Aesthetic Interaction: A Framework

Locher, PJ; Overbeeke, CJ Kees; Wensveen, Stephan

doi:10.1162/desi_a_00017

Cited by 126 publications

(101 citation statements)

References 3 publications

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“…Stone (2010) specifically brought up the elements of design aesthetics, he explained that design aesthetics is a design process, meaning that design elements should thoughtfully fit with public awareness and emotion. This study base on the theory of Norman (2004), and also integrate the scholars' discussion, the interactive design aesthetics originates from user experience, and its formed elements: 1) cognitive level of recognition; 2) physical level of functionality; 3) psychological level of emotion (Norman, 2007;Ross, Overbeek, Wensveen, & Hummels, 2008;Locher, Overbeeke, & Wensveen, 2010;Stone, 2010). Further analyze the design thinking and principle of dynamic brand identity.…”

Section: Interactive Design Aesthetics and Dynamic Brand Identitymentioning

confidence: 99%

“… The physical level of functionality which includes customization, which should be rewarding, easy to use, motivating and supportive of creativity; interactive design aesthetics is visual, tactile perception is used at the same time, as a designer we hope to understand how to achieve the goal of usability (Locher et al, 2010;Stone, 2010).  The psychological level of emotion which includes enjoyable, fun, aesthetically pleasing, emotionally fulfilling and entertaining qualities.…”

Section: Operative Definitionmentioning

confidence: 99%

“…Interactive design aesthetics involves visual and tactile perception used in the same time, through vision to reach interaction, where interaction can surpass the visual contribution (Locher et al, 2010). Design thinking in this kind of identity system has diversity and extension, uses many collages, a module concept, sometimes uses static visual elements as the base, and uses different materials and art styles to change the visuals and provide pleasure and fun.…”

Section: Dynamic Brand Identity Case Analysesmentioning

confidence: 99%

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Annotation of Dynamic Identities in Interactive Aesthetics

Hsu¹

2013

AJC

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With a variety of platforms and media vehicles, designers not only have a challenge on new concepts such as varied expression forms, elements, principles, and aesthetic concepts, they also have to take into account users' cognitive tendencies and social media aspects during the design thinking process, especially in trying to enhance the user experience. Dynamic identities aim to improve a traditionally static visual experience with a multi-dimensional angle. In addition, not only does interaction design express creativity and cognitive philosophy via all senses: sight, touch, smell, hearing, and taste, it also combines psychological perception with aesthetics. "Interaction" is a process of communication, which influences both cognition and mentality. This study is based on three key factors/aspects of interaction aesthetics: cognitive level of recognition, physical level of functionality, and psychological level of emotion. Forty-four dynamic identities from January 2011 to July 2012 were studied with a case study method, analyzing the design process and related principles. Through focus groups and in-depth interviews, this study investigates the concept of interaction design to classify three types of dynamic identities: "functionality", "entertainment", and "identification". Different characteristics of media and platforms are analyzed by framing the corporate identity system to form a unique dynamic identity. This paper proposes that functionality dynamic identities give rise to the "customization" and "modularity" design principles; whereas entertainment dynamic identities bring forth the "aesthetically pleasing" and "entertaining" design principles. Moreover, through the user-centered design experience a "personalized" design principle is born.

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Section: Interactive Design Aesthetics and Dynamic Brand Identitymentioning

confidence: 99%

Section: Operative Definitionmentioning

confidence: 99%

Section: Dynamic Brand Identity Case Analysesmentioning

confidence: 99%

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Annotation of Dynamic Identities in Interactive Aesthetics

Hsu¹

2013

AJC

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“…Recent years have seen a boom in attempts to draw together theories and empirical data on aesthetic experience (Jacobsen, 2006;Leder & Nadal, 2014) . Yet, as some accounts point out, there exist numerous gaps and confusions (e.g., Augustin, Wagemans, & Carbon, 2012;Konečni, 2012;Locher, Overbeeke, & Wensveen, 2010). One of the most critical is the definition of the aesthetic experience itself.…”

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confidence: 99%

“…An aesthetic experience may be defined through the philosophical concept of disinterested contemplation (Levinson, 1992). It may involve a combination of cognitive and emotional processes (Locher, et al, 2010). It may be defined in terms of the qualities of the object (music, artwork, etc.)…”

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confidence: 99%

Aesthetic Experience Explained by the Affect-Space Framework

Schubert¹,

North²,

Hargreaves³

2017

EMR

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A framework for organizing the semantic structure of aesthetic experience is proposed. The new framework is presented in an 'affect-space' and consists of three sets of dichotomous classifications: (1) internal locus (the felt experience) versus external locus (the description of the object), (2) 'affect-valence' -the attraction to (positive valence, e.g. preference, awe) or repulsion from (negative valence, e.g. hatred, disgust) the artwork/object -versus 'emotion-valence' -the character/contemplation of an emotion (happiness-an example of positive valence, sadness-an example of negative valence), and (3) deep versus shallow hedonic tone-e.g. 'awe' is deep, 'preference' is shallow. Deep hedonic tone is proposed as a better index of aesthetic experience (awe, being moved etc.) than shallow hedonic tone (preference, pleasure, enjoyment). Deep, internal locus, affect-valence during the contemplation of an object amenable to an aesthetic judgement (beautiful, ugly etc.) presents the necessary and sufficient conditions for an aesthetic experience. The framework allows future researchers to consider which aspects of an experience come closest to actual aesthetic experience from an empirical aesthetics perspective. It also highlights the limited value in grouping together so many aesthetic experiences under the rubric of emotion, such as aesthetic emotions, preference, basic emotions and so forth. Our framework paves the way for testing and further development of theory on aesthetic experience. Submitted 2016 February 10; accepted 2016 April 3. KEYWORDS: aesthetic experience, aesthetic emotions, affect, hedonic tone, locus THIS paper presents a semantic framework that organizes critical aspects of aesthetic experience for psychological and philosophical research. Recent years have seen a boom in attempts to draw together theories and empirical data on aesthetic experience (Jacobsen, 2006;Leder & Nadal, 2014) . Yet, as some accounts point out, there exist numerous gaps and confusions (e.g., Augustin, Wagemans, & Carbon, 2012;Konečni, 2012;Locher, Overbeeke, & Wensveen, 2010). One of the most critical is the definition of the aesthetic experience itself. An aesthetic experience may be defined through the philosophical concept of disinterested contemplation (Levinson, 1992). It may involve a combination of cognitive and emotional processes (Locher, et al., 2010). It may be defined in terms of the qualities of the object (music, artwork, etc.) or in terms of the affective sensations of the individual as a result of contemplating the object (Beardsley, 1969). The act of creative production (such as a musician playing at a concert, an artist painting in a studio, or a composer at work) and its relationship to the perception and contemplation of art works are involved (Tinio, 2013). The brain activity that corresponds to aesthetic experience is another way of defining the process, although the neuroscientific understanding of aesthetic experience is in its infancy (Brattico, Bogert, & Jacobsen, 2013;Brattico &...

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Creating Enhanced User Experience Through Persona and Interactive Design: A Case of Designing a Motion Sensing Game

Gui

2019

Design, User Experience, and Usability. Design Philosophy and Theory

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Aesthetic Interaction: A Framework

Cited by 126 publications

References 3 publications

Annotation of Dynamic Identities in Interactive Aesthetics

Annotation of Dynamic Identities in Interactive Aesthetics

Aesthetic Experience Explained by the Affect-Space Framework

Creating Enhanced User Experience Through Persona and Interactive Design: A Case of Designing a Motion Sensing Game

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