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An Experience-Centered Design approach to learning in Museums through Emotional experiences, and
Thematic Digital Navigation for mobile technologies(working title)
Chloe Walker96090131M. DesignCandidature AssessmentUTS
.
1. The Museum 1.1. The Dialogical Museum 1.2. Museums & Learning 2. Emotion 2.1. Emotion as a meta-Experience 2.2. Emotion as a meta-Experience 2.3. Emotional Experiences motivate 2.3.1. Emotional Goals Motivate 2.3.2. Think Holistically 3. Flow - the Psychology of Optimal Experience
Model for Transformational Experience
4. Process-Led Research 4.1. Mapping the Field 4.2. Example: “Power” 4.3. Experience-centered Methodology
.
OUTLINE
1. The Museum
1.1. The dialogical Museum
Museum Audience Segments (Krachunya & Hastings 2002)
Visitors
Students
Teachers
Scholars
Museum staff
63% wished to search a collection.
Topology of Museum User Attitudes (Janet H. Murray 2000)
Interested Observer (Stroller)Prefers a networked structure which can be navigated by association
Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction
Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure
Topology of Museum User Attitudes (Janet H. Murray 2000)
Interested Observer (Stroller)Prefers a networked structure which can be navigated by association
Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction
Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure
Topology of Museum User Attitudes (Janet H. Murray 2000)
Interested Observer (Stroller)Prefers a networked structure which can be navigated by association
Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction
Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure
Topology of Museum User Attitudes (Janet H. Murray 2000)
Interested Observer (Stroller)Prefers a networked structure which can be navigated by association
Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction
Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure
A B
Topology of Museum User Attitudes (Janet H. Murray 2000)
Interested Observer (Stroller)Prefers a networked structure which can be navigated by association
Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction
Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure
Topology of Museum User Attitudes (Janet H. Murray 2000)
Interested Observer (Stroller)Prefers a networked structure which can be navigated by association
Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction
Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure
A
B
CD
Topology of Museum User Attitudes (Janet H. Murray 2000)
Interested Observer (Stroller)Prefers a networked structure which can be navigated by association
Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction
Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure
1.2. Museums & Learning
These Processes help construct meaning between the individual and the objects within Museums
Museum Learning Activities
Skills ApplicationAbility to perform actions
Information ExchangeFacts and constructs that can potentially be integrated into a context
Self ExpressionIncluding beliefs and creativity
Knowledge ConstructionIntegration of previous learning with new knowledge
Social InteractionCommunication, localization, orientation, mutual observation - reciprocal action in exchanging or challenging ideas
Traditionally the museum is differentiated in it’s relationships between the Visitor and the Object
but the boundaries are shifting between the real and the virtual
we AR in MoMA by Sander Veenhof & Mark Skwarek (Oct 2010)
Aesthetic Experience
An experience that occurs between a subject and an object is largely an Aesthetic experience
Processes of a Aesthetic Experience
Continuous Engagement/Sense making
Reflecting
Connecting
Interpreting
Anticipating
Recounting
Appropriating
...are never finite because they are in constant dialogue with the centers of value
{ {Diagram based on
Wright & McCarthy (2010) Experience-centered Design: Designers, Users, and Communities in Dialogue. Morgan and Claypool Publishers
A Dialogical Ontology for an Aesthetic Experience
Actions
Technology
Utterances
SettingSelf ObjectsOthers
Things
Centers of Value
Designed
with multiple perspectives and voices
and no experience is ever the same...
“uniqueness and irreducibility of experience” McCarthy & Wright (2004) Technology as Experience, Cambridge, USA, MIT Press
2. Emotion
2.1. Emotion
Self
Happyhttp://www.flickr.com/photos/ladymissmarquise/3758224705/sizes/l/in/photostream/
Angryhttp://www.flickr.com/photos/dave_apple/342355899/
Sadhttp://www.flickr.com/photos/petithiboux/88243577/sizes/l/in/photostream/
Relaxedhttp://publicphoto.org/view-image.php?u=http://publicphoto.org/pics/2010/02/man-relaxing-in-the-grass_8954-1024x766.jpg&i=1024%20x%20766&t=Man%20Relaxing-1024%20x%20766
Dissatisfiedhttp://www.flickr.com/photos/hoosadork/5257219177/sizes/l/in/photostream/
Valence + Arousal
Valence
Arousal
Unpleasant Pleasant
Deactivated
Activated
Alert
Excited
Elated
Happy
Contented
Serene
Relaxed
Calm
Tense
Nervous
Stressed
Upset
Sad
Depressed
Fatigued
Bored
Emotions
Valence
Arousal
Bio Mapping by Christian Nold 2006
measurement of felt arousal (low/high)
ArousalActivated
Key Table by Bill Gaver
measurement of felt valence (positive/negative)
ValenceUnpleasant
Valence + Arousal
Valence
Arousal
Unpleasant Pleasant
Deactivated
Activated
Negative AffectTense Body
Detail Oriented Thinking
Emotion & Cognition
Valence
Arousal
Positive Affect
Relaxed BodyOpen Creative thinking
SF Exploratorium - Paradiso & Pergatory by Waterworth, Waterworth, Riva 2001
Each room evoked a different emotional response
measurement of Felt Presence (day dreaming/anxiety)
