1,721,174 research outputs found
Creative sprints: an unplanned broad agile evaluation and redesign process
Full text linkWe report how a request for routine usability work rapidly evolved into a novel agile process for evaluation and redesign. This process is described and then analysed to identify reasons for success. This analysis supports realistic knowledge transfer between User Experience professionals by outlining how similar future processes could succeed. Realistically, professionals must work to get approaches to work. Uncritical copying of concrete details is unrealistic
New Process, New Vocabulary: Axiofact = A_tefact + Memoranda
No full textRational idealized linear engineering design (RILED) models, with homogeneous work stages, still underpin much HCI research and practice. Human-centred activities dominate stages corresponding to engineering's problem analysis and validation/ verification, while other work stages receive less attention (e.g., requirements specification, progressive detailing of design). This juried alt.chi paper argues for parallel design work with heterogeneous episodes that can be design-led, human-centred, strategy-driven or evaluation-based, or a mix of some or all of these. To support this. it motivates and develops a vocabulary to replace RILED's lexicon of stage, iteration, problem, solution, implications, requirements, and validity
Research for Designing for Emotions
No full textDesigning for emotion is very well established in older design disciplines such as advertising, fashion, graphic, interior and product design, and has made good
progress in more recent disciplines such as service design. Design work integrates a range of creative practices with technical and business considerations. There is a
continuum of practices from highly demanding technology design to highly creative craft work. Even at the most technical extreme, there are vital creative aspects,
especially when faced with challenges that are novel for an area of design, such as designing for emotional aspects of technology usage. The outcomes of novel creative
practices cannot be known in advance, making it impossible to fully plan creative work. Researching for design—that is, in support of truly novel creative design work—must carefully consider the work practices of the designers who are expected to benefit from new theories, knowledge, information, processes or procedures. Any research on emotions that assumes good science can be automatically applied to any design context will severely limit its potential impact and reach. It is unlikely to
be attractive research that can be realistically applied. This chapter begins with the consideration of how emotions are considered in design, summarises the history of an affective focus in human–computer interaction and reviews the author’s practical support for an affective focus within interaction design. It then relates these three reviews to some key perspectives from creative design research to support an initial agenda for effective impact for research for affective design
Creative sprints: an unplanned broad agile evaluation and redesign process
No full textWe report how a request for routine usability work rapidly evolved into a novel agile process for evaluation and redesign. This process is described and then analysed to identify reasons for success. This analysis supports realistic knowledge transfer between User Experience professionals by outlining how similar future processes could succeed. Realistically, professionals must work to get approaches to work. Uncritical copying of concrete details is unrealistic
Social media resources for participative design research
No full textWe present our experiences of novel value from online social media for Participative Design (PD) research. We describe how particular social media (e.g. Facebook, Pinterest, WhatsApp and Twitter) were used during a five-year project on learning space design by the researcher and interested teachers across all research phases (contextual review, user studies, PD action research). Social media were used to source and share comments, photographs and video documentation, supporting participation in design research. Based on our experiences, we provide recommendations on informed worthwhile use of social media to enrich PD research by increasing diversity, recursivity and timely access to insights, informants, inspirations and influencers
Understanding Aesthetics of Interaction: A Repertory Grid Study
No full textThis work in progress paper explores users’ perceptions of the aesthetics of interaction. We describe a qualitative study using the Repertory Grid Technique (RGT) that elicited individuals’ personal constructs, bipolar adjectives such as beautiful vs ugly that characterize individuals’ idiosyncratic ways of classifying and differentiating between a set of stimuli. The constructs were sorted by similarity, resulting in a set of aesthetic categories. Quantitative data (i.e., participants’ ratings) from the RGT further enables us to assess the internal consistency of the emerging categories as well as to chart the design space of aesthetic interactions. All in all, 23 categories of aesthetics of interaction were established based on users’ perceptions. These categories partially corroborated (e.g., speed, proximity, complexity) but also expanded (e.g., natural realism, congruence, dimensionality) prior work on experience qualities in Human-Computer Interaction (HCI)
Putting Value into E-valu-ation
No full textUsability Evaluation measures remain too close to what were originally dependent variables in factorial experiments. The basis for genuine ‘usability problems’ in such variables is not guaranteed, but there has been little progress on finding replacements since HCI’s shift from the laboratory to field studies. As a result, the worth of much usability evaluation is questionable. Such doubts will persist until we can fully align the purpose of evaluation with the purpose of design, which is to create value in the world through innovative products and services, whether sold in markets, or provided free by either individuals or public and voluntary agencies. This chapter reviews issues with common usability measures and introduces a framework that can plausibly re-align evaluation criteria with design purpose by adapting an approach from consumer psychology. This provides opportunities to deploy evaluation measures and instruments that meet the needs of design, rather than reflect skill sets from psychology and human factors. The current gap between design and usability evaluation narrows, but an exclusive usability focus in evaluation becomes impossible. Instead, the role of usability in delivering or degrading intended worth is placed in a wider worth systems context. The maturity of usability will thus be evidenced by its effective integration with a range of design and evaluation concerns. It can longer assume intrinsic importance, but has to demonstrate it in the context of achieved product value
Integrating User-Centered Design in Agile Development
No full textThis book examines the possibilities of incorporating elements of user-centred design (UCD) such as user experience (UX) and usability with agile software development. It explores the difficulties and problems inherent in integrating these two practices despite their relative similarities, such as their emphasis on stakeholder collaboration.
Developed from a workshop held at NordiCHI in 2014, this edited volume brings together researchers from across the software development, UCD and creative design fields to discuss the current state-of-the-art. Practical case studies of integrating UCD in Agile development across diverse contexts are presented, whilst the different futures for UCD and other design practices in the context of agile software development are identified and explored.
Integrating User Centred Design in Agile Development will be ideal for researchers, designers and academics who are interested in software development, user-centred design, agile methodologies and related areas
An aesthetics of touch: investigating the language of design relating to form
No full textHow well can designers communicate qualities of touch?
This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities
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