empathic design

Empathic Design -kirja 0.997.indd 1 18.8.2003, 9.18.54 empathic design empathic

Empathic Design -kirja 0.997.indd 2 18.8.2003, 9.18.55 empathic design

Edited by: Ilpo Koskinen Katja Battarbee Tuuli Mattelmäki

Empathic Design -kirja 0.997.indd 3 18.8.2003, 9.18.55 The original color versions of the images in the book can be found at http://www.itpress.biz/.

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Empathic Design -kirja 0.997.indd 4 18.8.2003, 9.18.55 Empathic Design -kirja0.997.indd 5 Esko Kurvinen . Emotions inMobileVisual Messaging Meri Laine . Pockets andBags:UnderstandingExperienceswithPortable Objects 2: studying experience and with objects prototypes Ilpo Koskinen . Empathic DesigninMethodicTerms Jane FultonSuri . Empathic Design:InformedandInspiredbyOtherPeople’s Experience Ilpo Koskinen&KatjaBattarbee . Introduction toUserExperienceandEmpathicDesign 1: empathy design in Arni Aromaa&SauliSuomela . Smart Bath:EmotionalDesignSoftensHomeTechnology. envisioning experience . About theAuthors . Acknowledgements Preface contents structure thebook of sharing empathy by communicating interpretations what to withdata do •value ofunderstanding: what agoodinterpretation makes • selecting user groups: primary, secondary anddeviant •inspiration andinference: design forother people •observation with empathy imagination •how •informing we learn towards empathic • empathy research design process the in design design foruser experience: legislators andinterpreters •products inexperience • representatives as designers ofusers—or user-centered design? deepening the concept designprocess •looking forthe spirit ofthe bathing experience •fi responding to an emotional message: joint emotional displays •discussion emotionsmaking visible •responding to anon-emotional message with anemotional message • emotions andmobile visual messages •data •emotional mobile images: changes inproduct relationship •conclusions anddiscussion product relationships: asituational model •data andmethod •theimportance • ofstyle yIp oknn. by IlpoKoskinen “ nature ” approach validation •idea •fi nal concept • rst conceptsrst • 17 13 11 83 69 59 51 37 7 18.8.2003, 9.18.55

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6 empathic design ilorpy. Bibliography . References. references &bibliography Anu Kankainen . Directions forDesigningEmotionallyRichProducts Alison Black . Why IWork inUser ExperienceConsulting itwork4: making . Riitta Nieminen-Sundell&MikaPantzar Household Commodities Towards anEcologyofGoods:SymbiosisandCompetitionBetweenMaterial Tuuli Mattelmäki . Probes: StudyingExperiencesforDesignEmpathy Katja Battarbee . . Stories asShortcutstoMeaning 3: understanding experience for concept design Esko Kurvinen&IlpoKoskinen . Mobile PhotoAlbum:anExperimentalPrototype three stories • stories shortcuts as to meaning small details abigdifference make •experience can isfoundedoninformation towards anecology of goods:from dyadic to interactions networks from agirl furniture •competing goods:how anoffensive computer was rooted out data •cooperative between artifacts: interactions acomputer, icehockeytrophies and interpreting probes withinterviews andcollages •probes adesigntool as thedesigning probes understanding • user components of experience: examples probes of • probes: studying experiences withself-documentation packages •probes studies• case empathy, storytelling, design•studying person—product meaningful relationships • technologywith non-existing • towards design:ascenarioofshared album •prototyping interaction templates •building stories together: the@party background researchonphotography •experience prototyping and withi-zone cameras ’ s room •prey andpredator: thestory • cameras oftwo template • building a shared album together 119 107 162 157 153 147 131 93 18.8.2003, 9.18.56 Empathic Design -kirja0.997.indd 7 for Emotional Experience Emotional for Still, research has consistently followed a few principles. Empathic methods are methods Empathic principles. few a followed consistently has research Still, in 1999 —2001. It was based on the conviction that while traditional research into the usability of products focuses too much on objective factors—say,objective on minimizing much too focuses products of usability the designer’s taskistoprovidejoyforpeople,notjustsmoothfunctioning. mapping social and material contexts of use rather than user experience directly.experience user than rather use of contexts material and social mapping of theuser. errors—design has to go beyond these objective factors into experiences. The The experiences. into factors objective these beyond go to has errors—design understanding empathic the enable to have methods these that and experiences, always sign research and product concept design. The book is based on This book argues that designers need systematic methods to be able to study study to able be to methods systematic need designers that argues book This associated with it. These subjective factors are called “user experiences.” experiences.” “user called are factors subjective These it. with associated As several articles in this collection show, this work has recently focused on focused recently has work show,this collection this in articles several As The writers are researchers and designers with a wide range of experience in de- only how the product functions, but also about the subjective factors subjective the about also but functions, product the how only user-centered To make successful products, designers have to consider not consider to have designers products, Tosuccessful make Ilpo Koskinen preface inthattheyrequirecontact withrealusers.Theyarealso , a research project funded by the Academy of Finland of Academy the by funded project research a , eDesign—Design 18.8.2003, 9.18.56

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8 empathic design preface The second essay, written by Jane Fulton Suri, makes a case for empathy in design. their on relied has creativity their where case, design concept a describe They “ essay, opening The focus. different a with each parts, four has book This This book is intended for advanced students in product design, and human factors visioning Experience visioning practice. We fi We practice. key concepts in current design. In the fi the In design. current in concepts key the design tradition which, when combined with studying real users, becomes the bee introduce these concepts, and situate them into society and the design process. basis forempathicdesign. own experiences and visual imagery. Though not user-centered, their work shows odds with each other. It remains the task of the reader to judge whether we have we whether judge to reader the of task the remains other.It each with odds essays, design discourse has been characterized by a huge gap between theory and est in design research. As the design historian Victor Margolin has noted in several structure ofthebook succeeded inthisriskybusiness. inter- an researchers—with and designers professionals—both as well as schools, design at and development product in working scientists social and specialists • • • • • • Part I, “Empathy in Design,” in “Empathy I, Part Interpretive world wheremoneyisscarce. we propose work where they should: at the front line of imagination in the in imagination of line front the at should: they where work propose we Tested in reality in Tested fun and Playful tech” “low and cheap Deliberately Visual andtactile Targeted at the fuzzy front end, front fuzzy the at Targeted product development. how peopleunderstandthemselves. rewarding suchexercisesmustbefun. ment because we believe that this is the best way to make sure the methods Carnegie Mellon University have recently (2001) called the early phases of phases early the called (2001) recently have University Mellon Carnegie corporate reality. asked to imagine and dream in a future world created by designers. Tobe designers. by created world future a in dream and imagine to asked nd this lamentable, and seek to balance these worlds, so easily at easily so worlds, these balance to seek and lamentable, this nd : to be able to design effectively designers need to understand to need designers effectively design to able be to : ,” is written by designers Arni Aromaa and Sauli Suomela. Sauli and Aromaa Arni designers by written is ,” . When exploring new ideas, users are almost invariably invariably almost are users ideas, new exploring When . . We report cases from real product and concept develop- concept and product real from cases report We . , providingdesignerswithinspiration,notjustdata. introduces experience and empathy, two of the of two empathy, and experience introduces as Jonathan Cagan and Craig Vogel from Vogel Craig and Cagan Jonathan as rst essay, Ilpo Koskinen and Katja Battar- Katja and Koskinen essay,Ilpo rst and, as such, easy to adopt in the real the in adopt to easy such, as and, En- 18.8.2003, 9.18.56 Empathic Design -kirja0.997.indd 9 Then, Kurvinen and Koskinen describe how they studied social interaction with interaction social studied they how describe Koskinen and Kurvinen Then, would interactwithit. product milieu, theme, important an discuss Pantzar Mika and Nieminen-Sundell Riitta Finally, photo album. The three studies in this part show how designers can study experi- study can designers how show part this in studies three The album. photo rdcs tan smoi sau i pol’ lvs Tui atläi describes Mattelmäki Tuuli lives. people’s in status symbolic a attain products basic is needed is What prototypes. and concepts mock-ups, of stage the to prior She argues that we need not to think that people are so different from us that we that us from different so are people that think to not need we that argues She ing how existing products are used. Traditionally, designers study new product new study Traditionally,designers used. are products existing how ing technol- new with changes objects experience people which in way the that idea individual portable objects. Products are not adopted into our lives as self-sustain- how stories can be used as shortcuts to understanding how some objects and and objects some how understanding to shortcuts as used be can stories how experiences. constructing for platform a provide camera and phone mobile a how tional work in this methodology, Mattelmäki develops it into an interpretive tool. interpretive methodology,an this into in it work develops tional Mattelmäki thinking aboutresearchmethods. that alreadyexistinourlives. that showed how portable product milieu affects the way in which we experience design. The benefi The design. discovered that she is in user experience consulting rather than product design. product than rather consulting experience user in is she that discovered shows Battarbee First, potential. design identify to world user’s the about data must proceed only with objective research methods. An intuitive understanding intuitive An methods. research objective with only proceed must ogy. This makes it diffi of what goes on in the minds and bodies of people is crucial for design. The third object only in few key points, but they still make it possible to see how people how see to possible it make still they but points, key few in only object future the resemble may prototypes These prototypes.” “experience and objects essay by Koskinen introduces methodological principles at work in empathic empathic in work at principles methodological introduces Koskinen by essay ences with products that do not exist yet by providing them with suitably selected ocps ih prototypes. with concepts able entities; our relationship with any product depends on the ecology of goods of ecology the on depends product any with relationship our entities; able approach. Probes innovative an of application an assisted research. This part looks at how experiences can be studied empathically mobile shared a of concept a product, non-existing a of prototype experience an seemingly unimportant products are meaningful. Next, Esko Kurvinen shows shows Kurvinen Esko Next, meaningful. are products unimportant seemingly h fi The Part II, “Studying Experience with Objects and Prototypes,” and Objects with Experience “Studying II, Part Part III, “Understanding Experience for Concept Design,” Concept for Experience “Understanding III, Part nl at “ part, nal 3 and its status in experience. Their paper returns to Laine’s study t of methodological refl methodological of t aig t Work, it Making cult for designers to extrapolate from the present by observ- 1 ei an sos o or eainhp ee with even relationships our how shows Laine Meri ” begins with a story of how Alison Black Black Alison how of story a with begins ” ection is in the breadth it provides for provides it breadth the in is ection 2 In contrast to earlier inspira- earlier to contrast In goes beyond artifact- beyond goes begins with the with begins 18.8.2003, 9.18.56

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10 empathic design preface Her story illustrates the market importance of research on user experience, and on design fi design forpractice. book ends with Anu Kankainen’s refl Kankainen’s Anu with ends book escape the importance of understanding the client. As an astute observer of the of observer astute an As client. the understanding of importance the escape a whole. Today’s designers, including those who are technically minded, cannot minded, technically are who Today’sthose whole. including a designers, qualitative research. We feel her story is also a symbol of the design professions as Aalborg, Denmark,January15,2003 Ilpo Koskinen On behalfofthewriters, eld, her story shows how design can gain from conceptual refl ections on how to operationalize empathic operationalize to how on ections ection. The 18.8.2003, 9.18.56 Empathic Design -kirja0.997.indd 11 versity of Technology. In the course of this work, Dr Turkka Keinonen, formerly at University, as well as Martti Mäntylä and Marko Nieminen from the Helsinki Uni- SonicRim at Columbus, Ohio. She is a true visionary,true constantly a has is work She whose Ohio. Columbus, at SonicRim from the Department of Product and Strategic Design, Kari Kuutti from Oulu Oulu from Kuutti Kari Design, Strategic and Product of Department the from inspired us. has served in many roles, from a commentator to an adviser. Dr Simo Säde from Säde Simo adviser.Dr an to commentator a from roles, many in served has Design, Strategic and Product of Department the at Center,today Research Nokia represent what is best in the quickly evolving area of experience design: they they design: experience of area evolving quickly the in best is what represent book: Dr Alison Black from Alison Black Reseach-Consulting, Reading, England, Reading, Reseach-Consulting, Black Alison from Black Alison Dr book: and human factors specialist Jane Fulton Suri from IDEO, San Francisco. They Francisco. San IDEO, from Suri Fulton Jane specialist factors human and show howprofessionaldesignpracticeandtheorycan becomeinseparable. these people. We would also like to thank professors Juhani Salovaara and Raimo Nikkanen WeRaimo and Salovaara Juhani professors thank to like also would For the notion “empathic design,” we are in debt to Dr Elisabeth Sanders from others. We want to acknowledge our debts to the most important of of important most the to debts our acknowledge to want We others. Two people went beyond everything we could expect in contributing to this As most things in life, this book builds on work done by by done work on builds book this life, in things most As acknowledgements 18.8.2003, 9.18.57

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12 empathic design artikkeli Finland and Technological Research Center (Tekes), and The Ministry of Trade of Ministry The and (Tekes), Center Research Technological and Finland from Datex-Ohmeda, ED-Design, IDEO (London), Lundia, Nokia Mobile Phones, Mobile Nokia Lundia, (London), IDEO ED-Design, Datex-Ohmeda, from job in the industry. Research for this book has been funded by The Academy of Academy The by funded been has book this for industry.Research the in job have madesurethatwekeeppracticalrealitiesandstrictschedulesinmind. manufactur- furniture of group A Electro. Polar Venturesand Nokia Organization a for left he before department our at research for force driving the was Netikos ers and course, peoplewhohaveparticipatesinourstudies. and Industry (Finland). In addition, we have received funding and other expertise Above all, we are grateful to the dozens of students, research assistants and, of Arabia, Helsinki,January15,2003 Ilpo Koskinen,KatjaBattarbeeandTuuli Mattelmäki Muotoilun tutkimuskeskus have participated in these studies. Companies 18.8.2003, 9.18.57 Empathic Design -kirja0.997.indd 13 “co-experience:” situationsinwhichpeopleexperiences thingstogether. user experienceconsulting. in is expertise Her England. Reading, in works who consultant, experience user phases of product development. IDEO is a design consultancy at the cutting edge cutting the at consultancy design a is IDEO development. product of phases dr alison black doctoral dissertation in industrial design. Her specialty is design methodology for katja battarbee jane fultonsuri jane of designmethodology. cisco. She is IDEO’s human factors expert, specializing in user studies in the early originally beenpublishedinrefereedpapersandarticles. and researchers. Practically all the work presented in this book has has book this in presented work the all Practically researchers. and The writers are practicing product and interaction designers interaction and product practicing are writers The about the authors formerly worked for IDEO, London. Now she is an independent is an interaction designer and researcher who is completing her is a psychologist by training and works for IDEO, San Fran- San IDEO, for works and training by psychologist a is 18.8.2003, 9.18.57

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14 empathic design artikkeli ul mattelmäki tuuli probes methodology. She has published several articles and papers on design design on papers and articles several published has She methodology. probes focuses on how digital products are appropriated in homes, where they have to have they where homes, in appropriated are products digital how on focuses Helsinki. Her article in this book is based on her Master’s thesis, which received which Master’sthesis, her on based is book this in article Her Helsinki. ing Battarbee’s and Kurvinen’s doctoral work, and tutored the Master’s thesis of thesis Master’s the tutored and work, doctoral Kurvinen’s and Battarbee’s ing Meri Laine. heavy industry. He is completing his doctoral thesis on mobile visual communica- the probes methodology. Currently, she is completing her doctoral thesis on the on thesis doctoral her completing is methodology.Currently,she probes the tion. the highestgrade. trial designers. He has written several articles and books about industrial design industrial about books and articles several written has He designers. trial researcher for the Academy of Finland and as a professor at the University of Art of University the at professor a as and Finland of Academy the for researcher dr ilpo koskinenilpo dr dr mika pantzar mika dr riitta nieminen-sundell riitta kurvinen esko meri laine meri manager atNokiaMobilePhones. methods aimedatstudyinguserexperienceinrealcontexts. mobile phones with integrated cameras and multimedia capabilities). He is tutor-is He capabilities). multimedia and cameras integrated with phones mobile compete for theirposition with otherproducts. Currently, she works asaproduct and Design,Helsinki. senior a as worked has He Center,Helsinki. Research Consumer National at ager man- research is He consumption. and ecology studies, cultural economics, ary and, more recently, about mobile visual communication (i.e., about the uses of uses the about (i.e., communication visual mobile about recently, more and, arni aromaa & sauli suomela Helsinki. Their key works include the Smart Bath concept for Oras, Scandina- Oras, for concept Bath Smart the include works key Their Helsinki. via’s largest faucet manufacturer. In addition, they have designed several designed have they addition, In manufacturer. faucet largest via’s products forcompaniessuchasKoziol,Germany. is industrial designer who works for Nokia Venturesin Nokia Organization for works who designer industrial is s n nutil einr n rsace wt eprec from experience with researcher and designer industrial an is is a sociologist who teaches methods and sociology for indus- for sociology and methods teaches who sociologist a is is a widely published economist with expertise in evolution- in expertise with economist published widely a is is an industrial designer and researcher who focuses on on focuses who researcher and designer industrial an is s scooit n dcoa suet f ein She design. of student doctoral and sociologist a is are Finnish designers who run a consultancy in 18.8.2003, 9.18.57 Empathic Design -kirja0.997.indd 15 18.8.2003, 9.18.57

