation, "Perception of Typefaces: A Quantitative Visual Methodology" at SOTA's TypeCon, Milwaukee, Wisconsin, USA, August 5, 2012
Ten minute presentation that attempts to distill a handful of IxD14 talks down into 30 second snippets then questions what it means when people say design is part art and part science. Special thanks to the legends: Bernard Lahousse, Christina Wodtke, Klaus Krippendorff, Stephanie Akkaoui Hughes, Giles Colborne, Dan Rosenberg, Irene Au, Peter Bil’ak, Antonio de Pasquale, Jason Mesut and Dave Malouf.
The document discusses how humanity's biological and cultural traits that were previously useful for survival are now counterproductive in today's world. It proposes a meta-design process that utilizes diversity among cultures, individuals, ages, and subcultures to create possibilities beyond current limitations. This would allow designers to avoid perpetuating problematic biases and instead generate more inclusive solutions. The document provides an example of a socio-technical pattern called "Voices of the Unheard" to help ensure all relevant stakeholder perspectives are considered in decision making.
How To Write An Art Critique Essay. how to write an art analysis essayJennifer Castro
sample of art criticism essay. How to write a critique essay on art - The Best Way to Write a Critique .... Sample Of Art Criticism Essay — Navigation. How to write an art critique paper - report865.web.fc2.com. New Art Critique Essay Examples Latest - Essay. 005 Essay Example Art Essays Examples Critique Ana Institute Sample ....
Narrative and essay planning for section 1bhasnmedia
This document provides guidance on how to structure a response analyzing one of the student's coursework productions in relation to the concept of narrative. It recommends including an introductory paragraph stating which production will be discussed and how it relates to narrative conventions. The main body should have 4-5 paragraphs analyzing how the production conformed to and challenged narrative concepts, referring to specific examples and media theorists. The conclusion paragraph should summarize how influential narrative was in planning and producing the piece.
The document provides guidance for answering exam questions on media studies. It discusses potential topics that could be covered, including digital technology, creativity, research and planning, and post-production. It also provides examples of questions and suggests how to structure answers. Theorists that could be referenced are mentioned, such as Barthes, Levi-Strauss, and Propp. Examiners' reports are included that address what makes a successful response, such as relating digital technologies used to the development process and final product, including a range of examples, and comparing AS and A2 work.
Facial Expression Recognition System: A Digital Printing Applicationijceronline
International Journal of Computational Engineering Research (IJCER) is dedicated to protecting personal information and will make every reasonable effort to handle collected information appropriately. All information collected, as well as related requests, will be handled as carefully and efficiently as possible in accordance with IJCER standards for integrity and objectivity.
Facial Expression Recognition System: A Digital Printing Applicationijceronline
International Journal of Computational Engineering Research (IJCER) is dedicated to protecting personal information and will make every reasonable effort to handle collected information appropriately. All information collected, as well as related requests, will be handled as carefully and efficiently as possible in accordance with IJCER standards for integrity and objectivity.
The document discusses automatic recognition of emotions in speech. It describes technical steps for affect annotation and automatic emotion recognition using software. Emotions are conveyed through speech as well as other modalities like facial expressions and gestures. Raw data from recordings first needs to be transcribed and annotated to tag emotional content before automatic recognition can analyze the data.
Handout for "Getting the message across" a presentation by Thomas Zangerle/Wo...Thomas Zangerle
This document provides tips for creating effective presentations. It discusses focusing on significance for the audience, structuring the presentation simply with 3-4 key points, and avoiding overloading slides with text. The document emphasizes using visuals like images and charts to aid recall. It also stresses rehearsing and practicing the presentation to feel confident presenting and engaging the audience with stories and interaction.
Digital Media Project Presentation by student Tswelelo Keteng about developing an emotion detection system using audio and visual inputs. The project aims to make people aware of how speech conveys emotions and influences communication. It will analyze speech parameters like pitch, tone, tempo and facial expressions to detect basic emotions like happiness, sadness, anger, fear, surprise and disgust. Keteng will represent the different emotions detected with abstract shapes and colors in the installation. The conceptual diagrams and functional specification sheet provide more details on how the emotion detection system will work.
Howard Gardner's Multiple IntelligencesMavict Obar
Howard Gardner introduced the theory of multiple intelligences which identified 8-9 different types of intelligences that people possess. The document discusses each of these intelligences and provides teaching strategies to engage each type of intelligence. It also includes a multiple intelligence survey for participants to determine their dominant intelligence by scoring highest in specific sections that correspond to the different intelligences.
1) Affective computing aims to expand human emotional intelligence to machines by creating socially intelligent machines that can respond appropriately according to the situation and interlocutor.
2) There are two main approaches to modeling emotions in affective computing: discrete theories that identify basic emotions like Ekman's six emotions, and continuous theories that describe emotions along dimensions of arousal and valence.
