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Presents a strategic perspective and design methodology that guide the process of developing digital products and services that provide ‘real experience’ to users. Only when the material experienced runs its course to fulfilment is it then regarded as ‘real experience’ that is distinctively senseful, evaluated as valuable, and harmoniously related to others. Based on the theoretical background of human experience, the book focuses on these three questions: How can we understand the current dominant designs of digital products and services? What are the user experience factors that are critical to provide the real experience? What are the important HCI design elements that can effectively support the various UX factors that are critical to real experience? Design for Experience is intended for people who are interested in the experiences behind the way we use our products and services, for example designers and students interested in interaction, visual graphics and information design or practitioners and entrepreneurs in pursuit of new products or service-based start-ups.
This book reflects the move in Human Computer Interaction studies from standard usability concerns towards a wider set of problems to do with fun, enjoyment, aesthetics and the experience of use. Traditionally HCI has been concerned with work and task based applications but as digital technologies proliferate in the home fun becomes an important issue. There is an established body of knowledge and a range of techniques and methods for making products and interfaces usable, but far less is known about how to make them enjoyable. Perhaps in the future there will be a body of knowledge and a set of techniques for assessing the pleasure of interaction that will be as thorough as those that currently assess usability. This book is a first step towards that. It brings together a range of researchers from academia and industry to provide answers. Contributors include Alan Dix, Jacob Nielsen and Mary Beth Rosson as well as a number of other researchers from academia and industry.
"This is a book for artists, but it is also for curators, art school faculty, landscape architects, gallerists, archivists, post-disciplinary multi-hyphenates, museum program staff, and anyone who wants to know about the ways art and congnitive science come together to engage an audience."--Cover
With a focus on gaining an empirically derived understanding of the underlying psychological dimensions and processes behind people’s experiences with technology, this book contributes to the debate of user experience (UX) within several disciplines, including HCI, design and marketing. It analyses UX dynamics at various time scales, and explores the very nature of time and meaning in the context of UX. Experience with Technology uses personal construct theory (PCT) as a theoretical and methodological starting point to this project. Major case-studies are described that examine people’s experiences with mobile media devices. The results show a group of super-ordinate constructs that, upon interaction, undergo a change in the way they vary and relate to each other, as well as the development of a high reliability UX-Scale. The book concludes by proposing the ICE (Interaction, Construction, and Evaluation) model of UX that consolidates its findings into a workable framework of UX. The proposed framework will be of particular use to designers and practitioners, and forms an empirically grounded starting point for further research.
In Technology as Experience, John McCarthy and Peter Wright argue that any account of what is often called the user experience must take into consideration the emotional, intellectual, and sensual aspects of our interactions with technology. We don't just use technology, they point out; we live with it. They offer a new approach to understanding human-computer interaction through examining the felt experience of technology. Drawing on the pragmatism of such philosophers as John Dewey and Mikhail Bakhtin, they provide a framework for a clearer analysis of technology as experience. Just as Dewey, in Art as Experience, argued that art is part of everyday lived experience and not isolated in a museum, McCarthy and Wright show how technology is deeply embedded in everyday life. The "zestful integration" or transcendent nature of the aesthetic experience, they say, is a model of what human experience with technology might become. McCarthy and Wright illustrate their theoretical framework with real-world examples that range from online shopping to ambulance dispatch. Their approach to understanding human computer interaction—seeing it as creative, open, and relational, part of felt experience—is a measure of the fullness of technology's potential to be more than merely functional.
This globe-spanning history of sewing and embroidery, culture and protest, is “an astonishing feat . . . richly textured and moving” (The Sunday Times, UK). In 1970s Argentina, mothers marched in headscarves embroidered with the names of their “disappeared” children. In Tudor, England, when Mary, Queen of Scots, was under house arrest, her needlework carried her messages to the outside world. From the political propaganda of the Bayeux Tapestry, World War I soldiers coping with PTSD, and the maps sewn by schoolgirls in the New World, to the AIDS quilt, Hmong story clothes, and pink pussyhats, women and men have used the language of sewing to make their voices heard, even in the most desperate of circumstances. Threads of Life is a chronicle of identity, memory, power, and politics told through the stories of needlework. Clare Hunter, master of the craft, threads her own narrative as she takes us over centuries and across continents—from medieval France to contemporary Mexico and the United States, and from a POW camp in Singapore to a family attic in Scotland—to celebrate the universal beauty and power of sewing.