15 Empathic Design -kirja 0.997.indd 16 18.8.2003, 9.18.57 Empathic Design -kirja0.997.indd 17 functions to be controlled centrally,controlled be to functions The automated. be to functions repeated and building intelligent The building. intelligent an of system management facility has a local network that connects individual products and building components building and products individual connects that network local a has tem enables the functioning of numerous applications in lighting, heating, safety heating, lighting, in applications numerous of functioning the enables tem sys- The house. the in is nobody and locked, is outdoor the when closed are taps and products various enables network The system. management intelligent an to on thesmoothdesignofbathroom. cept is based on an intelligent water system that integrates the bathroom into the into bathroom the integrates that system water intelligent an on based is cept and waterusage. system can be programmed to make sure that all electric appliances and water and appliances electric all that sure make to programmed be can system taking a cold morning shower to understand how much our well-being is based is well-being our much how understand to shower morning cold a taking the most elementary processes of experience occur in the bathroom: consider bathroom: the in occur experience of processes elementary most the Smart Bath Smart of our central nervous system to events taking place on our skin. Many of Many skin. our on place taking events to system nervous central our of Experience is tactile, based partly on our senses and the reactions the and senses our on partly based tactile, is Experience Arni Aromaa&SauliSuomela home technology emotional softens design experienceenvisioning smart bath: is a concept for the bathrooms of tomorrow.Technically,con- of the bathrooms the for concept a is 18.8.2003, 9.18.57

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18 envisioning experience smart bath: emotional design softens user experience 18.8.2003, 9.18.57 Empathic Design -kirja0.997.indd 19 The project was carried out as an iterative process with fi with process iterative an as out carried was project The manufacturer. equipment bathroom largest Scandinavia’s Oras, for concept a high-fi design build tangible to delity but production, for items design to not was aim The interfaces. their and ucts opposite: pages. tion phase. concept design processconcept design study, 2) creative phase, 3) concept testing, 4) realization phase and 5) presenta- 5) and phase realization 4) testing, concept 3) phase, creative study,2) A • • phase creative the In • • • The concepts were illustrated as visual moodboards and sketches. The early The performance was designed to support the human oriented design ap- design oriented human the support to designed was performance The up in an exhibition hall in central Helsinki, and two performing artists were defi satisfactorily was design overall the When After testing, the concept was fi was concept the testing, After Finally, the concept entered the entered concept Finally,the proach. prototypes. The elements were set up to form a fully functioning prototype the concept on a general level and to get feedback of the user interface interface user the of feedback get to and level general a on concept the fi ried out with rough full-scale mock-ups. The aim of testing was to validate to was testing of aim The mock-ups. full-scale rough with out ried design. ments were developed into 3-D CAD models and further into functioning into further and models CAD 3-D into developed were ments by creatingvarioussmall-scaleprototypes. either built were scenarios The scenarios. bathing of series a on based bathroom. of openarchitectureandintelligentbuildings. concepts were evaluated, and the most promising concept was further de- further was concept promising most the and evaluated, were concepts around a visual theme, a technical solution, or the needs of a user group. user a of needs the or solution, technical a theme, visual a around sind o rae so fr rsnig h btro ad t functions. its and bathroom the presenting for show a create to assigned ned and developed. The fi The developed. and ned

background study background The Smart Bath Smart The

The fi The Bath Smart rst three phases are described more thoroughly on the following aimed at achieving fl exible and user friendly solutions in prod- in flsolutions achieving friendly at user aimed and exible extended from the history of bathing to future visions future to bathing of history the from extended was designed by Arni Aromaa by Suomela. Arni andSauli designed was , early general concepts were generated. They were were They generated. were concepts general early , nal concept was taken to a more concrete level concrete more a to taken was concept nal ne-tuned in the in ne-tuned presentation phase presentation ned, realization phase realization ve steps: 1) background 1) steps: ve . The bathroom was set was bathroom The . concept tests concept were car- were . The ele- The . 18.8.2003, 9.18.58

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20 envisioning experience smart bath: emotional design softens user experience At the beginning of the project, we took a look at the past in order to understand to order in past the at look a took we project, the of beginning the At ht a be dn i te fi the in done been had what above: bathing earlier of descriptions luxury. and emotions experiences. of terms in offer their to little with very have products to seemed interfaces bathroom user complicated Modern hygiene. underline which bathrooms, modern population. looking forthespirit ofthebathing experience and cultural aspects of bathing, material was gathered about different technical different about gathered was material bathing, of aspects cultural and solutions, the possibilities of open architecture, and the demands of the aging aging the of demands the and architecture, open of possibilities the solutions, right, bottom: Victorian shower cabins. A study of classic bathingA study themes ofclassic inpainting. right, top: eld of bathing previously. Besides the historical historical the Besides previously. bathing of eld give a very different impression of bathing than bathing of impression different very a give In the 16 th century, bathing was a celebrated 18.8.2003, 9.18.58 Empathic Design -kirja0.997.indd 21 The early concepts were generated following a certain technical solution, specifi with quick sketches and visual moodboards to describe the concepts in tangible in concepts the describe to moodboards visual and sketches quick with elements. bathroom multifunctional and surfaces plastic organic large with play visual a mostly was “What if James Bond had a bathroom,” prompted the concept “Yesterdays tomorrow,” which Woodpieces offurniture. materials andwarm dominated the designs. room like space with large windows. The bathroom living elements were open treated morean like in ordinary resultedhouse,” the in room other any like were bathroom the if “What the comingphases. differ- the underline further to provocatively named were concepts The terms. rendered were concepts The question. the to answer an design quickly to trying design approach, user scenario, or a combination thereof. A simple method of of defi method simple A thereof. combination a or scenario, user approach, design fi ences between them. Eight early concepts were generated to work as platforms for rst conceptsrst ning the concepts was repeatedly asking the question “What if…,” and then and if…,” “What question the asking repeatedly was concepts the ning c 18.8.2003, 9.18.59

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22 envisioning experience smart bath: emotional design softens user experience According to the concept, the bathroom should be natural and intuitive to use. to intuitive and natural be should bathroom the concept, the to According The interfaces should offer stimulation for all senses, something quite different quite something senses, all for stimulation offer should interfaces The served as a platform for further design work and product level solutions. product and work design for further platform a as served concept chosen the project, the in bathtub.” Later “armchair an fi bathroomas such ttings furniture-like of series a generated concept room” other any like “bathroom the example, For benefieffect. a side as cial ideas product numerous caused also concepts the Creating pond. waterfall. a of principle the followed shower the and bathtub, the inspired pool platform a as chosen was waterfall” the and pool “Rock concepts, eight the From for further design and product level solutions. It was both aesthetically and func- and aesthetically both was It solutions. level product and design further for from existing button panels. Technology should be as invisible as possible. Bath- possible. as invisible as be Technologyshould panels. button existing from ing should be as easy as in the romantic paintings, where women bathe at a forest tionally basedonstrongnaturemetaphors:thewashbasinimitatedapond,rock deepening the “ nature ” approach 18.8.2003, 9.18.59 Empathic Design -kirja0.997.indd 23 smooth water-formed ofwood. pieces beach, sandy a rocks, shaped softly example, for designs: the for models as serve could that water by shaped forms of variety to a is thereHowever, unnecessary designs. be the in would water imitate it directly that felt we bathroom, the in present already is water Since etc. waterfalls, Fascinating thewas visual richness of water and its differentmelting drops, ice, forms: waves, interesting colors world an of and shapes, materials that had little to do opened with bathrooms as we know them. water of images Collecting water. bathing: of element core the on metaphors for and thetried to physicalget shapes, at theof bathingbasics by concentrating ficoncentratedon we To this, forms. avoidnatural abstract of for copyingmore nding tasteless risk great a is there and design, product in overused are metaphors nature course, Of 18.8.2003, 9.18.59

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24 envisioning experience smart bath: emotional design softens user experience solutions sound ecologically development sustainable honest genuinity adaptation renewability, needs, accommodation to user evolution the idea of the fi nal design concept that would be based on the contrasts between soft soft between high-tech elements. andsharp natural shapes contrasts the on based be would that concept fi design the nal of idea the with up ended water-inspiredwe Bycombiningthe “high-tech”withdetails, elements visual auehi-tech nature genuine warm organic varied private intimate adjectives glass plastic steel ceramics wood stone materials authentic naturevs. hi-tech sleek clear transparent light simple spacious immaterial glass ceramic fiber carbon titanium steel stainless plastics materials artificial adjectives technical regular sharp sterile cold accurate precise minimalist forms materialsnew wall mounting solutions technical new automation intelligence 18.8.2003, 9.19.00 Empathic Design -kirja0.997.indd 25 The most natural method for a designer is to try different things to quickly make quickly to things different try to is designer a for method natural most The summer experience. simp This wall. shower rock-shaped the behind invisibly placedbe thatheatingelements would of idea tothe lead Thismemory swimming. after wall rock soft-formed warm a against leaning of feeling pleasant the and summer, in For instance, viewing the images of softly formed rocks brought up the memory of swimming idea is often fi experience turns into functions memories ofearlierexperiences. conclusions from subjective experience. Before any practical experimenting, an experimenting, practical any Before experience. subjective from conclusions rst developed by imagining and freely associating several ideas and le solution recreated part of the pleasant pleasant the of part recreated solution le 18.8.2003, 9.19.00

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26 envisioning experience smart bath: emotional design softens user experience The product concepts were mainly creations of the designers’ intuition and oc- and intuition designers’ the of creations mainly were concepts product The wall. A full-scale mock-up of the shower with changeable interface elements was elements interface changeable with shower the of mock-up full-scale A wall. usability testing concentrated on the most complex of the products, the shower the products, the of complex most the on concentrated testing usability could emptied atofabutton. be the push ficontainer a on based was thatwatercold function or other Thehot with wall. showerlled the against fl leaning the while enjoy watercould “waterfall,” of one the ow in example, For bathroom—but inahotel. perhaps home their in have to like would they function a it consider not did they Still, function. the tofland off tocool you waterupon of buckets pour away),weretheyinterestedsoap ush in you saunas, traditional (in them to metaphor sauna water the explained coldwe After themselves. pouring on of point the see not could non-Finns Similarly, water. of waste a and People countries from with less water consideredreserves most useless of the new functions then taken through a series of tasks, based on different user scenarios. The actual The scenarios. user different on based tasks, of series a through taken then idea validationidea built for testing. The other two products were presented as concepts in interviews only. ainl hm dsusos ih sue ues T gt mr ojcie view, objective more a get To users. assumed with discussions theme casional gave cleardirectionsforplacinganddesigningthecontrolelements. a group of ten foreign and Finnish design students were fi were students design Finnish and foreign ten of group a The tests helped us to evaluate the early design decisions. In particular, they particular, In decisions. design early the evaluate to us helped tests The The shower wall is a large product with several new functions unfamiliar to test persons. to testpersons. unfamiliar functions withnew several large The is showera product wall rst interviewed, and interviewed, rst 18.8.2003, 9.19.01 Empathic Design -kirja0.997.indd 27 The pleasant surroundings for play and relaxation. It brings a touch of nature into into nature of touch a brings It relaxation. and play for surroundings pleasant personal play with water, and the sophisticated technology that enables the new the enables that technology sophisticated the water,and with play personal philosophy combinesthetwooppositefacetsofconcept:naturalandvery functions. natural forms shaped by water. The faucets, user interfaces and accessories are accessories and interfaces user faucets, The water. by shaped forms natural designed to refl to designed fi bathing intermsoffunctions,shapesandmaterials. nal concept The form language of the bathroom porcelain is based on simple and organic and simple on based is porcelain bathroom the of language form The Smart Bath Smart control for temperature temperature display release waterfall nozzle rainfall shower nozzle handheld showernozzle ect the high-technology behind their functions. Thus, the design the Thus, functions. their behind high-technology the ect bathroom is not simply for daily hygiene, but it should also offer also should it but hygiene, daily for simply not is bathroom the interface oftheshower temperature selection pause control for water bucketful release bucketful for the bucketful 18.8.2003, 9.19.01

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28 envisioning experience smart bath: emotional design softens user experience the top of the wall, there is a shower plate, which creates two different shower patterns: the differentpatterns: shower creates two which plate, shower a thereis wall, the of top the heating elements that of the makewa the surface are there wall, the Behind it. into integrated features extra are shower,there hand ordinary wall shower The the basin, and the interface is andthe large interface the enough basin, to operated by be foot. flwaterthe starts automatically over projection the intointegrated is interface ow. user The conveniently by stepping into the basin, or while sitting on a chair. Putting feet into the basin The foot bath water of over pouring bucketful oneself a fl big of one in enjoyor the effect ush. heat the against leaning function: waterfall the spray with larger drops to simulate rain. Below the shower plate, there is an aperture provide a for nozzles surrounding the spray,and normal a providesplate the centerof the in nozzle is a floor-installed basin meant for rinsing and washing feet. Feet can be washed is a large element embedded in the installation wall. In addition to an an to addition In wall. installation the in embedded element large a is ed wall and having water run down the wall, wall, the down run water having and wall ed ll warm enough toll warm lean on comfortably. At 18.8.2003, 9.19.01 Empathic Design -kirja0.997.indd 29 18.8.2003, 9.19.04

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30 envisioning experience smart bath: emotional design softens user experience 18.8.2003, 9.19.05 Empathic Design -kirja0.997.indd 31 there is that aspotlight upthe basin. lights water is emitted similarly to drinking fountains. On the bottom of the ring around the faucet, cold of jet a which from hole a thereis faucet, the of top On mode. hands-free the override faucet detects the presence of hands held under it, but a manually controlled single lever can hybrid electronic The clean. to easy is surface basin the Therefore, element. washbasin the repairdetach, fi orreplace. Allthe pipes, equipment andelectronic are behind located ttings Faucet Electronic The give adoseoflight treatment whilebathing. year,the to of and time dark the during experience up waking smooth a offer to is idea The flthe from ceiling. the tostarting sunrise, ascends a it mimicking brighteras getting and oor Wall. Light The One of the bathroom walls is a large light element. The light turns on by on turns light The element. light large a is walls bathroom the of One is fastened to fastened is the washbasin the with a bayonet lock making it is easy to easy is it making lock bayonet a with 18.8.2003, 9.19.07

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32 envisioning experience smart bath: emotional design softens user experience “tested,” thedesignercreatesageneralizedperspectiveofbathing. There is a loop in which the hand informs the eye and the experiencing body.experiencing the and eye the informs hand As the which in loop a is There The most critical question of the of question critical most The professional. Also, the very design process increases the designer’s understanding. be interesting be features directly from users is diffi in mind that designers are fallible. How could we have foreseen what a Mexican a what foreseen have we could How fallible. are designers that mind in subse- to sketches early from representations concrete into transferred are ideas interesting his needs and experience, it is likely that there are other people who also fi also who people other are there that likely is it experience, and needs his the future. On the other hand, people tend to refer to solutions they already know. represent the “ordinary user,” but they have the broad perspective of a trained a of perspective broad the have they but user,” “ordinary the represent designers as representatives as designers ofusers—oruser-centered design? do we fi Old solutionsdonotgeneratenewideas. could try them out, and comment on them rather than imagine solutions by them- un high-fi quent selves. Thus, it was critical to come up with a large number of ideas that ideas of number large a with up come to critical was it Thus, selves. such person as “a future user” who could reliably answer questions concerning questions answer reliably could who user” future “a as person such user thinks about the waterfall function, so natural to Finns? Perhaps design is design Perhaps Finns? to natural so function, waterfall the about thinks user best seen as an exercise in which the designer combines his imagination with a Smart Bath Smart user-informedconfi to understanding In fact, designers can imagine the needs of many kinds of users. They do not do They users. of kinds many of needs the imagine can designers fact, In However, if one proceeds in such a designer-centered way, it is crucial to keep nd the features future users will be interested in?” Asking about desirable imagination? delity prototypes, and as these representations are evaluated and and evaluated are representations these as and prototypes, delity for a larger group of users. If a designer creates a concept based on based concept a creates designer a If users. of group larger a for was an attempt to create alternative solutions for bathing. Users bathing. for solutions alternative create to attempt an was cult in many ways. On the one hand, there is no Smart Bath Smart dently rule out some products of his of products some out rule dently concept design project was: “How was: project design concept might nd it nd 18.8.2003, 9.19.12 Empathic Design -kirja0.997.indd 33 18.8.2003, 9.19.12

33 Empathic Design -kirja 0.997.indd 34 18.8.2003, 9.19.12 1 empathy in design

Ilpo Koskinen & Katja Battarbee Introduction to User Experience and Empathic Design

Jane Fulton Suri Empathic Design: Informed and Inspired by Other People’s Experience

Ilpo Koskinen Empathic Design in Methodic Terms

Empathic Design -kirja 0.997.indd 35 18.8.2003, 9.19.12 Empathic Design -kirja0.997.indd 36

