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In the light of Cultural Computing, this study influences user affect and behaviour by touching upon core values of Western culture. We created an augmented reality environment in which users experience a predefined sequence of emotional states and events. This study concerns two typically Western drives: boredom and curiosity. We specifically addr...
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... Son olarak da duygusal deneyim, ürünün kullanıcı üzerinde, kullanım sırasında yarattığı hisler ve duygulardır (Desmet & Hekkert, 2007). Yapılan bir araştırmaya göre ürünlerin 12 duyguyu uyandırdığı görülmüştür (Desmet, 2003) ancak bu çalışmadan sonra duygusal ürün deneyimi konusu pek çok araştırmanın odak noktası olmuş ve araştırmacılar, genel ürün deneyiminin yanı sıra (Demir, Desmet, & Hekkert, 2008), sıkılma (Aart, Salem, Bartneck, Hu, & Rauterberg, 2006) ve eğlence (Cila & Erbug, 2008) gibi daha özelleşmiş duyguları da incelemiştir. ...
Teknolojik ürün, Kullanıcı deneyim modeli Tasarım, insanlar ve teknoloji arasında bağlayıcı göreve sahiptir. Her teknolojik gelişme, yeni ve özgün bir deneyim yaratır; bu da insanların bir teknolojiyi nasıl deneyimlediği ve gerçek ihtiyaçlarının ne olduğunu anlamayı gerektirir. Bu bağlamda, kullanıcı odaklı metotlar, insanların bir teknolojiyi nasıl kullanmak istediği ve neye ihtiyaç duyduğuna ulaşmaya sağlar. Son yıllarda, deneyim ve etkileşimin, her kullanımda farklılaştığı üzerine tartışmalar yoğunlaşmıştır. Bu durum da, deneyimin nesnel ve kişiye özel olduğunun önemini ortaya koymaktadır. Her kullanıcının deneyimi, o kişinin becerileri, motivasyonları ve beklentileri farklı olduğu için, diğer kullanıcılardan farklıdır. Belirli bir teknoloji, bir kullanıcıda olumlu deneyim yaratabilirken, başka bir kullanıcı için olumsuz bir deneyime neden olabilir. Kullanıcı deneyimi yazınında de, insanların belirli bir sistemi, ürünü ya da teknolojiyi nasıl deneyimlediğine dair çeşitli bakış açıları mevcuttur. Bu bakış açılarının özümsenmesi, tasarımcıların kullanıcıyı tanıyarak tasarım yapmasına yol gösterici olarak kullanılabilir. Kullanıcı deneyimi, kullanıcı-ürün etkileşimine bütünsel bir perspektif getirmektedir. Her ne kadar farklı tanımlamalar yapılsa da, yazında kullanıcı deneyiminin boyutlarını tanımlamak için ortak bir anlayış görülmektedir. Sonuç olarak bu bildiri, teknolojik ürünlerde kullanıcı deneyimini araştıran modelleri inceleyerek, teknolojik ürünlerin kullanıcı deneyimi üzerine daha bütünsel bir model ortaya koymayı hedeflemektedir. Abstract User Experience, Product Experience, Technological Products, User experience model Design can serve as the connector between people and technology. Each technological development creates new and unique experience. In relation, user centered methods can be utilized for understanding the way people wish to use and interact with technological products. It is recently argued that experience of and interaction with certain products or systems is different each time. One important point in experience is that it is subjective, private and personal. Experience of each person is different from one another, as abilities, motivations and expectations of each person can be different. While a specific technology can cause positive experience for one person, it can cause negative results for another. There are several frameworks in UX literature focusing on experience of users with systems, products or specific kind technologies. Refining and redesigning these frameworks is required to help the designers to get the most benefit from the HCI and design literature. User experience brings a holistic perspective on user-product interactions. Even though various definitions are made, a common ground is observed in defining the dimensions of experience. As a result, the aim of this paper is to explore the models that explain the user experience of technological products and put forward a holistic picture of user experience of technological products. * İlgili yazar: a.kuru@etu.edu.tr
... Aart et al. (2008) : .. a state in which one's interest is heightened, leading to exploration; a vital motivation in learning and knowledge gathering.Rowson (2012) : .. a focused or exploratory inquisitiveness that motivates us to connect what we don't know to what we do know. ...
By Caplin and Leahy (1997), suspense is defined as a pleasure felt immediately prior to early resolution of uncertainty, and the assumption is that it is positively correlated (to a certain extent) with the amount of issues about the outcome of an event. In marketing, suspense is defined as an anticipatory global excitement associated with hope, fear and uncertainty which are felt and evaluated by a consumer according to probability of occurrence of a significant and imminent consumption or event (Moulard, Kroff and Folse 2012).
In this context, experiential marketing incorporates some emotions to create a hedonic connection with consumers. Emotions have a crucial role in modern and post-modern marketing. This role is not big enough in itself to determine the purchase of a product/service, but it is essential to question and to understand how consumers produce emotions during consumption.