Don’t miss Ami Polonsky’s stunning new novel, World Made of Glass To Whom It May Concern: Please, we need help! The day twelve-year-old Clara finds a desperate note in a purse in Bellman's department store, she is still reeling from the death of her adopted sister, Lola. By that day, thirteen-year-old Yuming has lost hope that the note she stashed in the purse will ever be found. She may be stuck sewing in the pale pink factory outside of Beijing forever. Clara grows more and more convinced that she was meant to find Yuming's note. Lola would have wanted her to do something about it. But how can Clara talk her parents, who are also in mourning, into going on a trip to China? Finally the time comes when Yuming weighs the options, measures the risk, and attempts a daring escape. The lives of two girls -- one American, and one Chinese -- intersect like two soaring kites in this story about loss, hope, and recovery.
How should we understand and design for fun as a User Experience? This new edition of a classic book is for students, designers and researchers who want to deepen their understanding of fun in the context of HCI. The 2003 edition was the first book to do this and has been influential in broadening the field. It is the most downloaded book in the Springer HCI Series. This edition adds 14 new chapters that go well beyond the topics considered in 2003. New chapter topics include: online dating, interactive rides, wellbeing, somaesthetics, design fiction, critical design and participatory design methods. The first edition chapters are also reprinted, with new notes by their authors setting the context in which the 2003 chapter was written and explaining the developments since then. Taken with the new chapters this adds up to a total of 35 theoretical and practical chapters written by the most influential thinkers from academia and industry in this field.
Over the past decade the field of Human-Computer Interaction has evolved from the study of the usability of interactive products towards a more holistic understanding of how they may mediate desired human experiences. This book identifies the notion of diversity in usersʼ experiences with interactive products and proposes methods and tools for modeling this along two levels: (a) interpersonal diversity in usersʽ responses to early conceptual designs, and (b) the dynamics of usersʼ experiences over time. The Repertory Grid Technique is proposed as an alternative to standardized psychometric scales for modeling interpersonal diversity in usersʼ responses to early concepts in the design process, and new Multi-Dimensional Scaling procedures are introduced for modeling such complex quantitative data. iScale, a tool for the retrospective assessment of usersʼ experiences over time is proposed as an alternative to longitudinal field studies, and a semi-automated technique for the analysis of the elicited experience narratives is introduced. Through these two methodological contributions, this book argues against averaging in the subjective evaluation of interactive products. It proposes the development of interactive tools that can assist designers in moving across multiple levels of abstraction of empirical data, as design-relevant knowledge might be found on all these levels. Foreword by Jean-Bernard Martens and Closing Note by Marc Hassenzahl.
As mainstream psychology was never intended for the HCI practitioner, this second edition of A Psychology of User Experience takes the opportunity to create a new chapter specifically written for practitioners, that is, UX-oriented psychology rather than the all-too familiar everyday variety. For example, we discuss our two modes of cognition (fast / slow or controlled / automatic); we underline the importance of familiarity; and how and why we check our phones every few seconds day or night. We also establish the ‘context for user experience’ noting that just about everyone uses a cell phone and very many own a smartphone too and have done so for years (so, how did they learn to use them?). User experience reflects the current vogue for “designing for experience” within HCI which we recognise as something we feel rather than have reasoned about. In the real world, our feelings tell us how we are doing but with UX, they tell us how we feel about using digital technology. Topics are introduced to UX which maybe unfamiliar such as virtual experiences and virtual emotions and the affect associated with the uncontrolled use of digital technology. A Psychology of User Experience stands as a companion text to the author’s HCI Redux text which discusses the contemporary treatment of cognition in human-computer interaction.