36 1: empathy in design 18.8.2003, 9.19.12 Empathic Design -kirja0.997.indd 37 it at ok, hlspia wrs ad rfs rdcs s unifi as products crafts and works, philosophical works, art lists press, designed for Alessi by Philippe Starck. Being practically unusable makes it following example gives an idea of how the refl the how of idea an gives example following individuals,” and therefore “cannot be designed for subjective differentiation of of differentiation subjective for designed be “cannot therefore and individuals,” tion, but in ordinary contexts, it can be used as a tool. An analysis of the object the of analysis An tool. a as used be can it contexts, ordinary in but tion, refl is, that meanings, their of terms in relate we which to taste.” merely operatively. merely be translated into economic values. Consider a design icon, the Juicy Salif lemon Salif Juicy the icon, design a Consider values. economic into translated be easy to see as an object of art. In a museum, it becomes simply an object of refl of object an simply becomes it museum, a In art. of object an as see to easy selves to them, and relate to these unifi these to relate and them, to selves so designed that they are “acceptable and enjoyable to a very large number of of number large very a to enjoyable and “acceptable are they that designed so of a a of that can be easily perceived in a product of labor that is wholly the work work the wholly is that labor of product a in perceived easily be can that Markets have certainly understood the need for more personal products. The products. personal more for need the understood certainly have Markets Simmel noted that industrial products “lack the spiritual determinacy determinacy the spiritual “lack products industrial that noted Simmel single 4 In contrast, some products still have a personality: we can project our- project can we personality: a have still products some contrast, In In his his In Ilpo KoskinenandKatjaBattarbee and empathicdesign userexperience introductionto person.” When produced in large quantities, products have to be be to have products quantities, large in produced When person.” hlspy f Money of Philosophy , the sociological classic Georg Georg classic sociological the , ed products on a personal basis. Simmel Simmel basis. personal a on products ed ective qualities of products can products of qualities ective ectively, rather than than rather ectively, e products ed ec- 5

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38 1: empathy in design introduction to user experience and empathic design There is a social basis for such attitude towards objects and experiences. In terms In experiences. and objects towards attitude such for basis social a is There world. This group is now large enough to change the landscape of consumption of landscape the change to enough large now is group This world. functionality, from material and immaterial products. They make sense of them- of sense make They products. immaterial and material from functionality, from a functional to a refl a to functional a from history and philosophy. The possibilities do not end there: the Starck squeezer Starck the there: end not do possibilities The philosophy. and history through design objects, fashion and art. They seek experiences and stories, not stories, and experiences seek They art. and fashion objects, design through tory, artistic aims and training). It is also possible to analyze the company in terms refl depending ontheestimate. major cities in the world, there are streets and neighborhoods that live off selling off live that neighborhoods and streets are there world, the in cities major of designVictor Margolin says: of Helsinki, close to 40% of all business either sells or produces signs and experi- and signs produces or sells either business all of 40% to close Helsinki, of of these “culturally creative” people to be around 50 million worldwide. million 50 around be to people creative” “culturally these of of its products, product trends, and the position of the product in the company’sthe in product the of position the and trends, product products, its of of consumption, globalization has created an increasingly wealthy, new middle new wealthy, increasingly an created has globalization consumption, of ences. Worldwide, the value of the luxury sector alone is 60—110 billion euros, billion 60—110 is alone sector luxury the of value the Worldwide, ences. can be related to the art world; for example, design movements as a context, mu- context, a as movements design example, for world; art the to related be can kinetic and colors, contours, form, shape, example, (for product the on focus can class group that was initially situated in the largest and wealthiest cities of the of cities wealthiest and largest the in situated initially was that group class qualities and tactile qualities), but also on the designer (e.g., other products, his- products, other (e.g., designer the on also but qualities), tactile and qualities signs rather than ordinary goods. ordinary than rather signs selves and as others in terms of the products they have and carry. seums, exhibitionsandawards. exive consumers who seek to semiotize their world, and build their identities their build and world, their semiotize to seek who consumers exive Existing evidence suggests that changes in investment goods follow suit. The suit. follow goods investment in changes that suggests evidence Existing Depending on the product and the customer, these objects are means for those We need to be aware that the operative parameters of a product differ way we choose, whether we focus on its operative value, its poetic its value, operative its on focus we whether choose, we way from its refl its from in varyingdegrees. awareness their in present be will and individual every to important refl ration of the product itself. We cannot do more with the product than this confi this qualities, or its social signifi ection. We can think of having feelings about a product in any in product a about feelings having of think can We ection. guration allows. But there is no limit to the parameters for parameters the to limit no is there But allows. guration ective parameters. The former are limited by the confi the by limited are former The parameters. ective 7 ective direction. ective 11 10 cance. These qualities will not be equally For example, in the Punavuori neighborhood Punavuori the in example, For 8 A recent study estimated the number the estimated study recent A 6 As the historian gu- 9 In all In 18.8.2003, 9.19.12 Empathic Design -kirja0.997.indd 39 Against this background it is understandable that translating experiences and and experiences translating that understandable is it background this Against There are lots of bugs, incomplete features, and usually the technology is expen- is technology the usually and features, incomplete bugs, of lots are There purchasing decisions are supposed to be based on rational grounds only,brands grounds rational on based be to supposed are decisions purchasing In non-consumer products, aesthetics and signs play a less prominent role, but role, prominent less a play signs and aesthetics products, non-consumer In form toelusiveexperiences. design for userdesign experience: legislators and interpreters man notes, in its early phases, no technology can meet all the needs of its users. its of needs the all meet can technology no phases, early its in notes, man equipment training high-tech Finnish manufacturer hasthefollowingtosay: a Electro, Polar of manager marketing by his work, but also by the outlook of his offi his of outlook the by also but work, his by experiences, notanadventurewithtechnology: example, designers are asked to translate emotions into products—to give tangible For scene. design the of feature important an become has products into emotions convenience, and ease-of-use with low price and reliability; that is, positive user positive is, that reliability; and price low with ease-of-use and convenience, are willing to suffer inconvenience and a high price. However, later users seek users later However, price. high a and inconvenience suffer to willing are who people, technology-oriented Typically,are it. they in opportunities see and and userexperienceshavebecomeanimportantfactor. signifi still are sive because of small manufacturing batches. The early users enjoy this openness only not dentist a judge patients instance, For judgments. consumer to subject There are solid reasons for such development. As the psychologist Donald Nor- In its early days, a technology cannot meet all the needs of its its of needs the all meet cannot technology a days, early its In you sell fashion that changes several times a year. You have to be to have Youyear. a times several changes that fashion sell you Our advantage has been technological. Competitors have chosen chosen have Competitors technological. been has advantage Our has changed. Today, sports shops are largely clothing shops in which technology, and they are willing to suffer inconvenience and high high and inconvenience suffer to willing are they and technology, our products as devices for physical workout, but the sports market sports the but workout, physical for devices as products our cost to get it. Meanwhile, they keep demanding better and better better and better demanding keep they Meanwhile, it. get to cost the need adopters, early the adopters, Leading-edge customers. be careful that our products look good… Previously, customers saw Previously,customers good… look products our that careful be either design or price, or both as their strategy.their to as However,have both we or price, or design either able toreactthatmarket. cant. Some professional services are supported by technology,by and supported are services professional Some cant. 12 ce. Even in heavy industry,where heavy in Even ce. 13 18.8.2003, 9.19.13

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40 1: empathy in design introduction to user experience and empathic design As several writers have argued, people are not puppets who use a thing as if they if as thing a use who puppets not are people argued, have writers several As This argument has important implications for design. We can follow sociologist follow can We design. for implications important has argument This were following a script. who know better, it has become more common to characterize design as an inter- an as design characterize to common more become has better,it know who Zygmunt Bauman. Zygmunt user experiences into the design process. Instead of seeing designers as legislators pretive profession. An alternative is slowly gaining ground: interpretive research interpretive ground: gaining slowly is alternative An profession. pretive intervene with experience. Once we have learned to value things in certain ways, certain in things value to learned have we Once experience. with intervene creations these However, literature. by assisted is it sometimes minds; our in is refl such Sometimes them. about discussing and thinking acting, by ings know better; interpreters provide people with the means to understand and relate have lost much of their centrality. The demand for authoritative expertise has has expertise authoritative for demand The centrality. their of much lost have that resemblesqualitativeresearchinthehumansciences. themselves the changes. There is less need for legislators and more for interpreters their opening by but instructing, by not people empower Interpreters others. to to changing societies by interpreting these changes: experts legislate because they products experience in maintain that designers are changing from legislators to interpreters who mediate eyes tosocialopportunities. Today,state. the of erosion the with eroded relate to means provide professionals as traditional sources of power have eroded in signifi Bauman claims that in such situations, the way in which professionals see see professionals which in way the situations, such in that claims Bauman market as the product matures. In the early phases were the early early the were phases early the In matures. product the as market reliability… When the technology reaches the point where it satis- it where point the reaches technology the When reliability… fi lmu. o csoes ek effi seek customers Now glamour. to becomereliable. itself, prove to technology the for waiting back, held customers tive technology, higher and higher performance. With time, the technol- the time, With performance. higher and higher technology, ogy matures, offering better performance, lower price, and higher higher and price, lower performance, better offering matures, ogy convenience. Moreover, new kinds of customers keep entering the the entering keep customers of kinds new Moreover, convenience. because they felt the benefi the felt they because adopters, whose who were willing to gamble on the new technology technology new the on gamble to willing were who whose adopters, es basic needs, then improvements in the technology lose their their lose technology the in improvements then needs, basic es 15 As the importance of consumers has increased, nation states nation increased, has consumers of importance the As 16 Instead, people 14 ts far exceeded the costs. More conserva- More costs. the exceeded far ts

ciency, reliability, low cost, and and cost, low reliability, ciency, interact with products, and create mean- cance. In terms of design, we ection 18.8.2003, 9.19.13 Empathic Design -kirja0.997.indd 41 ennfl associations Meaningful living objects living utilitarian and fi and utilitarian useful thingsbecausetheymakeourliveeasier. utilitarian features. utilitarian proposes thatproductscanprovidefourkindsofpleasure: Several studies have pointed out that experiences with most products have have products most with experiences that out pointed have studies Several for basic needs such as communication, shelter and managing everyday life. life. everyday managing and shelter communication, as such needs basic for jects communicate past memories and associations to us, while some others get get others some while us, to associations and memories past communicate jects fade with changes in life. Living objects are generally irreplaceable: their loss is is loss their irreplaceable: generally are objects Living life. in changes with fade Experiencing Products: Source, Intensity andDirectionofExperience Intensity Source, Products: Experiencing ing atmoretheoreticalmodelsofexperiencewithproducts. in real human relationships, by effort and engagement, but eventually will also also will eventually but engagement, and effort by relationships, human real in new thoughts, conversations and valuations relate not only to the product, but to but product, the to only not relate valuations and conversations thoughts, new h fi the meaning from their personal and experience values, intrinsic qualities, style and and style qualities, intrinsic values, experience and personal their from meaning mourned. of terminology and analytic commitments. However, on closer inspection, a few a inspection, closer on However, commitments. analytic and terminology of terms in vary models the Consequently, design. and marketing psychology,ogy, our previousthoughts. objects from 113 consumers. consumers. 113 from objects common threads arise from these analyses. We analyze three of these before look- before Wethese analyses. of these three from analyze arise threads common fet h vle e ie o products. to give we value appearance the and affect identity ties, interpersonal enjoyment, values, utilitarian and and secret meanings. They also relate to our identity and sense of style. With style. of sense and identity our to relate also They meanings. secret and self, immediate family, kin and friends, their spiritual value increases. Some ob- Some increases. value spiritual their friends, and family,kin immediate self, showed how are objects used to the self.” “cultivate When are products to related • Sociopleasure is derived from relationships to other people: family,people: other to relationships friends, from derived is Sociopleasure • Physiopleasurerelatestothesensesandbody. • Jordan presents a three-layer model of product requirements for designers: designers: for requirements product of model three-layer a presents Jordan How are objects made meaningful? As Richins argues, in addition to fi in addition argues, As Richins meaningful? made objects are How Models of user experience have their origins in a variety of disciplines—sociol- rt su i fntoaiy floe b uaiiy n fi and usability by followed functionality, is issue rst but also colleagues, the community and society at large, and ranges from ranges and large, at society and community the colleagues, also but symbolizing friendshiptostatus issues. , the sense of attachment grows over time and is strengthened, as as strengthened, is and time over grows attachment of sense the , nancial values. nancial 19 Battarbee and Mattelmäki and Battarbee remind us of persons, places, emotional experiences experiences emotional places, persons, of us remind ennfl tools Meaningful 17 Expensive objects are valued for their price and price their for valued are objects Expensive 18 Csikszentmihalyi and Rochberg-Halton Rochberg-Halton and Csikszentmihalyi 20 are replaceable. They provide provide They replaceable. are collected stories of meaningful meaningful of stories collected nly pleasure. nally nancial nancial 21 He He 18.8.2003, 9.19.13

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42 1: empathy in design introduction to user experience and empathic design Apparently, most products in human lives are simply background objects. In terms Apparently, people actively create meanings to objects in their ordinary lives. lives. ordinary their in objects to meanings create actively people Apparently, life, perhaps to reappear later. The product relationship wanes. If Rhea is correct, is Rhea If wanes. relationship later.product reappear The to perhaps life, progresses. Initial involvement with the product may lead to engagement: some products are products some engagement: to lead may product the with involvement Initial is tied to the involvement with the product; involvement increases as the list list the as increases involvement product; the with involvement the to tied is Mostly, these meanings have mundane grounds: when people use things, they they things, use people when grounds: mundane have meanings these Mostly, h bcgon t te nesv, u my ae eea, fe cnrdcoy di- contradictory often several, have may but intensive, the to background the The once. perhaps used is former The childhood. of animal stuffed loved the to rections. As Rhea As rections. designers need to pay attention to the ways in which the product experience experience product the which in ways the to attention pay to need designers memory ofthelatterfollowsusthroughourwholelife. make observationsofthem,andthinktalkaboutthem. aeil niomns o vi sm o te osbe ifls f has cyclical Rhea’s of pitfalls possible the of some avoid to environments material of emotional importance, there is a long way from the humble, unused egg-boiler unused humble, the from way long a is there importance, emotional of evolves. However, it is important to situate experiences into both social and and social both into experiences situate to important is it However, evolves. user’sthe leaves product Finally,the product. the to committed become may ers us- accumulate, product the with experiences As not. are others while engaging classifi • Ideopleasure is linked to people’s values, including things such as ecologi- as such things including values, people’s to linked is Ideopleasure a with experiences • emotional and cognitive to relates Psychopleasure • Ojcs f emotions of Objects • identity of Expressions • Enhancersofexperience • Mediatorsofinteractions • products Background • A useful analysis on the intensity of experiences is provided by Holman, who Holman, by provided is experiences of intensity the on analysis useful A It should be remembered that meaning creation is not unidirectional, from from unidirectional, not is creation meaning that remembered be should It ed the roles of products by emotional associations. Emotional intensity intensity Emotional associations. emotional by products of roles the ed product. person. provide sensoryandaestheticsatisfaction. majority ofobjectshavethisrole. cal awarenessandtheappreciationofarts. 22 23 argues, the relationship with a product develops over time. over develops product a with relationship the argues, . Some objects substitute (human) relationships, and and relationships, (human) substitute objects Some . . These products exist in the scene of events. The The events. of scene the in exist products These . . Objects of style and status, and things made by the by made things and status, and style of Objects . . Essentialforortofacilitateperformance. . Theyarereasonsforinteractiontooccur. 18.8.2003, 9.19.13 Empathic Design -kirja0.997.indd 43 There is at least one model of product experience that looks at the very founda- very the at looks that experience product of model one least at is There There is dialectic of the background understanding and the on-going interpreta- on-going the and understanding background the of dialectic is There we walk around a house, it is constituted in our understanding differently as a as differently understanding our in constituted is it house, a around walk we fi movie “Godfather,”the the watching while User Experience as a Lived and Storied and Lived a Phenomenon as Experience User poral rim around an experience. Experiencing Experiencing experience. an around rim poral pre-experiences are reasons for mixed feelings, such as simultaneous joy and and joy simultaneous as such feelings, mixed for reasons are pre-experiences function of time. When in action, we face our environment as indeterminate, in indeterminate, as environment our face we action, in When time. of function ized in the user’s head.” People relay the salient parts of an experience to another, it quickly. Finally, they may take backward steps in the cycle. Cyclical models can narrated experiencesmaymigrateintoasubconsciousone. know what to look for and how to feel while watching the movie. Often, these these Often, movie. the watching while feel to how and for look to what know has affi think about what we are doing.” Some experiences are lifted from the stream of stream the from lifted are experiences Some doing.” are we what about think o o o e te fi the see to go to the following morning. Our sentiment towards it depends on whether we see it it see we whether on depends it towards sentiment Our morning. following the the making,ratherthanasaready-madeconstruct. when this: than active more are experiences Most situation. current the of tion tions of meaning-creation instead of classifying already crystallized and nameable disappointment. There is also “ disappointment. making the experience a personal story, “an experience” instead of just subcon- just of instead experience” “an story, personal a experience the making model. Objects may enter the cycle from several points. several from cycle the enter may Objects model. become a target of cognitive attention and thought, if experience “requires us to us “requires experience if thought, and attention cognitive of target a become experience through narratives that “represent experiences that have been formal- been have that experiences “represent that narratives through experience products with interactions our of most that note They 1). (Figure state emotional experiences into categories. This model has its roots in pragmatic philosophy, and are automatic and fl current and experience, prior context, a in location on based affordances, and and sounds, and our minds with emotions; the theater has its smells and textures. account fortheselogicalpossibilitiesonlywithdiffi scious experience. scious stay in some category for relatively long periods of time, while others go through go others while time, of periods long relatively for category some in stay This perspective puts user experience into a temporal context. For instance, For context. temporal a into experience user puts perspective This In Forlizzi and Ford’sand model, Forlizzi In However, experience is more than this active fl active this than more is experience However, nities withphenomenologyandethnomethodological sociology. l, n ra aot t Bcue f hs “ this of Because it. about read and lm, 27 uent, or routinized. Such experience is subconscious, but can Experiences may migrate across these classes. For instance, For classes. these across migrate may Experiences post-experience: 26 the user interacts with some subset of features of subset some with interacts user the lls our senses with a fl a with senses our lls Godfather ” ” we can our discuss experiences ux of events. There is a tem- a is There events. of ux culty. 24 begins when we decide decide we when begins Some objects may also may objects Some pre-experience ux of images of ux 25 ,” we we ,” 18.8.2003, 9.19.14