Nevertheless, suspense is not only used to build an emotional state. In theory, first of all, a stimulus needs to be aroused by four drivers which are uncertainty, novelty, complexity and conflict. These drivers have been identified as key variables of an object or an event to create an effect of curiosity (Berlyne 1960). In parallel, hope and fear are defined as well as the antecedents of suspense with uncertainty (Madrigal and Bee 2005; Moulard, Kroff and Folse 2012). The strong link between suspense and uncertainty leads this research to discuss about specific curiosity. Specific curiosity is a type of curiosity which is based on two important drivers : Complexity and Uncertainty.
Briefly, this research consists of four models and a theory to explain the role of suspense and specific curiosity, accompanied by their antecedents, through the experiences of hedonic consumption.
... We argue here that a possible explanation for emotional reactions to negative advertisement may be related to what citizens expect: if the content of the campaign in terms of negativity is as expected (i.e., a negative status quo campaign), citizens may feel bored; in such a situation, positive emotions (such as enthusiasm) are less likely, and the balance favours negative emotions (such as aversion). Literature on general psychology clearly shows that the absence of surprise and the presence of predictable signals and monotony have a positive effect on boredom (e.g., Van Aart et al. 2008;Berlyne 1960); furthermore, boredom is clearly associated with lack of interest (Farmer & Sundberg 1986) and with negative emotions such as anxiety (Vodanovich et al. 1991) or aversion (Bem 2005). ...
... For this reason, citizens may feel bored when status quo campaigns are highly negative; in such a situation, positive emotions (such as enthusiasm) are less likely, and the balance favours negative emotions (such as aversion). Psychological literature clearly shows the link between the absence of surprise (or monotony) and boredom (Van Aart et al. 2008;Berlyne 1960) as well as the link between boredom and negative emotions (Farmer & Sundberg 1986;Vodanovich et al. 1991;Bem 2005). Negative emotions diminish, in turn, the likelihood for civic engagement. ...
Using individual data on Swiss federal ballots (VOX data) and an original dataset on the evolution and content of political campaigns, this article elucidates how negative campaigning influences individual turnout during Swiss federal ballots. It hypothesises that the effect of negativism on turnout depends on ‘which camp goes dirty’ and, specifically, on the direction of the political campaign (‘status quo’ versus ‘policy change’ campaigns). A series of multilevel models provide strong support for the hypotheses, by showing that high negativism in ‘status quo campaigns’ decreases individual turnout, whereas high negativism for ‘policy change campaigns’ increases it. It is argued here that this could depend on the emotional responses triggered by negativism in political campaigns.
Emotions are conceptualized and framed as a separate entity in human’s cognitive architecture. In this paper I present the
different idea that emotions are the form in which the result from a high dimensional optimization process happening in the
unconscious is communicated to the low dimensional conscious. Instead of framing emotions as a separate sub component of our
cognitive system, I argue for emotions as the main characteristic of the communication between the unconscious and the conscious.
Based on this holistic view I recommend a different design and architecture for entertainment robots and other entertainment
products with ‘emotional’ behavior. Intuition is the powerful information processing function of the unconscious while emotion
is the result of this process communicated to the conscious. Emotions are the perception of the mapping from the high dimensional
problem solving space of the unconscious to the low dimensional space of the conscious.
Keywordsemotion-intuition-unconscious-conscious-mapping
This paper presents a new direction of research in user experiences and cognitive science. The problem addressed is drawing
on results from different disciplines: psychology, brain and cognitive sciences, physics, and interaction design. As main
objective we plan the empirical validation of the claim: Cultural computing as enabling technology for social transformations.
Cultural computing is based on a form of cultural translation that uses scientific methods to capture and represent essential
aspects of a particular culture. Cultural computing will enable particular cognitive and emotional responses from users as
reflections on and of their inner, subliminal consciousness. Cultural computing is not only integrating cultural aspects into
the interaction but also allowing the user to experience an interaction that is closely related to the core aspects of his/her
own culture. As such it is important to understand one’s cultural determinants and how to render them during the interaction.
We will address individually and collectively the cultural determinants of the Western culture. Based on the given narrative
‘Alice Adventures in Wonderland’ we have already built the first demo version and plan to build an optimized version of a
mixed reality installation to provide and investigate cultural user experiences. To address the research questions we propose
three main research lines: (1) designing a mixed reality environment to provide certain unconscious user experiences; (2)
inducing and measuring the changes in the individual’s unconscious knowledge structure; and (3) empirical validation of a
fundamentally new synchronization mechanism for sharing individual changes collectively. We hypothesize that there eventually
exists an interconnecting knowledge field at the foundation of reality that conserves and conveys information collectively.
This knowledge field looks like a possible candidate for a required ‘supra-natural’ memory for cultural knowledge to tap into
for social transformations.