3) Empath's goal is to recognize emotions from speech regardless of language, which presents challenges of combining speech processing with emotion recognition from voice cues alone. Empath is developing methods to extract pitch, intensity, and speech rate from voice samples to train models to classify emotions.
Use Your Words: Content Strategy to Influence BehaviorLiz Danzico
What if we were truly open to the language in our cities, our neighborhoods, our city blocks? What is our environment telling us to do?
In this workshop, we’ll let the language of the city guide us to explore how words, specifically the words of our immediate contexts, shape our behavior. By being open to the possibilities, we’ll explore how language influences both the micro and macro actions we take. We’ll go on expeditions in the morning—studying street signs to doorways to receipts—comparing patterns in the language maps we’ll construct. In the afternoon, we’ll look at what these patterns suggest for the products and services we design.
You’ll walk away having learned how words influence behavior, how products and services have used language for behavior change, and having tools for thinking about language and behavior change in the work you do.
Spend the day letting words use you, so you can go back to work to use them with renewed wisdom.
Module seven presenting social science concepts and researchjack60216
This document discusses art therapy and presentation scripts. It describes art therapy as a mental health profession that uses visual art, dance, and music to address health issues and improve well-being. Research has shown positive outcomes for art therapy patients, including improved mood and behavior. The document also discusses guidelines for creating presentation scripts, noting they should be professional, polished, and directed at the intended audience. Scripts are generally necessary when content must be worded correctly, when multiple contributors are involved, or for standardized training presentations.
This document is Kees Overbeeke's inaugural lecture as a professor at Technische Universiteit Eindhoven on October 26, 2007. The lecture discusses Overbeeke's beliefs that have guided his research group, the Designing Quality in Interaction Group, in designing for human perceptual-motor, emotional, cognitive, and social skills. Some key projects from the group include interactive lamps that respond to touch. Overbeeke argues that meaning emerges from action and embodiment rather than rational thought alone. The goal of the department is to design intelligent systems, products, and services that adapt based on user needs. Overbeeke's research group sits at the intersection of professional design practice and academic research.
David papini escape emotional intelligence trapsDavid Papini
What happens to emotional IQ in a daily practice to pursue freedom? Answer is in the way we use language and body.
In the session attendees will learn how to connect emotional intelligence theory with clean linguistic and cognitive practices. They will experiment simple techniques to leverage emotions in any goal-oriented setting, be it their work, their teamwork or their relationships. They will learn also to convert very common misconceptions about emotions in powerful, mindset changing and practical behaviors. The tools that we’ll use in the session are language and body. We will learn that language can be effective or not in emotional intelligence, depending on how we use it (and we’ll see the four main uses of language) and also that speech and body are not alternative means of getting things done and goals achieved.
The document discusses sensemaking as the process of understanding ambiguous situations and establishing situational awareness to make decisions. It defines sensemaking from both textbook and expert perspectives. It then discusses different contexts where sensemaking occurs, including at the individual, organizational, and societal levels. Finally, it outlines different models and methodologies for studying sensemaking, emphasizing the need to understand complex problems and situations before designing interventions.
Slides from Beth E. Koch's presentation, "Perception of Typefaces: A Quantitative Visual Methodology" at SOTA's TypeCon, Milwaukee, Wisconsin, USA, August 5, 2012
Ten minute presentation that attempts to distill a handful of IxD14 talks down into 30 second snippets then questions what it means when people say design is part art and part science. Special thanks to the legends: Bernard Lahousse, Christina Wodtke, Klaus Krippendorff, Stephanie Akkaoui Hughes, Giles Colborne, Dan Rosenberg, Irene Au, Peter Bil’ak, Antonio de Pasquale, Jason Mesut and Dave Malouf.
The document discusses how humanity's biological and cultural traits that were previously useful for survival are now counterproductive in today's world. It proposes a meta-design process that utilizes diversity among cultures, individuals, ages, and subcultures to create possibilities beyond current limitations. This would allow designers to avoid perpetuating problematic biases and instead generate more inclusive solutions. The document provides an example of a socio-technical pattern called "Voices of the Unheard" to help ensure all relevant stakeholder perspectives are considered in decision making.
How To Write An Art Critique Essay. how to write an art analysis essayJennifer Castro
sample of art criticism essay. How to write a critique essay on art - The Best Way to Write a Critique .... Sample Of Art Criticism Essay — Navigation. How to write an art critique paper - report865.web.fc2.com. New Art Critique Essay Examples Latest - Essay. 005 Essay Example Art Essays Examples Critique Ana Institute Sample ....