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44 1: empathy in design introduction to user experience and empathic design towards empathic research design work takesplaceinthecompanyofothers.Instead,we co-experiencethingswith xeinestorytelling experience properly or they stand out for some other reason. For instance, when a piece of piece a when instance, For reason. other some for out stand they or properly function not do things when objects with dialogue creative a into enter people process mayleadtoscientifi If we want to understand how products participate in our activities in operative in activities our in participate products how understand to want we If for that matter. It is usually a bulletin board-like combination of lived experience lived of matter.combination that board-like for bulletin a usually is It ing cup of coffee. We build these experiences sometimes alone, but much of this of much but alone, sometimes experiences these Webuild coffee. of cup ing terms, we can proceed with observations and other “objective” data sources. data “objective” other and observations with proceed can we terms, his murders character central the which in movie a about think to What terms. rivalry and death wish. A more modest alternative is to think about it in moral moral in it about think to is alternative modest more A wish. death and rivalry method for shaving, watching the game, or making the early-morning eye-open- early-morning the making or game, the watching shaving, for method own brother? others equipment breaks down, it is the time to become creative: we have to fi contrast, if we want to make sense of how products enter our minds in refl in minds our enter products how of sense make to want we if contrast, and refl sibling of allegory psychoanalytic a or America, of allegory an story, mob a as and Ford note, meta-experiences can be subjected to thinking, discussion, writing, storytelling and other forms of secondary activities. Ultimately,constructive activities. this secondary of forms other and storytelling We may eventually form a “meta-experience” a form eventually may We in situ ection rather than a researcher’s bird’s-eye-like coherent version. Typically, sub-consciousness , 29 fi and in elaborating experiences in stories afterwards. gure and 1.forlizzi ford user on experience cognition c andartisticinventions. an experience meaning 28 narrative of the movie—or of our home, our of movie—or the of storytelling 30 experience As Forlizzi nd another ective 31 In 18.8.2003, 9.19.14 Empathic Design -kirja0.997.indd 45 designer- centred design We can use the following fi following the use can We pathy.” provide a bird’s-eye view into the methods used by designers to get an insight of insight an get to designers by used methods the into bird’s-eyeview a provide it. When we talk about empathy, we refer to the third of these meanings: “empa- meanings: these of third the to refer empathy,we about talk we When it. terms, we need to understand how people themselves experience them. Wethem. need experience themselves people how understand to need we terms, thy” is an imaginative projection into another person’s situation. It represents an represents It person’ssituation. another into projection imaginative an is thy” recon- which taking, role denotes it Thirdly, cause). its to response other’s the design object, environmentorserviceinthesituationwhich heorsheusestheobject. empathic understandingoftheuser. emotions. Secondly, it may mean mimicry of gaze (i.e., transfer of attention from attention of transfer (i.e., gaze of mimicry mean Secondly,may emotions. it attempt to capture its emotional and motivational qualities. The key to empathic to key The qualities. motivational and emotional its capture to attempt structs in the imagination aspects of the other’s situation as the other “perceives” other the as other’ssituation the of aspects imagination the in structs The Cambridge Dictionary of Philosophy of Dictionary Cambridge The To make empathy a design tool, it has to be translated into a set of methods. of set a into translated be to has it tool, design a empathy Tomake 33 32 fi is an understanding of how the user sees, experiences and feels some feels and experiences sees, user the how of understanding an is gure methods research radar 2.thedesigner’s ofdesign First, it denotes automatic mimicry of expressions or manifestations of manifestations or expressions of mimicry automatic denotes it First, imagined 3 2 1 gure, which we shall call the “Designer’s Radar,” to Radar,”“Designer’s the call shall we which gure, represented gives three basic meanings to “em- to meanings basic three gives 5 4 6 experienced depth ofcontext 7 8 9

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46 1: empathy in design introduction to user experience and empathic design There are risks in such a blatantly designer-centered approach. When imagina- When approach. designer-centered blatantly a such in risks are There Typically, designers rely on group techniques such as brainstorming, Edward de Edward brainstorming, as such techniques group on Typically,rely designers legislators: they treat the users’ understanding with suspicion because they know because with suspicion they treat the understanding users’ legislators: tions pirical researchthatisanalyzedandprocessedintodesign proposalsinteams. Bono’s Six Thinking Hats and future laboratories, as well as on building mood- building on as well as laboratories, future and Hats Thinking Six Bono’s In this approach, users are little more than a source for ideas. Designers act as as act Designers ideas. for source a than more little are users approach, this In Inspiration forbuildingthesecomesfromavarietyofsources. integrated into these. Second-hand user research with documents and statistics and documents with research user Second-hand these. into integrated stances that are less productive. A professional who is deeply knowledgeable of materi- of knowledgeable deeply is who professional A productive. less are that diffi is it imagination, on builds tion the fi there side, left-hand the On dimensions. two has model This 2). (Figure user the right-hand side of the fi the of side right-hand development. better. boards, styleboards and constructing scenarios to make sense of future products. future of sense make to scenarios constructing and styleboards boards, and studies are increasingly utilized in design. Up-to-date design methodology consists of em- user. typical a from far is ergonomics and aesthetics techniques, production als, the on placed are practices User-centereddesign designer-centeredpractices. are mr spitctd eso i bsd on based is version sophisticated more A The leading design practice has gone beyond the designer-centered approach, designer-centered the beyond gone has practice design leading The Traditionally, design has been based on based been has Traditionally,design gure. (cells 4—6). For instance, scenarios have become part and parcel of product of parcel and part become have scenarios instance, For 4—6). (cells 35 used fi new image. n qetos “h i te il ern ti outfi this wearing girl the is “Who questions: ing helped him to create an entire world and make the hundreds of of hundreds the make and world entire an create to him helped [The fashion designer Tom] Ford began to develop his own style… He do? Where is she going? What does her house look like? What kind of thousands of decisions he needed to make in order to shape Gucci’sshape to order in make to needed he decisions of thousands car does she drive? What kind of dog does she have? This approach This have? she does dog of kind What drive? she does car assistants… He began to ask himself and his design team the follow- the team design his and himself ask to began He assistants… (in the Designer’s Radar, cells 1—3). This practice can be a team effort. team a be can practice This 1—3). cells Radar, Designer’s the (in real users in real circumstances lms to inspire him and to communicate his ideas to his design 36 emok ehd ad oytrig techniques bodystorming and methods Teamwork 34 gure. Empathic design practices are at the lower right in right lower the at are practices design Empathic gure. cult to sort out productive ideas from those those from ideas productive out sort to cult (cells 7—9). At the user-centered end imagined users in imagined circum- imagined in users imagined sr representations user t Wa de she does What t?

37 n el situa- real in have been been have 18.8.2003, 9.19.14 Empathic Design -kirja0.997.indd 47 A designer can always be user-centered and still choose to act as an outsider, as is There is no role immersion; what takes place is checking data through an existing little access to an essential facet of human behavior: feelings. behavior: human of facet essential an to access little understands herselfasaninterpreter. people, asks questions, and checks the results against what is known previously.known is what against results the checks and questions, asks people, in check with empirical data. empirical with check in niques that provide designers access to how users experience their material material their experience users how to access designers provide that niques her to choose between hunches and concepts. In Zygmunt Bauman’s imagery, she the research practice in ergonomics and cognitive science. The designer observes designer The science. cognitive and ergonomics in practice research the tered methods. tered role immersion, role methods havebeendevelopedtoovercomethesediffi making designcommitments: best at workplaces—that is, in fairly structured environments. Empathic design Empathic environments. structured fairly in is, workplaces—that at best body of knowledge. Typically, this body of knowledge comes from ergonomics, from comes knowledge of body Typically,this knowledge. of body of the model, the designer studies real users and tries to understand them before them understand to tries and users real studies designer the model, the of everyday lives. In empathic design, the designer has to go through some degree of creates more than inspiration: it also creates an empathic understanding that helps ontv egnmc, ersis n sblt eauto, n ohr expert-cen- other and evaluation, usability in heuristics ergonomics, cognitive surroundings and the people in it, including themselves as key characters of their • Ethnographic research based on observations and interviews has become become has interviews and observations on based research Ethnographic • • Designers may also participate in the lives of the people they study. They study. they people the of lives the in participate also may Designers • • Designers may also opt for role immersion. In that case, they create an un- an create they case, that In immersion. role for opt also may Designers • hn e ak bu “mahc ein” e en miia rsac tech- research empirical mean we design,” “empathic about talk we When video-based observations of how people use prototypes of future products future of prototypes use people how of observations video-based (cell 8). learn to see the world in a similar way as the peopleshe studies.Empathic in asimilarwayas world the see learn to understanding iskeytodesign,notdataassuch(cell9). just an observer. an just derstanding of the users’ world by entering it “as a user” rather than being than rather user” a “as it entering by world users’ the of derstanding a sao a wl a itree a i uig h “ai thing,” “magic the using in as intervene, as well as shadow may common practiceinmoreadvancedcompanies(cell7). 41 However, as Segal and Fulton Suri note, these methods provide methods these note, Suri Fulton and However,Segal as and an attempt to seriously keep her data-inspired imagination data-inspired her keep seriously to attempt an 40 By participating in the life context of the user, she can she user, the of context life the in participating By 43 Research inevitably inspires her,research inspires her inevitably but Research culties. 38 42 Also, they work they Also, 39 r in or 18.8.2003, 9.19.15

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48 1: empathy in design introduction to user experience and empathic design research in research the social sciences fi technology gure 3. the fuzzy frontgure 3.thefuzzy endactivities: research concept and search concept design reportinginspirational • interpretation inductive • study explorative user • anopen indentifying • interpretation ofthe users material with an question concept search • specifying suggestions: suggestions: specifying • concepts evaluating • gathering andmodelling • concept problem specify • information andmarketing technology withintegrating design into data conceptsuser concept design product design 18.8.2003, 9.19.15 Empathic Design -kirja0.997.indd 49 We divide these early phases into two types: concept search and concept design. concept and search concept types: two into phases early these Wedivide whether technological or research on humans, designers do not have to conform to have not do designers humans, on research or technological whether Figure 3situatestheseconceptsintoproductdevelopment. world. his sees user the how understand to crucial is it development, product process. pends on the fruitfulness of their work in design. An analysis of these data ought data these of analysis An design. in work their of fruitfulness the on pends Empathy is ubiquitous. However, empathic design methods require resources and Empathic design has its place in the product development process. It is not a a not is It process. development product the in place its has design Empathic investments, the place of empathic methods in the product development process development product the in methods empathic of place the investments, informed guesses about which alternatives to explore, and where to go in the the in go to where and explore, to alternatives which about guesses informed their ideas about future users concrete. Concept design, in contrast, starts in a situ- to the user’s perspective is most valuable in the fuzzy front end of the design design the of end front fuzzy the in valuable most is perspective user’s the to theoretical development of these sciences, but to create viable products, concepts and conceptual the to contribute to not is aim designers’ The sciences. social the from and technology from frameworks conceptual art the of state on based be to de- work their of validity the disciplines: these of requirements validity the to research, basic from materials using When development. technology or theory design. in activities end front fuzzy essential the are phases Together,two design. these empathy process thedesign in methods work best in concept search, which we see as preparation for concept for preparation as see we which search, concept in best work methods early,the is methods these for place best the Wethat questioned. suggest be must conceptual part of the product development process. In particular, empathic empathic particular, In process. development product the of part conceptual concept search is to understand how people might use future equipment, how they could be as short as possible. Therefore, it is closer to technology than concept than technology to closer is it Therefore, possible. as short as be could general solution to every possible problem in design. The value of having access having of value The design. in problem possible every to solution general ation in which it is already known that new products are needed. are products new that known already is it which in ation these of Toout processes. most development the product get new in adjustments and conceptportfolios. see themselves as users, and what makes their life sweet or sour, to paraphrase the search, whichisgearedtowardsthesocialandhumansciences. specifi With such practice, users have a say in technology development. The aim of aim The development. technology in say a have users practice, such With Still, concept search methods are geared towards product design, not towards not design, product towards geared are methods search concept Still, Concept search isdirectedtowardsstrategic management, andaimsatmaking process. design the of stages all at user the about think designers Clearly, es ideas for actual product design so that the actual product design phase design product actual the that so design product actual for ideas es 44 At this stage, the range of options for design is typically open. To make 46 45 This activity This 18.8.2003, 9.19.15

49 Empathic Design -kirja0.997.indd 50

50 1: empathy in design introduction to user experience and empathic design Latour puts the matter.the puts Latour not elements that guide people from a distance, as the French philosopher Bruno philosopher French the as distance, a from people guide that elements not ers may even become codesigner, participants and—ultimately—partners with a with and—ultimately—partners participants codesigner, become even may ers sociologist Everett Hughes. voice in those design processes in which our material future evolves. In a sense, a In evolves. future material our which in processes design those in voice companies and users innovate together on a continuous basis, commenting on each other’s turnsinadialoguewhichproductsarekeystatements. 49 Ultimately, as Sanders and Dandavate and Sanders Ultimately,as 47 Products become statements in a cultural dialogue, 50 have noted, us- noted, have 48 18.8.2003, 9.19.15

Empathic Design -kirja0.997.indd 51 Usually, I meet him in his lab where sighted people work too. This occasion was occasion This too. work people sighted where lab his in him meet Usually,I who hasaproblemwithdarkness!” in the pitch dark! Instinctively I was anxious for his safety, seeing him standing him safety,seeing his for anxious was I Instinctively dark! pitch the in my fi my learning was at an intellectual level. This fl there with the lights out. Then quickly it dawned on me—“Well no! No need for need No me—“Wellno! on dawned it quickly Then out. lights the with there to let me in. I looked up to see him waiting to greet me at the top of the stairs, but two-storey building. When I rang the bell he “buzzed” open the door from upstairs concern. This is a glimpse of his world. I’m just stepping into stepping just I’m world. his of glimpse a is This concern. raie atrad ta, n h mn peiu ocsos hd ace him watched had I occasions previous many the on that, afterwards realized I so we arranged to meet at his house one evening. He lives on the top fl top the on lives He evening. one house his at meet to arranged we so carefully and listened as he spoke of his experience of the designed world, my world, designed the of experience his of spoke he as listened and carefully frequently ask him to advise on design projects and to relate his own experiences. ful insight about aspects of design that will and won’t meet their needs. I I needs. their meet won’t and will that design of aspects about insight ful rst visit to his home. I wanted to learn about his use of kitchen appliances, kitchen of use his about learn to wanted I home. his to visit rst tools and equipment for people with low or no vision. He has wonder- has He vision. no or low with people for equipment and tools My friend Bill is blind. He works as an engineer modifying engineer an as works He blind. is Bill friend My Jane FultonSuri empathic design: by other people informed and inspired eeting visceral realization of the differ- ’ s experience his world. It’s world. oor of a of oor me