Positive AffectCalm & Pleasant
Low level of presence
Neutral AffectInterested
mid level of presence
Negative AffectUnpleasant & Stressful
high level of presence
2.2. Emotion as a meta-experience.
Emotional meta-experience
“Emotional meta-experience is the construction of a coherent narrative, interpreting, packaging, and labeling the episode
—thereby integrating this episode with general knowledge”Russell, J, A, (2003) Core Effect and the Psychological construction of Emotion. Psychological review, 110, 145-172
Aaah...http://www.flickr.com/photos/hoosadork/5257219177/sizes/l/in/photostream/
AAAAAAHHHHH!!!!!!!!!!
Emotional meta-experience (Russell 2003)
low level experiences
felt arousal felt valence sensation of running sound of the bear etc...
{Emotional meta-experience (Russell 2003)
Emotion = fearmeta-experience
low level experiences
felt arousal felt valence sensation of running sound of the bear etc...
{Emotional meta-experience (Russell 2003)
Emotion = fearmeta-experience
running away from a bearmotivated action
low level experiences
felt arousal felt valence sensation of running sound of the bear etc...
Emotional meta-experience (Russell 2003)
low level experiences
felt arousal felt valence sensation of running smell of Bacon etc...
{Emotional meta-experience (Russell 2003)
Emotion = joymeta-experience
low level experiences
felt arousal felt valence sensation of running smell of Bacon etc...
{Emotional meta-experience (Russell 2003)
Emotion = joymeta-experience
running to breakfastmotivated action
low level experiences
felt arousal felt valence sensation of running smell of Bacon etc...
2.3. How can Emotion help Learning?
2.3.1. Emotional Goals Motivate
Intrinsic motivation is self-initiated. Extrinsic motivation comes after external pressure
Motivation
Intrinsic
Extrinsic
INDIVIDUALValues, Emotions, Feelings
SOCIAL
CONTEXT
CULTURAL
HISTORY
Top-ten psychological needs Sheldon, K. M. et al (2001)What is satisfying about satisfying events? Testing 10 candidate psychological needs. Journal of Personality & Social Psychology
be autonomous
be competent
be related
be self-actualization
be secure
be wealthy
be influential
be physically thriving
be self-esteemed
be pleasured
Why? be goals{
a 3 level hierarchy of goals. (Activity Theory) Relates the actor’s self to the world through activity. (Kaptelinin and Nardi 2006)
SelfWorld
Experience
Product
Emotion is closely linked to action and motivation
Why?be goals
What?do goals
How?motor goals
2.3.2. think holistically
4 threads of experience (McCarthy & Wright 2010 - based on Dewey 1938)
Holistic
Compositional
EmotionalSpatio-Temporal
Sensual
“Train” - Brenda Braithwaite 2010Teaches difficult subjects (e.g. The Holocaust) through Gameplay
“...its emotional power shifts from the epiphany of its ending to the individual gestures that construct its play session -- gestures (pushing, shaking, that must necessarily be enacted in order to reach that finale.” Ian Bogost
3. Flow
3.1. Flow: the Psychology of “Optimal experience” when we choose an experience for it’s own sake
The Flow State
Optimal Experience is a state of Deep Enjoyment
Attributes
Antecedents
Challenge/Skill Balance
A mid level of stress produces Optimal Performance
the narrative progression from Nervous, to Curious, to Excited to Pleasantly Surpised
Valence
Arousal
UnpleasantAverage
PleasantAverage
Neutral Boredom
Neutral Anxiety
Valence
Arousal
Processes of a Aesthetic Experience
Continuous Engagement/Sense making
Reflecting
Connecting
Interpreting
Anticipating
Recounting
Appropriating
Processes of a Aesthetic Experience
Continuous Engagement/Sense making
Reflecting
Connecting
Interpreting
Anticipating
Recounting
Appropriating
Excited
Surprised
Contented
Nervous
Sad
Alert
Model For Transformational Experience
Model based on Wright & McCarthy, Csikszentmihalyi, Waterworth and Schön.
Mostly Unconscious
Conscious (of here and now)
pre-reflection
flow state
Tac
it k
no
wle
dge
reflection
sense making
sharing and learning
Re
fle
ctio
n-i
n-a
ctio
nappropriation - reflective judgements to pre-identification
interpret, compare to find similarities with past experience
transformation (value shift)
{{
Model: Learning through Experience
Com
posi
tiona
l
Emot
iona
l
Spat
io-T
empo
ral
Sens
ual
Conscious of self in relation to the world
Unconscious
Holistic threads
Model based on Wright & McCarthy, Csikszentmihalyi, Waterworth and Schön.