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Manual ISH (International Society of Hypertension)
Designingemotions-Desmet-n¿Norman.pdf
1. T
he grimace of dislike, the body language of excitement – these are universal, readily elicited and
understood across the world. Such is the universal nature of our basic emotions, something that
has been known since Darwin’s masterful study of The Expression of Emotion in Animals and Man
(Darwin, 1872).
D E S I G N I N G E M O T I O N S
P I E T E R D E S M E T
◊
R E V I E W E D B Y : D O N A L D A . N O R M A N
P A G E 6 0
T H E D E S I G N J O U R N A L , V O L U M E 6 , I S S U E 2
The emotional power of products has never been doubted.
Emotions play a major role in marketing and advertising.
Skilled designers understand the powerful appeal of
emotions and have used their intuitions and artistic skills to
exploit this appeal. But despite the strong intuitive appeal,
emotions have played little formal role in the design
profession. Moreover, within engineering and the disciplines
of human-computer interaction and cognitive ergonomics,
emotions are seldom mentioned. Considerable progress
has been made in recent years, and we are beginning to
converge upon some generally accepted standards, such as
the facial coding scheme of Ekman, Frijda’s classifications,
and the widely used Ortony, Clore and Collins (OCC)
model for the cognitive analysis of emotions (Ekman and
Rosenberg, 1997; Frijda, 1986; Lewis and Haviland-Jones,
2000; Ortony, Clore and Collins, 1988). Within the design
discipline, new books on Funology and Pleasure (Blythe,
Overbeeke, Monk and Wright, 2003; Jordan, 2000) the
formation of the emotion and design society and, of
course, this journal, all promise to change this.
Pieter Desmet has taken a powerful move forward
with his thesis, Designing Emotions (Desmet, 2002). First,
he devises a clever, non-verbal measurement tool. Second
he uses the tool to study the emotions elicited by different
products on different people across languages and cultures.
And finally, he discusses how the tool can be used both
to assess the emotional impact of products and also as
a design tool to ensure that new products meet the
desired requirements.
The tool itself is worthy of considerable discussion.
This is a very important contribution. Practical tools for the
design community are especially problematical. One of the
most popular assessment tools is the Semantic Differential
(see for example Hofmeester, Kemp and Blankendaal, 1996).
This is a verbal tool, developed by the psychologist Charles
Osgood as a means of assessing language. It uses printed
questions and language terms that require the participant
to read and then mark the appropriate choice. It is,
however, language and culture specific. Other tools such
as physiological recording methods are fine for scientific
research, but are cumbersome for use during design or
product evaluation. So even as our understanding of
emotion has progressed, measurement tools have
lagged behind.
This is the state of the art faced by Pieter Desmet in
his work Designing Emotions (Desmet, 2002). Here, Desmet
provides a thorough overview of the science and practice of
emotions, of the existing tools and best of all, a new tool,
one that does not require language and that he has already
validated across a number of language groups and cultures
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2. (the Netherlands, Japan, Finland and the USA). The
challenges are enormous, for he is working in a design
arena that is still poorly defined and understood.
Desmet’s solution is particularly clever. Basically,
he built upon the vast body of research that indicates
that facial expression and body language were universal.
This observation alone, however, doesn’t suffice, as the
numerous attempts to use photographs and drawings of
facial expressions have shown. Rather, Desmet uses
animations, cartoon diagrams of emotional expression
combining face, hands and body, and sound in short, one-
second, movies. Each animation conveyed one dimension
to be measured. After considerable study and numerous
iterations, Desmet settled upon fourteen animations, seven
expressing positive feelings and seven negative, for his
tool, called ‘PrEmo’, for Product Emotions (alas, a name
as difficult to type as it is to remember). The way it
works is that each participant evaluates the product, then
systematically clicks on all fourteen animations, and after
viewing each, assigning it a value on a three-point rating
scale: ‘I do feel the emotion expressed by this animation’;
‘To some extent I feel the emotion expressed by this
emotion’; or ‘I do not feel the emotion expressed by
this animation’.
Here are the 14 items Desmet settled upon. Unpleasant:
Indignation, Contempt, Disgust, Unpleasant surprise,
Dissatisfaction, Disappointment, Boredom. Pleasant: Desire,
Pleasant surprise, Inspiration, Amusement, Admiration,
Satisfaction, Fascination. Although 14 ratings sounds like
a lot, in my informal tests I found the tool remarkably easy
to use, in part because each animation so naturally depicts
the emotional dimension, in part because the use of a three-
point scale dramatically simplifies the judgment. As a
result, all fourteen ratings can be done in approximately
one minute.
Even if Desmet had only developed this animated rating
procedure, the accomplishment would have been impressive,
but the work does not stop there. Rather, he validated
the tool by studies in the Netherlands, Finland, Japan and
the United states, and also did a more detailed study of
automobiles in both the Netherlands and Japan. Finally,
Desmet also developed a methodology for aiding designers
in reaching a desired product.