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52 1: empathy in design empathic design: informed and inspired by other people’s experience As designers, most of our work is about making things, not for ourselves or people We begin to behave as if other people’s behavior and experiences were phenomena we know,we live they experiences; different have people Other people. other for but problems arise when we assume that everyone else is just like us. Poor design Poor us. like just is else everyone that assume we when arise problems ferent cultures and environments, with different world-views and lifestyles, are lifestyles, and world-views different with environments, and cultures ferent However, we can make sense of this and design appropriately if we use our ability in other places, have other ideas and habits, other abilities and concerns, other concerns, and abilities other habits, and ideas other have places, other in is often the result of an assumption that other people will like what we like, do like, we what like will people other that assumption an of result the often is ideas. Yes, people do, say, think and feel different things and in different contexts. kind of objectivity more appropriate to understanding physical matter than people. how theirexperiencesmightbeenhancedbythingswedesignforthem? things forpeoplewemaynevermeet. to learn about, and identify with, their experience. Empathic design is about using know,will they round that the do; pulling we that way do, same we the as things to design things that will work for him and for other blind people. No, it is simply design for otherdesign people different from ourselves that we think of them as “them.” Sometimes when we when Sometimes “them.” as them of think we that ourselves from different me betterunderstandhis. our understanding to inform and inspire the creation of more useful and enjoyable observe, collect data and measure people’s diverse reactions to things, we adopt a expectations and preferences. How can we learn about what other people need people other what about learn we can How preferences. and expectations ences in our everyday realities had given me an experience of my own that helped Clearly, thisisnotthecase.Peopleareverydifferentinmanyways. and what they will enjoy? How can we know about what they currently do and do currently they what about know we can How enjoy? will they what and another person’s worldinapowerfullymemorableway. to sensitivity and imagination extended an awareness, greater achieving about quite divorced from our own. Clearly, this is not the case either. People from dif- from either.People case the not is Clearly,this own. our from divorced quite similar tousinmanywaysthatcanprovidewithimportant insights. leaves. fresh of them remind will green that on; machine the turn will switch This is not meant to imply that now suddenly I understand Bill or know how know or Bill understand I suddenly now that imply to meant not is This Empathic design is all about navigating the course between these extreme extreme these between course the navigating about all is design Empathic Sometimes it seems there is a paradox at play. On the one hand, many design many hand, one play.the at On paradox a is there seems it Sometimes On the other hand, many problems arise when we think of other people as so as people other of think we when arise problems many hand, other the On 18.8.2003, 9.19.16 Empathic Design -kirja0.997.indd 53 The longer I practice design, the more I am convinced that the most valuable learn- To return to the basic questions: how can we learn about what other people people other what about learn we can how questions: basic the to return To we experience tearful joy at witnessing a happy reunion, or sadness at a story story a at sadness or reunion, happy a witnessing at joy tearful experience we Like many people in our culture, my formal education placed higher value upon value higher placed education formal my culture, our in people many Like (and probe a little to understand why). This is our empathic imagination at work, at imagination empathic our is This why). understand to little a probe (and ues, priorities, preferences and inner confl inner and preferences priorities, ues, person’s feelings and viewpoint that we lose sight of other important issues. It is It issues. important other of sight lose we that viewpoint and person’sfeelings their expressions, outward their of observation upon based states inner people’s val- models, mental emotions, motivations, feelings—their and people’sthoughts prac- design human-centred by adapted, and adopted, been have psychology—all furrowed brow, we take this as an indication of some displeasure or frustration or displeasure some of indication an as this take we brow, furrowed is where empathy comes in. Empathy is our intuitive ability to identify with other ed wa te wl ejy wa te crety o n hw hi experiences their how and do currently they what enjoy, will they what need, things aboutpeople’s abilities,habitsandchoicesastheyrelatetodesign. behavior, of observation objective emphasize methods science-based These tice. experimental from techniques testing and analysis network social analyses, task received knowledge and objectively derived facts, than upon personal discovery.personal upon than facts, derived objectively and knowledge received how we learn might be enhanced? The human and social sciences offer many ways of learning of ways many offer sciences social and human The enhanced? be might making senseofotherpeople’s innerworlds. behavior. This life. their of part it make to want and it with fun have will they whether but observation with empathy of what people say and do. These are recorded and analyzed to reveal important reveal to analyzed and recorded are These do. and say people what of of loss. If we see someone react to our camera prototype with a grimace and a and grimace a with prototype camera our to react someone see we If loss. of ence. We need to know, not just whether people can use a camera, for example, for camera, a use can people whether just not know, to need We ence. essential tobalancesubjectiveempathywithobjective observation. are so important for designers to grasp, for it is these that make up people’s experi- cognitive and physical anthropology, from methods Ethnographic people. about To be really useful to design, observation is not enough. We cannot observe cannot We enough. not is observation design, to useful really be To We routinely make empathic inferences from such observations. This is why is This observations. such from inferences empathic make routinely We Empathy by itself can be a problem too, if we relate so strongly to another another to strongly so relate we if too, problem a be can itself by Empathy Wa I er I ogt Wa I e, rmme. ht d, under- I do, I What remember. I see, I What forget. I hear, I “What stand.” Lao Tse. icts. Yet, these subjective phenomena subjective these Yet, icts. 18.8.2003, 9.19.16

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54 1: empathy in design empathic design: informed and inspired by other people’s experience You will see, from the few examples below, that in all cases the value of these of value the cases all in that below, examples few the from see, will You with a few key individuals and contexts through observation. For example, in in example, For observation. through contexts and individuals key few a with understand their situation. One of the classic ways to do this is to become familiar pragmatic consequences for the design: larger wheels for better manoeuvrability,better for wheels larger design: the for consequences pragmatic It is much easier to get excited about designing for people once we know them and for themselves, rather than just be told about them. Through observation, we we observation, Through them. about told be just than rather themselves, for from evidenceandexperiencesthatcapturedesigners’imaginations. for most families, a trip with a stroller is not just a way to get from A to B, but B, to A from get to way a just not is stroller a with trip a families, most for Looking atWhatPeopleLooking Really Do ing occurs, not as the result of facts and objective data brought to the process, but process, the to brought data objective and facts of result the as not occurs, ing had children themselves—shadowed a few selected parents for a day and hung and day a for parents selected few a themselves—shadowed children had the child, using and practising language and social skills as they named and and named they as skills social and language practising and using child, the toddlers. to imaginenewandbetterpossibilitiesforpeople. to dothis: reacted tothingstheysaw and peopletheymetinthestreet. designing a new wheeled-stroller for children, the design team—none of whom of team—none design the children, for wheeled-stroller new a designing more space for storage. A deeper insight came from the empathic realization that realization empathic the from came insight deeper A storage. for space more methods dependsuponempathicinterpretationtobetrulyvaluabledesign. by design. Many parents and guardians were observed stooping to interact with interact to stooping observed were guardians and parents Many design. by become informed, and through empathy, the human connection, we are inspired are we connection, empathy,human through the and informed, become out near shops where they could see lots of parents struggling with babies and babies with struggling parents of lots see could they where shops near out ciples are embodied in design is for design teams to discover the signifi serves as a learning and bonding opportunity that could be much better supported • Trying things ourselves, to gain personal insights into the kinds of experi- of kinds the into insights personal gain to ourselves, things Trying • Asking people to participate, either by making records of their behavior and • or context natural current their in either do, really people what at Looking • Some discoveries were based purely on observation and had functional and functional had and observation on purely based were discoveries Some It seems to me that the most effective way to ensure that human-centred prin- human-centred that ensure to way effective most the that me to seems It Ranging from the more objective to more subjective, here are three useful ways with prototypesweexposetothem. ence othersmayhave. context, orexpressionsoftheirthoughtsandfeelings. cant issues 18.8.2003, 9.19.16 Empathic Design -kirja0.997.indd 55 A powerful way to probe other people’s experiences is to engage them in creative in people’sthem other engage probe to to is way experiences powerful A Asking People toParticipateAsking unless they kept bending down, so that the children missed a lot of the action and phenomena. Here is the creative balance—detailed observation informing the the informing observation balance—detailed creative the is Here phenomena. ing or diary-keeping are especially valuable in situations in which people may people which in situations in valuable especially are diary-keeping or ing neato wt te hl, ae bu truh einr’ identifi designers’ through about came child, the with interaction fi the emotional experience of the parents and children, not purely from observed from purely not children, and parents the of experience emotional the expression. Activities such as collage-making, drawing, photo-surveys, storytell- photo-surveys, drawing, collage-making, as such Activities expression. ended up staring at women’s hemlines. A key innovation, a raised seat for better for seat raised a innovation, key A women’shemlines. at staring up ended subjective imagination. nd itdiffi However, the child was positioned far below the interaction plane of adults of plane interaction the below far positioned was child the However, tation ofwhattation they say anddo. Wethink feelwhatand otherthrough about people learn empathic interpre- cult to articulateorrevealattitudesandthought-processesverbally. bevto empathy observation experience behavior cation with with cation 18.8.2003, 9.19.16

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56 1: empathy in design empathic design: informed and inspired by other people’s experience Trying Things Ourselves Wepeople’sother appreciate to begin rel- also in can participating by experiences with an “experience prototype”—sleeping and showering with a wearable medi- wearable a with showering and prototype”—sleeping “experience an with words alone. through than them to matters what appreciate to easier much it making worlds, phases of several different medical procedures. They were wheeled around the around wheeled were They procedures. medical different several of phases payments due, all at a single glance. Withglance. single clarity,a this at imple- all to due, able payments was team the she team, design grew.the Togetherpile with “things” the as shrinking was pile from our own experiences about how situations might be improved. Sometimes improved. be might situations how about experiences own our from hospital on trolleys, left to wait in various places for periods of time and inter- and time of periods for places various in wait to left trolleys, on hospital to simulate different personal circumstances. One design project, for example, example, for project, design One circumstances. personal different simulate to this might mean simply taking a trip with a child in a stroller, or living for a while Design team members took on patient roles and went through the preparatory preparatory the through went and roles patient on took members team Design related to fi realized her passive and short-term view of fi rative expressions provide rich texture about other people’s physical and mental and people’sphysical other about texture rich provide expressions rative ment adesignthatmetthesespecifi a drew participant One money.” your “draw to also asked were They money.” bank Web site would need to provide real-time balances and information about information and balances real-time provide to need would site Web bank of patients’ concerns, sometimes evoking very strong emotions, that directly directly that emotions, strong very evoking sometimes concerns, patients’ of other people’s behavior and thought patterns. To be useful to people like her, a her, like people to useful be To patterns. thought and behavior people’s other explored how hospitals might provide better service to patients and their families. have actually cannot we course, Of ourselves. circumstances and activities evant explore and express their own perceptions. For designers, such visual and nar- and visual such designers, For perceptions. own their express and explore cal device, for instance. Other times, it might mean using props and role-playing and props using mean might it times, Other instance. for device, cal asked participants to keep a photo-diary documenting their daily activities as they anyone else’s experience, but we can devise ways to approximate them and learn and them approximate else’sto anyone ways devise can we but experience, acted withmedicalstaffjustasrealpatientswould. a bike, a stereo and a pair of boots. She added arrows to indicate that the gold the that indicate to arrows added She boots. of pair a and stereo a bike, a simple sketch showing a pile of gold coins next to a bigger pile of things including selves as well as a starting point for personal storytelling that helps participants helps that storytelling personal for point starting a as well as selves These “patient journeys” gave the designers an embodied understanding understanding embodied an designers the gave journeys” “patient These These photos, drawings, visual diaries and collages are informative in them- in informative are collages and diaries visual drawings, photos, These For example, in a project to design an Internet banking service, a design team design a service, banking Internet an design to project a in example, For nance. They were to photograph “anything that makes you think about c needs. nance, and how it differed from some 18.8.2003, 9.19.17 Empathic Design -kirja0.997.indd 57 with real people, with their anomalies and inconsistencies, with their rich and rich their with inconsistencies, and anomalies their with people, real with like thoseweareexposedtoinoureverydaylives. prototyping and role-playing— are all ways of exploring other people’sbehavior other exploring of ways all role-playing— are and prototyping also can Imaginations it. support to how about ideas generate to and out, play insight the as such profound, more were Others around. them wheeling person for themomenttheyareseparatedandpatientwhiskedoffintotheatre. imagination and, similarly, needs a continual reality-check. Methods we use in use we Methods reality-check. continual a needs similarly, and, imagination imagination, by providing carefully selected and relevant experiences quite un- quite experiences relevant and selected carefully providing by imagination, on mirror rear-view a implement: to easy were ideas Some ideas. many inspired tive: aimed squarely at promoting empathic inspiration. It aims to feed designers’ feed to aims It inspiration. empathic promoting at squarely aimed tive: that patient and family members need forewarning and physical space to prepare the hospital trolley, for example, so that patients could make eye contact with the this book— shadowing, interviewing, visual and verbal storytelling, experience storytelling, verbal and visual interviewing, book— shadowing, this Design depends upon a charged imagination—that ability to think beyond here beyond think to ability imagination—that charged a upon depends Design raw expressions, and in real contexts. This is what enables designers to respond to designers enables what is This contexts. real in and expressions, raw be to need imaginations design, in useful be Tofantasy. of realms into riot run informing imaginationinforming encounters andexchangeswithrealpeople. through imagination this inform and inspire both to aimed are design empathic otnal nuihd n cekd y elt. mah i a atclr id of kind particular a is Empathy reality. by checked and nourished continually and experiences, but not in a distant and impersonal way.impersonal made and are distant Connections a in not but experiences, and and now. We use imagination to think ahead about how a future experience might with ingenuity to real needs. I hope that we will continue to explore ways to get to ways explore to continue will we that hope I needs. real to ingenuity with beyond our own cultures, experiences, rituals, mental models and cognitive and models mental rituals, experiences, cultures, own our beyond ee hr i n cam f betvt. h apoc i uahmdy subjec- unashamedly is approach The objectivity. of claim no is there Here structures. We need to keep alive this natural curiosity and amazement amazement and curiosity natural this alive keep to need We structures. Combinations of activities such as those above and described elsewhere in in elsewhere described and above those as such activities of Combinations about whatitisliketobesomebodyelse. 18.8.2003, 9.19.17

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58 1: empathy in design 18.8.2003, 9.19.17 Empathic Design -kirja0.997.indd 59 verbal data (“Say”: what people know and tell), behavioral data (“Do”: seeing and f xeine s nesod s stae ad raie rcs, t s nqe for unique is it process, creative and situated a as understood is experience If invariant featuresofbehaviorratherthanwhatisunique init. ods in human factors work from a contrasting assumption: they aim at capturing at aim they assumption: contrasting a from work factors human in ods each person, group and community, and it has to be studied with methods that methods with studied be to has it and community, and group person, each acknowledge these qualities. As Segal and Fulton Suri observe, traditional meth- traditional observe, Suri Fulton and Segal As qualities. these acknowledge an adequate understanding of user experience requires three types of methods: of types three requires experience user of understanding adequate an experiences andemotions,butonmeasuringbehavior. borrowed from the human sciences, they typically do not focus on users’ users’ on focus not do typically they sciences, human the from borrowed Toapplied. be can methods several experience, users’ study for design. As Segal and Fulton Suri note, when research methods are methods research when note, Suri Fulton and Segal As design. for Yet in the desire to be accepted by the scientifi the by accepted be to desire the Yetin to addressanessentialfacetofhumanbehavior:feelings. effort to be objective, strict and removed, human factors have failed have factors human removed, and strict objective, be to effort Empathic design has important methodological implications methodological important has design Empathic Ilpo Koskinen methodic terms empathic in design c community, in an in community, c 52 51 They claim that claim They 18.8.2003, 9.19.17

59 Empathic Design -kirja0.997.indd 60

60 1: empathy in design empathic design in methodic terms As Sanders and Dandavate note, to study “Make,” a switch of thinking is needed, is thinking of switch a “Make,” study to note, Dandavate and Sanders As The ability to not just know, but also to empathize with the user comes only at only comes user the with empathize to also but know, just not to ability The for themselves in their dreams, imaginations and ruminations of various sorts… various of ruminations and imaginations dreams, their in themselves for imaginations, we can establish resonance with them. Special tools are needed to needed are tools Special them. with resonance establish can we imaginations, not ondeeperlevelsofexperience:Know, FeelandDream. kits” that are visual, playful, story-based techniques that focus on dreams, fears dreams, on focus that techniques story-based playful, visual, are that kits” the deeper levels of their expression. By accessing people’s feelings, dreams and dreams people’sfeelings, accessing By expression. their of levels deeper the traditional methods will not do. Traditional design methods focus on Do and Use, relationships aremappedinFigure1. of non-verbal, constructive means to describe and represent experiences). Their experiences). represent and describe to means constructive non-verbal, of use the (“Make”: dreams and emotions on data and do), people what observing on focus groups and questionnaires. They focus on what people Say and Think, and Say people what on focus They questionnaires. and groups focus on access thedeeperlevelsofuserexpression. based is research marketing traditional contrast, In observation. on based are and and aspirations. There are also “cognitive toolkits” such as maps, mappings, 3-D mappings, maps, as such toolkits” “cognitive also are There aspirations. and There are several types of Make tools. For instance, there are “emotional tool- “emotional are there instance, For tools. Make of types several are There New tools must focus on what people make—how they construct their world their construct they make—how people what on focus must tools New fi gure 1.say-do-make modelfor experience design observable explicit latent tacit 54 make dream know think say do feel use say do 53 18.8.2003, 9.19.17 Empathic Design -kirja0.997.indd 61 Australians with a century-old surfi century-old a with Australians 100,000 European surfers inhabiting Bay of Biscay in France and the coast of of coast the and France in Biscay of Bay inhabiting surfers European 100,000 Typically, there are users with more extreme needs. Often, people with handicaps They do not yet have money for expensive laptops, but in ten years, they will, and Think about someone who would like to understand your parents, and you get an Whenever the aim is to understand people, designers have to work with a small a with work to have designers people, understand to is aim the Whenever we cannot know in advance what we are going to fi to going are we what advance in know cannot we user groups. First, there are experts. If the task is to design a wrist monitor for monitor wrist a design to is task the If experts. are there First, groups. user provide important clues about the usefulness of a product. Possible problems problems Possible product. a of usefulness the about clues important provide product generationsratherthanforthepresentone.Typically, thereareafewkey purposeful ratherthanstatisticalsamplinginselectingpeopleforuserstudies. in products are often only researchable through such groups. What if there are there if What groups. such through researchable only often are products in idea of how vast the task would be. Out of necessity, empathic design relies on relies design empathic necessity, of Out be. would task the vast how of idea ing andvisualimagination. needs. The fastest-growing surfi fastest-growing The needs. number of cases. The effort that goes into analyzing each case is considerable. considerable. is case each analyzing into goes that effort The cases. of number they are already defi to secondary user groups. They provide useful information in designing for future models, diagrams of relationships, and fl and relationships, of diagrams models, of Europe,seniorcitizensmakeanothertypicalkeysecondary usergroup. an is people dozen a of study close a customers, new potential million several of economic option for a designer unless there is a pressing need to go for a statistical equipment. Secondly, the study has to cover the most promising markets and their selecting user groups: primary, secondary and deviant components: researchdesignandinference. ans accustomed to snowboarding need different equipment than hard-core West hard-core than equipment different need snowboarding to accustomed ans about the needs of the surfi an interpretive research methodology is needed. This methodology has two main two has methodology This needed. is methodology research interpretive an secondary user groups. For many products, young people belong to this class. class. this to belong people young products, many For groups. user secondary study formarketingreasons. surfers, the designer has to study die-hard surfers. It is these people who can tell can who people these is It surfers. die-hard study to has designer the surfers, Finally, at least some “deviant” cases ought to be included in every sample. every in included be to ought cases “deviant” some least at Finally, In addition to primary user groups, the designers’ data ought to provide access If we see people as creative and makers of meaning, we have to assume that assume to have we meaning, of makers and creative as people see we If Obviously, a successful purposeful sample has to cover two types of primary of types two cover to has sample purposeful successful Obviously,a ning their future expectations. Given the aging demographics ng community, weather conditions, currents and other ng market is in Europe, not in the Pacifi the in not Europe, in is market ng ng culture. Even in a study of this population this of study a in Even culture. ng owcharts of processes that capture think- capture that processes of owcharts nd in our research. Instead, research. our in nd c. Europe- c. 18.8.2003, 9.19.17