Mostly Unconscious
Conscious (of here and now)
pre-reflection
flow state
Tac
it k
no
wle
dge
reflection
sense making
sharing and learning
Re
fle
ctio
n-i
n-a
ctio
nappropriation - reflective judgements to pre-identification
interpret, compare to find similarities with past experience
transformation (value shift)
{{
Model: Learning through Experience
Com
posi
tiona
l
Emot
iona
l
Spat
io-T
empo
ral
Sens
ual
Conscious of self in relation to the world
Unconscious
Holistic threads
Model based on Wright & McCarthy, Csikszentmihalyi, Waterworth and Schön.
Mostly Unconscious
Conscious (of here and now)
pre-reflection
flow state
Tac
it k
no
wle
dge
reflection
sense making
sharing and learning
Re
fle
ctio
n-i
n-a
ctio
nappropriation - reflective judgements to pre-identification
interpret, compare to find similarities with past experience
transformation (value shift)
{{
Model: Learning through Experience
Com
posi
tiona
l
Emot
iona
l
Spat
io-T
empo
ral
Sens
ual
Conscious of self in relation to the world
Unconscious
Holistic threads
lets take a break...
4. Process-led Research
4.1. Mapping the field
Reflection-in-action
4.2. Example.“Power”
Aesthetically Evocative Interface(Shake to select red, stroke to select blue, blow to select yellow, or simply press a color)
Compositional
Emotional
Spatio-Temporal
Sensual
reflection
interpret, compare to find similarities with past experience
{
“Power”“Harmony”
“the Mind”
Select a Theme
Aesthetically Evocative Interface(Shake to select red, stroke to select blue, blow to select yellow, or simply press a color)
Compositional
Emotional
Spatio-Temporal
Sensual
reflection
interpret, compare to find similarities with past experience
{
“Power”Select an element
Red journey selected
Compositional
Emotional
Spatio-Temporal
Sensual
reflection
interpret, compare to find similarities with past experience
{
Narrative - Scene 1
Compositional
Emotional
Spatio-Temporal
Sensual
reflection
interpret, compare to find similarities with past experience
{
sense making
appropriation - reflective judgements to pre-identification
{
I used to wonder why there we
compare with friends
Compositional
Emotional
Spatio-Temporal
Sensual
sharing and learning
follow the path
Compositional
Emotional
Spatio-Temporal
Sensual
reflection
interpret, compare to find similarities with past experience
{
suggested narrative path through art (maybe most popular, related content, personal preference)
sense making
appropriation - reflective judgements to pre-identification
{
Compositional
Emotional
Spatio-Temporal
Sensual
suggested narrative path through art (maybe most popular, related content, personal preference)
sense making
appropriation - reflective judgements to pre-identification
{
Compositional
Emotional
Spatio-Temporal
Sensual
Playing Audio (could be video, slideshow, music, quiz, survey)
Compositional
Emotional
Spatio-Temporal
Sensual
sharing and learning
Layers turned on
Compositional
Emotional
Spatio-Temporal
Sensual
sharing and learning
Music Selected (timer running out, share button available)
Compositional
Emotional
Spatio-Temporal
Sensual
sharing and learning
Shared (Duration Extended, other shared items available to you)
Compositional
Emotional
Spatio-Temporal
Sensual
sharing and learning
Sharing has given you deeper content, more access
Compositional
Emotional
Spatio-Temporal
Sensual
sharing and learning
presence of 8 layers
you could view them on the Map View
sense making
appropriation - reflective judgements to pre-identification
{
Compositional
Emotional
Spatio-Temporal
Sensual
Narrative - Scene 2
I left home and I traveled arou
continue on your journey, then when at a node, change paths.
sense making
appropriation - reflective judgements to pre-identification
{
Compositional
Emotional
Spatio-Temporal
Sensual
to access the alternate, gentler path, stroke the screen.
sense making
appropriation - reflective judgements to pre-identification
{
Compositional
Emotional
Spatio-Temporal
Sensual
To go back to the red, more intense path, shake the phone. (blowing on it would take you to the yellow gentle path)
sense making
appropriation - reflective judgements to pre-identification
{
Compositional
Emotional
Spatio-Temporal
Sensual
To go back to the red, more intense path, shake the phone. (blowing on it would take you to the yellow gentle path)
sense making
appropriation - reflective judgements to pre-identification
{
Compositional
Emotional
Spatio-Temporal
Sensual
and so on.
...
4.3. Experience-Centered Methodology
Focus
Design for an individual
“Empathy”
Blossom by Jayne Wallace (for Ana)
My Proposed Process
Cultural probes Stories Immersion Design Individual System
Participant
Designer
4.4. Declaration of New Knowledge
Research through design
Research into design
Research for design
Holistic focus (Emotion, Sensation, Spatio-temporal, Compositional) + Memory = Meaning
Meaning + Learning = Transformation
Transformational experience + design = Transformational design
Thank you