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The Aesthetics of Design offers the first full treatment of design in the field of philosophical aesthetics, challenging the discipline to broaden its scope to include the quotidian objects and experiences of our everyday lives and concerns. In doing so, it contributes to the growing field of Everyday Aesthetics.
What is the imagination's role in human cognition and culture? This book explores the hypothesis that such role is larger than we commonly think as it plays a key, direct role in our representation of (and practical engagement with) the real world itself.
How design can improve the quality of our everyday lives by engaging the invisible electromagnetic environment in which we live. As our everyday social and cultural experiences are increasingly mediated by electronic products—from "intelligent" toasters to iPods—it is the design of these products that shapes our experience of the "electrosphere" in which we live. Designers of electronic products, writes Anthony Dunne in Hertzian Tales, must begin to think more broadly about the aesthetic role of electronic products in everyday life. Industrial design has the potential to enrich our daily lives—to improve the quality of our relationship to the artificial environment of technology, and even, argues Dunne, to be subverted for socially beneficial ends. The cultural speculations and conceptual design proposals in Hertzian Tales are not utopian visions or blueprints; instead, they embody a critique of present-day practices, "mixing criticism with optimism." Six essays explore design approaches for developing the aesthetic potential of electronic products outside a commercial context—considering such topics as the post-optimal object and the aesthetics of user-unfriendliness—and five proposals offer commentary in the form of objects, videos, and images. These include "Electroclimates," animations on an LCD screen that register changes in radio frequency; "When Objects Dream...," consumer products that "dream" in electromagnetic waves; "Thief of Affection," which steals radio signals from cardiac pacemakers; "Tuneable Cities," which uses the car as it drives through overlapping radio environments as an interface of hertzian and physical space; and the "Faraday Chair: Negative Radio," enclosed in a transparent but radio-opaque shield. Very little has changed in the world of design since Hertzian Tales was first published by the Royal College of Art in 1999, writes Dunne in his preface to this MIT Press edition: "Design is not engaging with the social, cultural, and ethical implications of the technologies it makes so sexy and consumable." His project and proposals challenge it to do so.
What happens when you’ve built a great website or app, but no one seems to care? How do you get people to stick around long enough to see how your service might be of value? In Seductive Interaction Design, speaker and author Stephen P. Anderson takes a fresh approach to designing sites and interactions based on the stages of seduction. This beautifully designed book examines what motivates people to act. Topics include: AESTHETICS, BEAUTY, AND BEHAVIOR: Why do striking visuals grab our attention? And how do emotions affect judgment and behavior? PLAYFUL SEDUCTION: How do you create playful engagements during the moment? Why are serendipity, arousal, rewards, and other delights critical to a good experience? THE SUBTLE ART OF SEDUCTION: How do you put people at ease through clear and suggestive language? What are some subtle ways to influence behavior and get people to move from intent to action? THE GAME OF SEDUCTION: How do you continue motivating people long after the first encounter? Are there lessons to be gained from learning theories or game design? Principles from psychology are found throughout the book, along with dozens of examples showing how these techniques have been applied with great success. In addition, each section includes interviews with influential web and interaction designers.
Designing experiences for humans requires balancing many needs, including business, behavior, technology, and aesthetics. The Practical Guide to Experience Design focuses on the entire process of design, from research and discovery to actual production and choreography of an experience. Design and strategy consultant Shannon E. Thomas leads the reader through the process in four phases: discovering, defining, refining, and building. Each chapter covers a single methodology, providing insight via detailed descriptions, step-by-step guidance, and high-fidelity examples. The book can either be read front to back or by following along with one of the sample designs. With an emphasis on empowering the reader to find the most appropriate method based on context and desired outcome, goal-oriented descriptions help readers understand the big picture of how design processes work together and inform each other. Whether you're well versed in the field of experience design or just getting started, this book will support you in your practice as you make decisions, influence stakeholders, and bring experiences to life.
Why attractive things work better and other crucial insights into human-centered design Emotions are inseparable from how we humans think, choose, and act. In Emotional Design, cognitive scientist Don Norman shows how the principles of human psychology apply to the invention and design of new technologies and products. In The Design of Everyday Things, Norman made the definitive case for human-centered design, showing that good design demanded that the user's must take precedence over a designer's aesthetic if anything, from light switches to airplanes, was going to work as the user needed. In this book, he takes his thinking several steps farther, showing that successful design must incorporate not just what users need, but must address our minds by attending to our visceral reactions, to our behavioral choices, and to the stories we want the things in our lives to tell others about ourselves. Good human-centered design isn't just about making effective tools that are straightforward to use; it's about making affective tools that mesh well with our emotions and help us express our identities and support our social lives. From roller coasters to robots, sports cars to smart phones, attractive things work better. Whether designer or consumer, user or inventor, this book is the definitive guide to making Norman's insights work for you.
An understanding of psychology—specifically the psychology behind how users behave and interact with digital interfaces—is perhaps the single most valuable nondesign skill a designer can have. The most elegant design can fail if it forces users to conform to the design rather than working within the "blueprint" of how humans perceive and process the world around them. This practical guide explains how you can apply key principles in psychology to build products and experiences that are more intuitive and human-centered. Author Jon Yablonski deconstructs familiar apps and experiences to provide clear examples of how UX designers can build experiences that adapt to how users perceive and process digital interfaces. You’ll learn: How aesthetically pleasing design creates positive responses The principles from psychology most useful for designers How these psychology principles relate to UX heuristics Predictive models including Fitts’s law, Jakob’s law, and Hick’s law Ethical implications of using psychology in design A framework for applying these principles
Experience-centered design, experience-based design, experience design, designing for experience, user experience design. All of these terms have emerged and gained acceptance in the Human-Computer Interaction (HCI) and Interaction Design relatively recently. In this book, we set out our understanding of experience-centered design as a humanistic approach to designing digital technologies and media that enhance lived experience. The book is divided into three sections. In Section 1, we outline the historical origins and basic concepts that led into and flow out from our understanding of experience as the heart of people's interactions with digital technology. In Section 2, we describe three examples of experience-centered projects and use them to illustrate and explain our dialogical approach. In Section 3, we recapitulate some of the main ideas and themes of the book and discuss the potential of experience-centered design to continue the humanist agenda by giving a voice to those who might otherwise be excluded from design and by creating opportunities for people to enrich their lived experience with and through technology.
This book explores the design process for user experience and engagement, which expands the traditional concept of usability and utility in design to include aesthetics, fun and excitement. User experience has evolved as a new area of Human Computer Interaction research, motivated by non-work oriented applications such as games, education and emerging interactive Web 2.0. The chapter starts by examining the phenomena of user engagement and experience and setting them in the perspective of cognitive psychology, in particular motivation, emotion and mood. The perspective of aesthetics is expanded towards interaction and engagement to propose design treatments, metaphors, and interactive techniques which can promote user interest, excitement and satisfying experiences. This is followed by reviewing the design process and design treatments which can promote aesthetic perception and engaging interaction. The final part of the chapter provides design guidelines and principles drawn from the interaction and graphical design literature which are cross-referenced to issues in the design process. Examples of designs and design treatments are given to illustrate principles and advice, accompanied by critical reflection. Table of Contents: Introduction / Psychology of User Engagement / UE Design Process / Design Principles and Guidelines / Perspectives and Conclusions
This is the first comprehensive student reader on design history and aesthetics. It includes contributions from many of the writers at the forefront of contemporary debate, including Raymond Williams, Roger Scruton and Tony Bennett.