61 Empathic Design -kirja0.997.indd 62

62 1: empathy in design empathic design in methodic terms Analytic inductionhasfi This step takes research in design beyond inspiration. Design is a discipline for discipline a is Design inspiration. beyond design in research takes step This inference. is methodology design empathic the in component main second The understanding provides new ideas, anything goes. Research is seen as one part of user-inspired of part one as seen is Research goes. anything ideas, new provides based assessed be to consequently,has and, fruitfulness development its product extreme, more and groups secondary few a addition, In groups. target primary for designers! informs decisions about the direction of product development in the fuzzy front fuzzy the in development product of direction the about decisions informs nuto i te oil sciences. social the in induction test them until the designer has an interpretation that describes data thoroughly.data describes that interpretation an has designer the until them test Portugal in 2007, and 10,000 of them are over 50? Surely,50? over are them group of this 10,000 for and design 2007, to in Portugal requires that we seek present-day European seniors, who surf in these waters. It waters. these in surf who seniors, European present-day seek we that requires data, this procedure starts with generating hypotheses from data, and continues to design beyondmereinspiration. design. double function. They provide useful hunches for designers, and help them to test a have groups additional These studies. in included typically are groups deviant inspiration and inference: what to with data do may be that the active group consists of 100 people, and is hardly interested in interested hardly is and people, 100 of consists group active the that be may being studied. Still, think about how valuable the group’s experiences would be would experiences group’s the valuable how about think Still, studied. being on new product ideas rather than valid knowledge. As long as research in design in research as long As knowledge. valid than rather ideas product new on end. Data continues to inspire design, but systematic inference takes empathic takes inference systematic but design, inspire to continues Data end. conclusions drawnfromthemaintargetgroups. 1. Analyze a small number of cases (typically,closely.hunches cases people) Push of number small a Analyze 1. Thus, in empathic design, a few users are selected to represent the assumed the represent to selected are users few a design, empathic in Thus, . When a hypothesis stands this preliminary test, analyze negative cases that 4. . Createasetofhypothesesfromthisanalysis. 2. . Test thesehypotheses 3. Such inference follows something that has come to be known as analytic analytic as known be to come has that something follows inference Such However, empathic design does not stop with inspiration. It also produces produces also It inspiration. with stop not does design empathic However, ideas aredismissedlater. fi and inspiration too far: at this stage, it is important to be creative. Unworthy t to the emerging hypothesis only with diffi with only hypothesis emerging the to t of the user by building an ve steps: with thesamedata. 55 56 nta o apyn a oy f nweg to knowledge of body a applying of Instead interpretation culty. If the case does not fi not does case the If culty. of the data. Interpretation 18.8.2003, 9.19.18 t Empathic Design -kirja0.997.indd 63 A good interpretation has a few clear and distinct concepts that are related to each value ofunderstanding: what agoodinterpretation makes hs rcdr i fmla t dsges rm “affi from designers to familiar is procedure This Up to this point, the designer has been working with a subsample of data. There data. of subsample a with working been has designer the point, this to Up parsimonious, following Occam’s Razor, which advises us to opt for the simpler the for opt to us advises which Razor,Occam’s following parsimonious, is no way of knowing whether this interpretation is correct for all data. Thus, the Thus, data. all for correct is interpretation this whether knowing of way no is fi tion requires that the picture is informative. To make it informative, it has to have communica- Effective audience. the to well user the communicates picture this the designer and the user faster. Analytic induction keeps these two worlds worlds two these keeps induction Analytic faster. user the and designer the receives an economic snapshot of the user and her world. Such pictures are are pictures Such world. her and user the of snapshot economic an receives ein da. osqety te rcdrs sd n eeaig affi generating in used procedures the Consequently, ideas. design ifrne s ht affi that is difference of twocompetingtheories. under- into user the of knowledge translates This fashion. systematic a in other exercise. give a more prominent role for designers’ intuition, blurring the boundary of of boundary the blurring intuition, designers’ for role prominent more a give standing—that is, it picks up what is essential from fuzzy intuition. The audience separate longer, making inference an interpretive rather than an inspirational inspirational an than rather interpretive an inference making longer, separate nal step: This picture may not be correct in all details, but what is truly important is that . Proceed until all cases have been analyzed, and you have a description that 5. 6. Finally, generalize the interpretation with all data that has been gathered, been has that data all with interpretation the generalize Finally, 6. with comparative data from other studies, and with experiences from other user groups. framework cansimplybecalled“aninterpretation.” conceptual This ones. important less to concepts important most the from to the analysis. Typically,analysis. the to deviant and secondary from come cases negative dimension new a add or hypothesis, the revise or discard hypothesis, the rected. Thisprocedureisoftencalled“membervalidation.” design processes. Occasionally, this interpretation is told to the people people the to told is interpretation this Occasionally, processes. design describes all data. Typically, this is a conceptual framework that is ordered studied, who can check whether it makes sense and what needs to be cor- be to needs what and sense makes it whether check can who studied, nity walls are built to help the designer quickly reach reach quickly designer the help to built are walls nity nt diagrams.” nity 57 nity walls walls nity The main main The 18.8.2003, 9.19.18

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64 1: empathy in design empathic design in methodic terms As any researcher knows, if there is no variation in data, variation cannot be found, will confess. Understanding comesatthepriceofdetail. procedures laiddowninthequalitativesocialsciences. for hiskeys: forest for the trees. A good interpretation decreases the risk of taking wrong paths into a sea of meaningless details—up to a point at which the researcher misses the no matter how sophisticated research methods are used. It is essential to trust the fi to be done in a sewer.a in done be to that it is impossible to build 100% sterile spaces does not mean that surgery ought searching drunkard a of story a with essentials the on focusing of importance the possibly,and, hunches design many how on depends it First, principles. trasting design is best measured as the difference in understanding prior to the study, and data, and not to push interpretations too far. As the saying goes, if tortured, data tortured, if goes, saying the far.As too interpretations push to not and data, brilliance in interpretation. However, this principle does not mean that anything that mean not does principle However,this interpretation. in brilliance only a few main elements whose relations are governed by a few main principles. main few a by governed are relations whose elements main few a only of thought. Second, it depends on whether designers have created a solid under- solid a created have designers whether on depends it Second, thought. of concepts have been produced, and how these help to question previous patterns previous question to help these how and produced, been have concepts goes. As the Nobel-prize winning economist Robert Solow once noted, the fact the noted, once Solow Robert economist winning Nobel-prize the As goes. and technology needed to make empathy a tool in design. Success in empathic in Success design. in tool a empathy make to needed technology and and going around in circles. The methodologist Abraham Kaplan once captured once Kaplan Abraham methodologist The circles. in around going and sorting out fertile hunches from infertile ones in the design process with any con- any with process design the in ones infertile from hunches fertile out sorting standing thathelpsthemtochoosefromthesehunchesandconcepts. dence. It is this informative function that justifi The key to successful empathic design is a valid understanding of the user, not audience the push to not design, assist to understanding create to is aim The con- two of balancing the on depends design empathic of quality the Thus, Ultimately, only a reliable and valid interpretation informs the designer in in designer the informs interpretation valid and reliable a only Ultimately, There is a story of a drunkard searching under a street lamp for his for lamp street a under searching drunkard a of story a is There why he didn’t look where he had dropped it, he replied, “It’sreplied, lighter he it, dropped had he where look didn’t he why principle of here!” Much effort, not only in the logic of behavioral science, but science, behavioral of logic the in only not effort, Much here!” away.asked distance When some dropped had key,he house which also in behavioral science itself, is vitiated, in my opinion, by the by opinion, my in vitiated, is itself, science behavioral in also the drunkard’s search. 59 To make understanding a tool in design, it has to follow to has it design, in tool a understanding Tomake 58 es the investments in time, effort 60 18.8.2003, 9.19.18 Empathic Design -kirja0.997.indd 65 The results of user studies should survive several reinterpretations in corporate in reinterpretations several survive should studies user of results The person, and so on. After only a few rounds, the owl was transformed into a cat. a into transformed was owl the rounds, few a only After on. so and person, picture of an owl (more specifi product development. uh ehpn tks lc nt ny n scooia eprmns bt lo in also but experiments, psychological in only not place takes reshaping Such ing platform in product development. Data from empathic user studies provide studies user empathic from Data development. product in platform ing to a second person, who drew it from memory from it drew who person, second a to uiae frhr I pras h bs suy f eebrn, atet ae a gave Bartlett remembering, of study best the perhaps In further. municated environments. The time span from a user study to its fi its to study user a from span time The environments. sharing empathy by communicating interpretations cannot stop organizational politics, It one. complex a than leash in processes reconstructive such keeping of chance corporate life. asked them to draw it from memory. After this, the subjects gave their drawings their gave subjects the this, memory.After from it draw to them asked in uncertainty reduced represents difference this decision-making, In it. after several years. what the psychoanalyst Heinz Kohut once called “experience-near” concepts concepts “experience-near” called once Kohut Heinz psychoanalyst the what needed for inspiration; in contrast, interpretation provides “experience-distant” sml itrrtto hs bte cac o saig h sm we com- when same the staying of chance better a has interpretation simple A The virtues of understanding are apparent. A simple interpretation has a better concepts, needed for informed argumentation and decision-making. are neededincontemporaryproductdesign. cally, an Egyptian Mulak) for research subjects, and 62 but has a good chance of working as a unify- 61 and gave his drawing to a third a to drawing his gave and nal applications may be may applications nal 63 Both 18.8.2003, 9.19.18

65 Empathic Design -kirja 0.997.indd 66 18.8.2003, 9.19.19 2 studying experience with objects and prototypes

Meri Laine Pockets and Bags: Understanding Experiences with Portable Objects

Esko Kurvinen Emotions in Mobile Visual Messaging

Esko Kurvinen & Ilpo Koskinen Mobile Photo Album: an Experimental Prototype

Empathic Design -kirja 0.997.indd 67 18.8.2003, 9.19.19 Empathic Design -kirja0.997.indd 68

68 2: studying experience with objects and prototypes 18.8.2003, 9.19.19 Empathic Design -kirja0.997.indd 69 product I don’t like. It is mainly a question of style, about my street credibility.street my It about style, of question a mainly is It like. don’t I product is hard to look attractive with the helmet: my hair always looks messy, and I feel messy,I looks and always hair my helmet: the with attractive look to hard is diffi most most necessary things a young woman needs during the day and night: small and like peoplekeeplookingat mebecauseofthat! liberating experience—it meant living without timetables and no waiting for trams has been negative. Yes, I feel safe. Still, I feel like a small child, weighted down weighted child, small a like feel I Still, safe. feel Yes,I negative. been has to use it; otherwise I get a bad conscience. So far, my experience with the helmet the with far,experience So my conscience. bad a get I otherwise it; use to or busses. I could ride with my hair fl hair my with ride could I busses. or biking does not feel like an organized project anymore. After I realized that I I that realized I After anymore. project organized an like feel not does biking by safety equipment. Only now, after three months, have my feelings calmed, and easy tocarryaround. am not the only ridiculously dressed person in town, I felt a bit better. Still, the Still, better. bit a felt I town, in person dressed ridiculously only the not am bicycle helmet. My relationship with it is a daily burden. Biking used to be a be to used Biking burden. daily a is it with relationship My helmet. bicycle actually happened, and I survived. The bad news was that I had to buy a buy to had I that was news bad The survived. I and happened, actually Today, I can only dream about casual biking. After buying the helmet, I have I helmet, the buying After biking. casual about dream Today,only can I biking, I crashed with a car. The good news was that nothing serious nothing that was news good The car. a with crashed I biking, cult thing was to get used to a new self-image, adjusting it because of a of because it adjusting self-image, new a to used get to was thing cult Last summer, I suddenly found myself in an accident: while accident: an in myself found suddenly summer,I Last Meri Laine with portableobjects understandingexperiences pockets and bags: ying freely in the wind, carrying only the only carrying wind, the in freely ying 18.8.2003, 9.19.19

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70 2: studying experience with objects and prototypes pockets and bags: understanding experiences with portable objects To understand how people experience products and create a relationship with with relationship a create and products experience people how understand To whole appearance can change depending whether they wear high-heel shoes, shoes, high-heel wear they whether depending change can appearance whole give shoes Different things. emotional are shoes people, many For products. with world of objects that we take with us everywhere. With them, we go through our through go we Withthem, everywhere. us with take we that objects of world us daily. There are several such objects: keys, purses, phones, pens, bus tickets, bus pens, phones, purses, keys, objects: such several are There daily. us pockets or satchels, we do not necessarily come into direct contact with their their with contact direct into come necessarily not do we satchels, or pockets ultimately,and, gestures style, walking step, Their feelings. different people their foot bags, books, credit cards, mobile phones, brushes, make-up cases, folders, folders, cases, make-up brushes, phones, mobile cards, credit books, bags, foot forge hammer, which later became an important working tool for me. Over time, it is something in common with the two. the with common in something is idolize? Perhaps it is because we know that it is impossible to get something, something, get to impossible is it that know we because is it Perhaps idolize? to soft-formed paperbacks. When we carry these portable objects in our handbags, them emotionally, it is helpful to consider how one’s personal experiences change recognize it. of kind some always is there and recognize we product every with relationships daily routines. They come in all shapes—from the elongated, sharp-pointed pens sharp-pointed elongated, the shapes—from all in come They routines. daily moment. Why does an unattainable thing become an obsession, something we we something obsession, an become thing unattainable an does Why moment. better than a sleek and a slim one when searching for it in our bag in the dark. the in bag our in it for searching when one slim a and sleek a than better became alifetimecompanion.” emotional aspect involved. It can be negative, positive or so neutral that we hardly CD-players, perfume bottles, chewing gum… These are just some examples of the can be. This relationship can be love at fi at love be can relationship This be. can childhood hopes and dreams. A person I interviewed stated: “My fi “My stated: interviewed I person A dreams. and hopes childhood and we can only dream about it. Perhaps it is something that reminds us of our of us reminds that something is it Perhaps it. about dream only can we and short a last others while lifetime, a for last relationships Some friend. trusted a having to akin something be also can it hate; into turned love burden, daily a as there people: to relate we how of terms in products with relationships our about and when we search for them in our bags and pockets. A furry, puffy purse works sneakers orboots. shape and tactility. However, these qualities become important when we use them with carry we that things portable small those on focused I products. with ships things with relations our complex how understand to helps analogy This ships. A product relationship is a personal thing. For me, it was helpful to think think to helpful was it me, For thing. personal a is relationship product A In this chapter, I describe a study in which I asked people about their relation- their about chapter,people this asked In I which in study a describe I relation- human to similar ways many in are relationships product that argue I 64 As with human relationships, we have we relationships, human with As rst sight, a long-lasting dream as well as dream long-lasting a sight, rst rst love was a was love rst 18.8.2003, 9.19.19 Empathic Design -kirja0.997.indd 71 This involvement can develop because of the form, shape, colors, material, style or phones, mobile as such objects, other for context material the are objects These which we look at things. Today, your favorite object may be a new mobile phone, mobile Today,new things. a at be look may we object which favorite your with products with what I call the product relation board (Figure 1). In this board, ideology logos, youseeproductsdifferently. terms Some products are our favorites. We develop a positive involvement with them. with involvement positive a develop We favorites. our are products Some I have placed emotions in the middle. The elements around emotion describe describe emotion around elements The middle. the in emotions placed have I important. It may help us work through daily tasks gracefully, and thus support thus gracefully,and tasks daily through work us help may It important. needs or not? Does it support a signifi next year, it might be your grandfather’s old camera. In my study, I noticed that noticed I study, my In camera. old grandfather’s your be might it year, next time affected opinions about products; opinions could be different before use and their minds. their the wayinwhichweinterpretourinvolvementmaybeevenwider. test of time less well. They present problems and idiosyncrasies as we use them, use we as idiosyncrasies and problems present They well. less time of test relationships change over time. refl relate them relate product relationships: asituational model more pleasant. For a variety of reasons, they become so important to us that we that us to important so become they reasons, of variety a For pleasant. more objects, replacingthemwithbetterones. our personality and self-image. Involvement with products varies enormously and environments. Social aspects are about style and how to show it. Finally,it. show to how is and there style about are aspects Social environments. connection withotherpeople. cannot do without them: we “need” them. “need” we them: without do cannot ciiis ht hp te rdc rltosi oe tm. h fi The time. over relationship product the shape that activities and affecthowweexperiencethem. and although sometimes they surprise us pleasantly, experiences with them often some other aspect of the product. The product may also represent values we fi we values represent also may product The product. the of aspect other some spoil our initially good evaluations. good initially our spoil ection; people think about objects, and construct a relationship with them in them with relationship a construct and objects, about think people ection; To make sense of these possible trajectories, I have analyzed relationships relationships analyzed have I trajectories, possible these of sense make To Key is the direction of this refl this of direction the is Key Some products support our functioning in life, making our life easier and and easier life our making life, in functioning our support products Some However, this model is static. It does not account for the fact that our product our that fact the for account not does It static. is However,model this , people either include or separate themselves from certain social circles or circles social certain from themselves separate or include either people , . If you have strong convictions about matters such as ecology,or as brands such matters about convictions strong have you If . psychologically 68 In many cases, we think about our relationships with products in products with relationships our about think we cases, many In to themselves. When in use, does the product fulfi product the does use, in When themselves. to 69 Time changes our opinions as well as the way in ection. When considering objects, people may people objects, considering When ection. 67 cant identity? Do I like the product? In Ultimately, we may end up avoiding these avoiding up end may Ultimately,we 66 However, some products stand the stand products some However, rst of these is is these of rst 65 social nd ll 18.8.2003, 9.19.19