Using emotions is tricky. As Desmet points out, ‘there is
no one-to-one relationship between the design of a product
and the emotion it elicits. An emotion is not elicited by a
product as such, but by the appraised significance of this
product for our concerns’ (p124: underline in the original).
The basic fact is well-known, for many products induce
strong, but contradictory emotions in different people –
some loving it, some intensely disliking it. This means
that different products will satisfy different classes of
people, or different setting and usages. A colourfully
decorated lunch pail would work just as well for children
as for distinguished business executives, but the executives
might very well judge the pail to be emotionally pleasing
and fun for the children while simultaneously viewing it
with contempt for themselves. Here, the same product
receives different emotional assessment even by the same
person when the intended role of the product is changed.
The work is still in its early stages. Although it holds
great promise, it still needs refinement and standardization,
both of which will require adoption by a greater number of
users. Moreover, some new theories of emotion are emerging
that cut across the particular emotions measured by PrEmo,
and if these theories stand the test of time, they would
imply some revisions to the measurement tool. In particular,
in my own work, I have identified three different levels –
visceral, behavioural, and reflective – each of which has
a different impact upon product design and reception, but
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3. which are somewhat confounded in Desmet’s tool (Norman,
2004; Ortony, Norman and Revelle, In progress). But these
are problems anticipated in the thesis and for which
eventual solutions can be found.
A more serious problem for applied work is the time and
effort required to collect and analyse the fourteen ratings.
Even though each animation and rating is short and simple,
the logistics of doing the tests on large numbers of people
are a bit daunting. And fourteen dimensions is a bit much,
perhaps necessary for the theory, but when I put my
designer’s hat on too much data can be as confusing
as not enough.
But this work is a breakthrough. The use of short
animations is insightful, for the motion, the use of cartoons,
the depiction of the entire body, and the incorporation of
sound makes these powerful descriptions of the depicted
state. This can be a powerful tool for the future.
No measurement tool can solve the problem of
demographic and role differentiation: tools are necessary
part of the designer’s armament, but in the end, the
challenge of meeting behavioural and emotional needs will
still be a challenge. But challenges are welcome: that is one
of the reasons the world of product design can be so rich
and rewarding. But as our tools get better, so too will our
results improve. Desmet’s work has set the stage for future
enhancements in our ability to understand and enhance the
emotional appeal of products.
R E F E R E N C E S
Blythe, M. A., Overbeeke, K., Monk, A. F. & Wright, P. C. (2003).
Funology: From Usability to Enjoyment. Boston: Kluwer
Academic Publishers.
Darwin, C. (1872). The Expression of the Emotions in Man and
Animals. London: J. Murray.
Desmet, P. M. A. (2002). Designing Emotions. Delft: Delft University
of Technology. http://www.designingemotion.nl/;
http://studiolab.io.tudelft.nl/desmet/stories/storyReader$29
Ekman, P. & Rosenberg, E. L. (Eds.). (1997). What the Face Reveals:
Basic and Applied Studies of Spontaneous Expression using the Facial
Action Coding System (FACS). New York: Oxford University Press.
Frijda, N. H. (1986). The Emotions. Cambridge: Cambridge
University Press.
Hofmeester, G. H., Kemp, J. A. M. & Blankendaal, A. C. M. (1996).
‘Sensuality in Product Design: a Structured Approach’. Proceedings
of the CHI 1996 Conference in Computer-Human Interaction,
Vancouver, BC. New York: ACM Press, http://www.acm.org
Jordan, P. W. (2000). Designing Pleasurable Products: An
Introduction to the New Human Factors. London: Taylor & Francis.
Lewis, M. & Haviland-Jones, J. M. (2000) (Eds.). Handbook of
Emotions (2nd Ed.). New York: Guilford Press.
Norman, D. A. (2004). Emotional Design: Why We Love or Hate
Everyday Things. New York: Basic Books.
Ortony, A., Clore, G. L. & Collins, A. (1988). The Cognitive Structure
of Emotions. Cambridge: Cambridge University Press.
Ortony, A., Norman, D. A. & Revelle, W. (In progress). ‘Effective
Functioning: A Three Level Model of Affect, Behavior, and Cognition’.
In J.-M. Fellous & M. A. Arbib (Eds.), Who Needs Emotions? The
Brain Meets the Machine. New York: Oxford University Press.
B I O G R A P H Y
Donald A. Norman is co-founder of the Nielsen Norman Group,
an executive consulting firm, Professor of Computer Science and
Psychology at Northwestern University, and former vice president of
Apple Computer. He is the author of numerous books including The
Design of Everyday Things and The Invisible Computer. His latest
book, Emotional Design, will be published in January, 2004. He
lives at www.jnd.org.
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