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72 2: studying experience with objects and prototypes pockets and bags: understanding experiences with portable objects values, or ideology, but often they are merely situational: you learn to hate your hate to learn you situational: merely are they often ideology,but or values, love your kitschy Donald Duck purse because your children love it. Our relation- Our it. love children your because purse Duck Donald kitschy your love love-like enthusiasm into a background product, background a into enthusiasm love-like rdc it a eta smo o eitne I i as bte i ln wt recent with line in better also is It existence. of symbol central a into product products can be categorized into physiopleasure, psychopleasure, sociopleasure psychopleasure, physiopleasure, into categorized be can products into a refl a into theoretical workinthesocial sciences. of how product relationships change over time: for instance, the advance from advance the instance, for time: over change relationships product how of car key holder, because its metal parts rip the cloth in your pockets, or you learn to and ideopleasure. The model is situational and it integrates Jordan’s four pleasures refl on based be can relationships product our in Changes use. after ships withproductsaretestedinreallife,justasourrelationships withpeople. objects &me objects The model develops some of Jordan’s ideas. He maintains that pleasure with pleasure that maintains He ideas. Jordan’s of some develops model The usability social values ective model. What we win with such redefi such with win we What model. ective a situational modelofproduct relationships fi gure 1.product relation board: thinking reflection ideology emotion 71 70 or from a slightly interesting slightly a from or nition is an understanding an is nition first year first time ection, social ection, second year 18.8.2003, 9.19.19 Empathic Design -kirja0.997.indd 73 Why are we attached to some object or an object milieu? What do people carry people do What milieu? object an or object some to attached we are Why were chosentocoverseveralbackgroundsandprofessions. with themandwhy?Howdotheirrelationshipstoobjectsemergeindailylife? Juripoliticalisa scientist, butcomes from familya with anarchitect andfashiona 0 atsn n idsra dsge; n Tia 4, ipr offi airport 40, Teija, and designer; industrial and artisan 30, live, how they use their free time, what they study, and what kinds of families of kinds what and study, they what time, free their use they how live, live andspendtheirtime(mostly)inHelsinki. used these objects for a month. For instance, Mika used two different purses for purses different two used Mika instance, For month. a for objects these used photographs were about the people and their lifestyle, and important products important and lifestyle, their and people the about were photographs objects. these using of experiences and forms aesthetics, the concerned products, personal background, were familiar with design. For instance, in the older age group, pants were interested in how products look and feel. They also had a general interest I pleasant. more lives our make to around carry us of all that products portable in their surroundings. These photos proved to be the key for understanding how understanding for key the be to proved photos These surroundings. their in in their personal aesthetics and an ability to express themselves on these feelingstheseexpressthemselveson abilityto personalanaestheticstheir andin hairdresser; Juri, 35, political scientist with a Ph.D.; Tiina, 30, accountant; Antti, accountant; Tiina,30, Ph.D.; a with scientist political 35, Juri, hairdresser; than 500 hundred digital pictures during and after the second interviews. These interviews. second the after and during pictures digital hundred 500 than Perhaps the most important part of my study was the documentation. I took more the used had participants after conducted interview, second The period. that person Each pair. product one selected randomly I person, every For have. they them about their feelings and opinions. I made this study with 12 people, who people, 12 with study this made I opinions. and feelings their about them tionstheseof groups about thesame products. Despite their differences, allpartici- 35, Ilona, consultant; web 36, Mika, were there 2, group In student. 18, Pekka, data and method designer, while Tiina has no such “background training” in the art of design. and design; graphic of student 22, Anna, tourism; of student 22, Jan, designer; objects tooktheirplaceinthe subjects’lives. chose two different age groups for the study: Group 1 consisted of young women young of consisted 1 Group study: the for groups age different two chose and opinions. In each age group, there were those who, because of their training on and men: Ilkka, 24, interior designer; Allan, 16, gardener student; Nea, 22, graphic study, was mainly for gathering background and lifestyle information: how they how information: lifestyle and background gathering for mainly study,was ships from the perspective of users, by photographing them and interviewing interviewing and them photographing by users, of perspective the from ships The goal was to understand how they as consumers make sense of those small those of sense make consumers as they how understand to was goal The By working with two groups, I could compare the differences, opinions and emo- I have studied these questions by observing and investigating object relation- object investigating and observing by questions these studied have I I made two interviews with these people. The fi rst one, conducted early in the cer. These groups groups These cer. 18.8.2003, 9.19.20

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74 2: studying experience with objects and prototypes pockets and bags: understanding experiences with portable objects the importance ofstyle The principal result of the study was that participants could be divided into two into divided be could participants that was study the of result principal The wallets and key rings. I deliberately chose object pairs that varied in terms of of terms in varied that pairs object chose deliberately I rings. key and wallets were not, and how lifestyle is intimately tied to ordinary products. The second The products. ordinary to tied intimately is lifestyle how and not, were ure 1. Three types of object tables are introduced, each mapping a different aspect understanding of the participants’ world as consumers. For instance, a compari- a instance, For consumers. as world participants’ the of understanding part of the method aimed at understanding: I collected participants’ perspectives participants’ collected I understanding: at aimed method the of part who and style-conscious were who objects, with themselves surrounded people Fig- in presented model the to according object the around relationship product pens, as such objects everyday portable were study this for chose I products ity of the object was the primary consideration, whereas for others, the style of the narios, pictures or visualization is hard for interviewees. Because I wanted to to wanted I Because interviewees. for hard is visualization or pictures narios, hypotheses, andfi to their lives in semi-structured interviews. These opinions validated some of my an create to able was I that images these of analysis an through was it study: the in as to key the Tuuliwas by data described visual Much method the Probes Mattelmäki, the world. users’ the to sent probes were objects sense, a In book. this of elements map and middle, the in products put tables Table.These Object the their lives. go to was idea the unusual: fairly were objects Some material. and shape their day, it was natural to choose some existing, tactile objects for this research. The The research. this for objects tactile existing, some choose to natural was day, it of background the in stay objects the Rather, them. about think usually not do beyond ordinary experience, and thus make people think about the objects in in objects the about think people make thus and experience, ordinary beyond objects such as key rings or purses in terms of style. In Anna’s words, “I don’t “I words, Anna’s In style. of terms in purses or rings key as such objects object anditssuitabilitytotheirself-imagewasthekey consideration. u eprec. codnl, nlzn frs n tciiy ny hog sce- through only tactility and forms analyzing Accordingly, experience. our of productrelationship. groups based on how they relate to objects. For some, the purpose and functional- get information about ordinary objects, things that people carry with them every every them with carry people that things objects, ordinary about information get analysis. The pool of digital images I took ultimately produced the hypotheses for son of moodboards made from these images quickly showed differences in how in differences showed quickly images these from made moodboards of son The fi The This study follows the empathic design research methodology proposed in in proposed methodology research design empathic the follows study This in The problem main a methodic is study of objects that small portable people o aayig xeine wt ojcs I eeoe a iul ehd called method visual a developed I objects, with experiences analyzing For rst impression was that most of us do not usually think about mundane about think usually not do us of most that was impression rst xed severalthemesforanalysis. 18.8.2003, 9.19.20 Empathic Design -kirja0.997.indd 75 childish • disturbs quality plastic • inpocket good • to well keep: easy hangs • for good motorists • to easy clean • madelife easier • practical • • plastic feel plastic • thing design a • value brandadds • roomy • function supports shape • weird • too weird • disturbing asymmetricity • sturdy, size given its • materials usage haptics shape in hand object tableobject 1.product analysis of purses/wallets: the paul purse andthemhbag franck fun • care easy • color good • seen be cannot dirt • comfortable • to money take easy • inhand good • materials haptics from this one from target reminds practice, • stuff kids’ • wow! thing, afunny • fun! • butsimple special, • meup cheers • colors good • to fi easy • feels inhand good • feels inpocket good • like atoilet bag • like amake-up bag • fl packs • roomy • size odd function, unclear • for good smallcoins • shape usage of bows andarrowsof bows and elegant at nd 18.8.2003, 9.19.20

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76 2: studying experience with objects and prototypes pockets and bags: understanding experiences with portable objects The fi objects. to related participants Timehow in factor important another be to proved Thus, even for those who do not care about style, it is a key consideration in how in consideration key a is it style, about care not do who those for even Thus, for them highlights and focus into relationships product brings table object This we cannot escape. Take the example of the purse/wallet pair (Object Table 1). 1). Table (Object pair purse/wallet the of example the Take escape. cannot we with himnoapparentcontradiction. However,fi the Mika again: that the material, shape and style were important aspects in how objects are per- are objects how in aspects important were style and shape material, the that they experience portable objects. If a person has developed a style she feels her feels she style a developed has person a If objects. portable experience they ring stands out. A businessman in a black suit may not seek “sexy” things, while things, “sexy” seek not may suit black a in businessman A out. stands ring become style statements from time to time. Even if we do not see them as such, as them see not do we if Even time. to time from statements style become changes inproduct relationship own, new things should support it. If you wear black or gray clothes, a pink key pink a clothes, gray or black wear you If it. support should things new own, something is which lifestyles, certain with objects certain associate people other energetic, while the black one was more or less like an antithesis to this. To quote ceived initially. Nevertheless, it became clear that as experiences with products with experiences as that clear became it Nevertheless, initially. ceived oos n uuul om Te on pout a mr hlros pstv and positive hilarious, more was product round The form. unusual and colors get close with pens and pencils.” In Mika’s words: “I’m not a person who gets who person a not “I’m words: Mika’s In pencils.” and pens with close get accumulate, thisinitialperception goesthroughaseriesofchanges. refl they point, that At object. an attached tomaterialobjects.” a teenager with no specifi als. The black purse looks more casual than the round small one, with its striking analysis. This wallet pair was chosen because of differences in their shape and materi- and shape their in differences of because chosen was pair wallet This However, on closer inspection, I found that even usually insignifi rst impression is obviously an important thing for people when they choose The Paul Frank wallet [the round one] looked stupid at fi at stupid looked one] round [the wallet Frank Paul The tl, t s od o hlig es n cis Is hp i nc. t re- It nice. is shape Its coins. and keys holding for good is it Still, negative, it changed to positive later. The MH bag looked smart and smart looked bag later.MH positive The to changed it negative, minds meofashoesign. thought I have no use for it. But, although my attitude was initially was attitude my although But, it. for use no have I thought ayt-s fi easy-to-use rst impression often changes in use. Thus, all interviewees agreed interviewees all Thus, use. in changes often impression rst rt bt y nesadn tre usd dw later. down upside turned understanding my but rst, c style of his own may carry several very different things ect on how the object relates to their self-image. their to relates object the how on ect rst, and I and rst, cant products 18.8.2003, 9.19.22 Empathic Design -kirja0.997.indd 77 30 minutes north of Helsinki. The Kerava image was associated with cheap bars, cheap with associated was image Kerava The Helsinki. of north minutes 30 Kerava ormotorcycling. it prompted images of “Kerava night rallies.” Kerava is a working-class suburb working-class a is Kerava rallies.” night “Kerava of images prompted it they colored his evaluation of the key-ring even though he had nothing to do with motorcycles and gangs who drive around the town center on Saturday nights in nights Saturday on center town the around drive who gangs and motorcycles old American cars. Clearly, these images did not support his self-image. Instead, self-image. his support not did images Clearly,these cars. American old as theexampleofpoolballkey-ringshows(Object Table 2). handy • heavy • nice to wave inhand • well functions • to use easy • hard • • weak construction weakconstruction • usability material Even the idea of what is a good object may be learned while using the product, Initially, the pool ball model prompted swift negative associations. For Jan, Jan, For associations. negative swift prompted model ball pool the Initially, object tableobject 2.poolball key-ring too muchfor teenagers • motorcycle gang • populistic • uninteresting • ordinary • youngish • style associations wateringand hole nice to keep inhand • nice to throw around • hard • heavy • to fi easy • toy • thing borrowed • girlslike it • nice inhand • • compact inhand compact • badinpocket • • good with keys good • tactility shape nd 18.8.2003, 9.19.22

77 Empathic Design -kirja0.997.indd 78

78 2: studying experience

with objects and prototypes – tactility and use pockets and bags: negative impression understanding experiences with portable objects with products into the following chart (Object Table 3). It maps product experi- product maps It Table3). (Object chart following the into products with Jan, whose Kerava associations were paraphrased above, changed his opinion opinion his changed above, paraphrased were associations Kerava whose Jan, to hold, and easy to fi to easy and hold, to detail, which prompted attention and gave people something to talk about. Thus about. talk to something people gave and attention prompted which detail, ence accordingtowhetherproductexperienceimproved ordeteriorated. about thekeyringwhenhenoticedthatgirlslikedit: positive (+) The pool ball key-ring proved good in use (see also Object TableObject also fun (see was use It in 2). good proved key-ring ball pool The However, such initial images did not last. I collected changes in experiences in changes collected I last. not did images initial such However, object tableobject 3.product relationship over time nd in a bag. In addition, its compact shape was a cheerful a was shape compact its addition, In bag. a in nd negative (–) + tactility and use positive impressionpositive 18.8.2003, 9.19.22 Empathic Design -kirja0.997.indd 79 The alternative key-ring had an ingenious locking mechanism and a stylish metal stylish a and mechanism locking ingenious an had key-ring alternative The What if our experiences with portable objects depend on whether we carry them carry we whether on depend objects portable with experiences our if What wants is to spend minutes at the doorstep because she cannot fi cannot she because doorstep the at minutes spend to is wants while experience with the oddly shaped Paul Franck purse improved. This devel- This improved. purse Franck Paul shaped oddly the with experience while with the product more than style, no matter how important it might be in the fi was apparentlyrelatedtocarryingmoney, personalpapersorplasticcards. like tools than decorative elements. They value functionality and easy interaction proved to be tricky to use because it had so many sharp edges that it pierced pock- Bags and Pockets: Affordances of Carrying Things Carrying of Affordances Pockets: and Bags in pockets, in hand, on a leash around our neck or in a bag? An object that feels that object An bag? a in or neck our around leash a on hand, in pockets, in her bag.Again,thepoolballkeyringshowsthisfeature well: to use and functional, while the MH Bag proved to be diffi be to proved Bag MH the while functional, and use to design, and was initially perceived positively. However, despite being stylish, it stylish, being despite positively.However, perceived initially was and design, Object Table 1 showed, its shape suggested several potential uses, none of which of none uses, potential several suggested Tableshape Object its showed, 1 opment was mainly related to practical issues. The Paul Franck purse was easy was purse Franck Paul The issues. practical to related mainly was opment environment. A small key-ring is useful for a young man who keeps his posses- his keeps who man young a for useful is key-ring small A environment. ets. It also lacked the compact, cheerful shape of the pool ball ring. For another ex- encounter withtheobject. good fi good a small key-ring is not as desirable: on a dark, rainy evening, the last thing she thing last the evening, rainy dark, a on desirable: as not is key-ring small a ample, product relationship with the initially stylish MH Bag purse deteriorated, purse Bag MH stylish initially the with relationship product ample, are major factors in creating a good product. For some people, products are more are products people, some For product. good a creating in factors major are sions in his pockets. For a working woman who keeps her possessions in a bag, a in possessions her keeps who woman working a For pockets. his in sions • It lost popularity among those who carry things in pockets (mostly males). (mostly pockets in things carry who those among popularity lost It • • It won popularity among people who use bags (mostly women), as it was it as women), (mostly bags use who people among popularity won It • As these observations show, the functionality, durability and quality of objects The ball was not as bad as I thought at fi at thought I as bad as not was ball The rst may turn out to have negative affordances negative have to out turn may rst ion about it did not change much, even though the ball was not as not was ball the though even much, change not did it about ion Because of its size and shape, it fi it shape, and size its of Because bad asIthoughtatfi even while blindfolded. As Tiina noted: “It was easy to fi to easy was “It Tiinanoted: As blindfolded. while even fi to easy alternative] waseasiertouse,butitgotlostinthesea ofthings” nd. Because of its shape and material, it was easily recognizable easily was it material, and shape its of Because nd. rst. t badly into pockets, and gave a lumpy a gave and pockets, into badly t rst. Girls liked it… My opin- My it… liked Girls rst. 72 depending on its material its on depending cult to understand. As understand. to cult nd her keys from keys her nd nd… Lexon [the Lexon nd… rst 18.8.2003, 9.19.23

79 Empathic Design -kirja0.997.indd 80

80 2: studying experience with objects and prototypes pockets and bags: understanding experiences with portable objects The aim of my study was to learn how people experience the form, tactility and tactility form, the experience people how learn to was study my of aim The ways in which people carry things, and what this means for the user experience. user the for means this what and things, carry people which in ways were analyzedwithasetofobjecttablesspecifi various types of people—that is, to design key-rings for small hands and for large for and hands small for key-rings design to is, people—that of types various (and young men in backpacks), women in handbags. Designers should study not study should Designers handbags. in women backpacks), in men young (and ly in social interaction and in communicating identity.communicating in and interaction social However,in to ly more is there used. Theuserexperiencemaydependcruciallyonthisenvironment. portant to study to portant product relationships than this division. It is important to realize how time and time how realize to important is It division. this than relationships product product relationship was mainly based on quality, functionality, as well as tactile Even the best of designs may prove unsuccessful, if the material environment and I found that the way in which we experience objects depends not only on the on only not depends objects experience we which in way the that found I jects depends on other objects, as well as time, or the accumulation of experiences. hands, and to take style into account. It is also important to think about the various the functionsembeddedintoitarenottakenaccount. briefcases and pockets in gender.possessions of their terms keep in Men think to reaction may be totally opposite from what it becomes after two months. Finally,months. two after becomes it what from opposite totally be may reaction fi products the personality; emphasizing of part a is relationship dances in their real material contexts. It is not enough to produce things only for only things produce to enough not is It contexts. material real their in dances described inObjectTable 4. conclusions anddiscussion only the things and their qualities, but also the environment in which they will be objects, but also on other objects around us. Regarding portable objects, it is im- is it objects, portable Regarding us. around objects other on also but objects, other objects in our activities. These aspects of our relationships with products with relationships our of aspects These activities. our in objects other objects do not stand alone. Product relationships depend on how objects relate to accumulating experiences change product relationships. As in fashion, your fi your fashion, in As relationships. product change experiences accumulating and haptic experience. For others, style was more important: for them the product style of ordinary portable objects. I fi I objects. portable ordinary of style When designing for user experience, designers have to pay attention to affor- to attention pay to have designers experience, user for designing When important is it that suggests table this world, portable the for designing When Small, insignifi Small, feeling. Pekka stated: “At fi “At stated: Pekka feeling. ing later on. It pressed my body and hurt my legs while in my pockets. I pockets. my in while legs my hurt and body my pressed It on. later ing really feltit!” how cant objects fi objects cant people carry things. The participants’ carrying methods are methods carrying participants’ The things. carry people ll our lives. The way in which we experience ob- experience we which in way The lives. our ll rst, it was a nice stress toy,irritat- stress became nice it a but was it rst, rst learned that for some participants, the participants, some for that learned rst cally developedforthispurpose. gured prominent- gured rst 18.8.2003, 9.19.23 Empathic Design -kirja0.997.indd 81 This analysis shows that even with “background products,” as some researchers some as products,” “background with even that shows analysis This consists that method a developed I products, these with Toexperience our study pointed out, product relationships have physiological, psychological, social and social psychological, physiological, have relationships product out, pointed dooia dimensions. ideological have called them, called have this study, but cannot be ruled out. Building a testable model of these relation- these of model testable a Building out. ruled be cannot but study, this of threeessentialparts: Thisanalysisisorganizedwithaproductrelationshipmodel. • Ananalysisofdatawithaseriesobjecttables. • data purpose; this for varied objects, portable ordinary with experiment An • being producedwithinterviewsandphotographsfor style analysis. pockets pekka, allan, pekka, backpackfor mov- 73 mika: the product relationship is a mindful thing. As Jordan has Jordan As thing. mindful a is relationship product the object tableobject 4.carrying things mostly without any bags, uses pockets. uses mostly without any bags, 74 Ideological dimensions proved to be unimportant in in unimportant be to proved dimensions Ideological tiina, ilona,tiina, nea, teija, anna of style. element are anbags important : depends on needs—but onneeds—but : depends juri, antti: document case, briefcase. case, document ilkka: pockets, bags, backpacks. bags, pockets, bags 18.8.2003, 9.19.24

81 Empathic Design -kirja0.997.indd 82

82 2: studying experience with objects and prototypes pockets and bags: understanding experiences with portable objects product relationships into an understandable form such as the object table. For a For table. object the as such form understandable an into relationships product complexity. For this reason, I chose to study product relationship qualitatively, relationship product study to chose I reason, this For complexity. and toseeitindevelopmentalterms. states of product relationship, a follow-up, and then a mapping of changes in in changes of mapping a then and follow-up, a relationship, product of states this tackle to research little too simply is There task. tedious a be would ships designer who needs to understand how people experience ordinary products in products ordinary experience people how understand to needs who designer their life, such tables provide a quick way of understanding user experiences. user understanding of way quick a provide tables such life, their For user-inspired design, this method provides a solid empirical starting empirical solid a provides method this design, user-inspired For In these terms, what is needed for a consistent analysis is a mapping of initial of mapping a is analysis consistent a for needed is what terms, these In point, whichdependsonmorethansimplyimagination. 18.8.2003, 9.19.24 Empathic Design -kirja0.997.indd 83 visioned feature of the so-called third generation mobile phones (3G). That is, the products aregraduallydomesticatedintoeverydaylife. their interactionalpropertiesarepoorlyunderstood. of the structure or the success of the terminology of the interface. the of terminology the of success the or structure the of orientation is unable to capture what happens during the course of time when time of course the during happens what capture to unable is orientation community widely accepts the importance of emotions in consumer preferences, consumer in emotions of importance the accepts widely community confrontation between the user and the machine, including, e.g., the learnability the e.g., including, machine, the and user the between confrontation chapters in this book. Here, people empathize with each other; empathy is a mun- capability totake,sendandreceivephotographsusing mobiledevices. actional phenomenon. I will present data from a study that prototyped one wide- one prototyped that study a from data present will I phenomenon. actional us design usable, enjoyable and therefore successful products. While the design the While products. successful therefore and enjoyable usable, design us tional expectations and emotional responses that emerge during use will help This chapter takes a different theoretical perspective on empathy than other than empathy on perspective theoretical different a takes chapter This inter- and social a as responses emotional study to is chapter this of aim The Usability and user centered design (UCD) typically place emphasis on the fi ers adopt new technology into their everyday life. Understanding emo- Understanding life. everyday their into technology new adopt ers Emotional experiences play an important role when consum- when role important an play experiences Emotional Esko Kurvinen visual messaging emotions in mobilein 75 As such, this such, As rst 18.8.2003, 9.19.24

83 Empathic Design -kirja0.997.indd 84

84 2: studying experience with objects and prototypes emotions in mobile visual messaging According to product development scenarios, mobile imaging will be the key fea- key the be will imaging mobile scenarios, development product to According with this technology, experiment with it, and construct its meaning out of their of out meaning its construct and it, with experiment technology, this with were meant as tools, but in fact, they enter our everyday lives as toys. People play which studies ways in which people construct actions together in ordinary situa- ordinary in together actions construct people which in ways studies which us to understand the potential of social use, it remains to be seen whether the key paradigm of 3G will also change. According to Pantzar, people interpretthingsandevents. in these messages. Secondly, I will show how in the context of communication, of context the in how show will I Secondly, messages. these in ing will largely be realized as were mobile phones and computers previously: they the fi the the meanings of a message do not arise only from its content or intentions of the of intentions or content its from only arise not do message a of meanings the text of role the discuss also will I state. emotional or feelings their represent to there are only few studies from the perspective of the end user. While the com- the While user. end the of perspective the from studies few only are there ture of the mobile Internet. In 3G mobile phone visions, the small portable devices tions, not in laboratory conditions. I will show how (1) people make emotions and responded to by other people. This approach is based on conversation analysis, conversation on based is approach This people. other by to responded dane thing, and ought to be studied as such. I show how empathy can be recovered emotions and mobile visual messages messages. First, I will show examples of messages in which users use photographs mes- of discussion extensive of Instead emotional. somehow are that messages mercial breakthrough of SMS (Short Message Service) has only recently awakened ordinary practices. of thenearfutureareversatileincapturing,editingandsharingimages. events. According to these views, communication is situated in nature. A message empathy available in their messages, (2) how apparently unemotional messages unemotional apparently how (2) messages, their in available empathy can be turned into emotional communication through the management of replies, of management the through communication emotional into turned be can are methodological orientations that focus on the sequential organization of social and (3) how emotional messages are responded to. This perspective shows how shows perspective This to. responded are messages emotional how (3) and mes- construct people how show I terms, methodological activity.In mutual a as sender, butare in meaning of making turn-by-turn the on focus I emotions, of terms in saging sages in which they empathize with other people, and how these message are are message these how and people, other with empathize they which in sages This chapter elaborates and tests Pantzar’s thesis by analyzing those mobile those analyzing by thesis Pantzar’s tests and elaborates chapter This This analysis draws from ethnomethodology and conversation analysis. Though all the key players in this area pursue technological development, development, technological pursue area this in players key the all Though nal selection between selection nal achievements tools in aco-operativeactivity. and 76 toys . He suggests that mobile visual messag- visual mobile that suggests He . 77 the consumers will make 78 Both 18.8.2003, 9.19.24 Empathic Design -kirja0.997.indd 85 ways.” photo albums or postcards. For example, some folk ways are simply transferred to forms the base for the next response. Due to the situated nature of communica- of nature situated the to Due response. next the for base the forms it comes as text, action, another image or a verbal response. This response then response This response. verbal a or image another action, text, as comes it is interpreted by the recipient, who gets a hint on how to interpret it from the mes- ing a visual message is dependent on how the recipients interpret it and how they tion, we seldom know how the communication will continue after three or four or three after continue will communication the how know seldom we tion, recipient’s response (if it does not concern an altogether different matter), whether everyday methods. Most of these methods are familiar to anyone who has seen has who anyone to familiar are methods these of Most methods. everyday express their interpretation. Such messaging can also get sidetracked and bring and sidetracked get also can messaging Such interpretation. their express exchanges, andweareforcedtoactinthepresent. a newenvironment,asExample2shows. a surprising reply. Something in his message, of course, prompted a jocular re- jocular a prompted course, of message, his in Something reply. surprising a about surprises. In Example 1, a perfectly typical city street photograph prompted sage, but who is not bound by the content. The interpretation can be seen in the in seen be can interpretation The content. the by bound not is who but sage, sponse, buthowcouldtheoriginatorhaveforecastsuchresponse? —I’m Cool! onthe Esplanade! fi According to this view, image-based interaction is situated: the result of send- of result the situated: is interaction view,image-based this to According However, the activity is not random by nature, as it is based on standard “folk standard on based is it as nature, However,by random not is activity the rst message:rst 35 An important part of visual messaging is based on a limited number of number limited a on based is messaging visual of part important An example 1.ontheesplanade example STOMP! The Giant Green Sociologist! STOMP! Run for yourlives…it’s… it’s… STOMP! response: What was that? What was 18.8.2003, 9.19.24

85 Empathic Design -kirja0.997.indd 86 J and grappa. birra myStuffed face with pizza, Terrace +25. at 1100meters, 86 italysubject: 2: studying experience with objects and prototypes emotions in mobile visual messaging As we shall see, interactivity see, shall we As To get a glimpse of the possible uses of future mobile phones, we used today’s used we phones, mobile future of uses possible the of glimpse a get To literature concerning albums and photography has not hinted at such activities. such at hinted not has photography and albums concerning literature used this combination. Our study concentrated on consumer grade technology technology grade consumer on concentrated study Our combination. this used in someone else’s photo album with another photograph taken later.earlier taken Also, photograph another with else’salbum someone photo in our interviewees. None of to the members of our study group according had responded to a picture least rare—at quite but possible, is pictures of use interactive take partinthemand,mostimportantly, tojokeaboutthemandthususeas h ms iprat en te neatvt o iae. n dgtl ol, n im- an world, digital a In images. of interactivity the being important most the resources forsocialaction. red-capable digital camera to four user groups and followed the way in which they data off-the-shelf technology. We gave a Nokia 9110 Communicator and a Casio infra- Casio a and Communicator 9110 Nokia a technology.gave Weoff-the-shelf as e-mail attachments. With the Communicator, subjects were also able to receive and everydayuse. age can be responded to with another image. With traditional photo albums, the albums, photo traditional With image. another with to responded be can age The equipment enabled our subjects to take photos and send them instantly them send and photos take to subjects our enabled equipment The Still, visual messaging also adds new elements to traditional uses of images, of uses traditional to elements new adds also messaging visual Still, example 2.postcardexample from italy

also makes it possible to communicate emotions, to emotions, communicate to possible it makes also 18.8.2003, 9.19.24 Empathic Design -kirja0.997.indd 87 This analysis focuses on the most important types of emotional messages only. up reading the messages on a PC because of the slow GSM data connection and connection data GSM slow the of because PC a on messages the reading up using her pet name and telling that her being at this particular place is not the not is place particular this at being her that telling and name pet her using Some of the messages sent during our study were clearly charged with emotions. with charged clearly were study our during sent messages the of Some In Example 3, Kirsi sends a picture of herself to her boyfriend, who is studying is who boyfriend, her to herself of picture a sends Kirsi 3, Example In emotional mobile emotions making images: visible of youngadultmales(born1973—75),agroupfemales(1973—76) or rather, mediated by the image, the receiver of the message. In the text, she is she text, the In message. the of receiver the image, the by mediated rather, or combination of visual and textual means. She is intensively looking at the camera, are fromgroups2and3.Afulldescriptionofthedataispresentedelsewhere. fi had group Each group. control a and ended often they practice, In move. the on while comments and photos view and abroad. small monochromedisplayoftheCommunicator. same withouthim. In 1999—2001, four groups participated in the study: a pilot group, a group a group, pilot a study: the in participated groups four 1999—2001, In In the message, Kirsi’s longing for her boyfriend is communicated with a subtle I will only illustrate how emotions are communicated in mobile visual messages. example 3.atexample your place ve members. The examples in this chapter this in examples The members. ve Kiki here being strange So without you. keys. is really smallby the way—and to giveToni the hereI came to outthe storage check room, which subject: atsubject: your place 79 18.8.2003, 9.19.25

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88

2: studying experience experience. pleasant avery Overall,

with objects and prototypes partsubject: 6 emotions in mobile visual messaging Subsequent messages can also draw from the previous ones without having to en- to having without ones previous the from draw also can messages Subsequent invitation for others to join the series was built on this sexual tone. The fi The tone. sexual this on built was series the join to others for invitation neath ablanket.Thestoryendedwiththisvisualevaluationoftheexperience. ohn hpee drn te ekn. ois el confi reply Tomi’s weekend. the during happened nothing his weekend. The story consisted of six images that showed pieces of clothing on clothing of pieces showed that images six of consisted story The weekend. his that, as suggested, the story was staged. This example shows how mobile visual mobile how shows example This staged. was story the suggested, as that, that and staged was it that suggesting by story man ladies’ the questioned tease the fl the image in these terms. Out of its possible interpretations, the second message second the interpretations, possible its of Out terms. these in image the started has she monologue a continues Lisa 5, Example In them. with agree tirely referred towhatwaspresentedearlier, butturneditintosomethingnew. responding toresponding anon-emotional message withanemotional message messages can evoke interaction—such as teases—in the midst of other mundane other of midst the teases—in as interaction—such evoke can messages ra. huh hs ye f nepeain a b n mas eesr, Minna’s necessary, means no by was interpretation of type this Though organ. affairs. The responses. as teases prompted story this was, it as story.Evocative typical a about her childhood neighborhood. In Example 6, a replying message from Minna sage presents an object of affection, but the text does not formulate the meaning of This is a particularly clear example of how an experience can be described in described be can experience an how of example clear particularly a is This Example 4 is from a six-picture message in which Tomi tells a visual story of story visual Tomia which tells in message six-picture a from is 4 Example In Finnish, In oor. The apex of the story was a picture of a young woman’s naked leg under- baguette and paddle are slang words referring to the male sexual male the to referring words slang are paddle and example 4.bragging example rmed the suspicion suspicion the rmed rst mes- rst 18.8.2003, 9.19.25 Empathic Design -kirja0.997.indd 89 logue may be uninteresting as such, but it established the series as a legitimate a as series the established it but such, as uninteresting be may logue nesadn o iprat bet wt Lia Ot f l psil photograph- possible all of Out Liisa. with objects important of understanding example 5: at the corner store example 6: man andpaddle 6:man example 5:atexample thecorner store plicable to Sami, yet more interesting, had to be initiated. Secondly,initiated. Lisa’sbe mono- to had interesting, more yet Sami, to plicable It naked. him showing by sexuality at hints and theme, boyfriend the up picks justifi have no photos or the desire to discuss him, a more general frame, men, still ap- still men, frame, general more a him, discuss to desire the or photos no have recipients other Since Sami. photo, the of subject the utilized Minna message her this kindoftheme. through visual rather than verbal imagery. Simultaneously, Minna coordinates her boyfriends. emphasizes the emotional content that was hidden in the fi the in hidden was that content emotional the emphasizes be bet i te ol, h coss o olw is’ eape ad ou on focus and example, Liisa’s follow to chooses she world, the in objects able Liisa andaBaguette 1,Sami Part Valintatalo. myhomestorepictures from childhood Continuing series… the Friday afternoon The replying message altered the meaning of the original in two ways. First, in cation for subsequent messages, even though herself Lisa never called upon called never Lisa herself though even messages, subsequent for cation Minna contribute. Here isamanandpaddle. and abaguette) andchallenge others to I follow(man by Lisa the series started rst message, although message, rst 18.8.2003, 9.19.26

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90 2: studying experience with objects and prototypes emotions in mobile visual messaging photo of a man and a paddle being aesthetic, funny and useful as such, it was it such, as useful and funny aesthetic, being paddle a and man a of photo image andthecontextinwhich itwastaken. not sent until Lisa’s message made it relevant in this context. It can be concluded Lisa’sbe until can sent It not context. this in relevant it made message text. Even in cases in which text was missing, the author had otherwise quite quite otherwise had author the missing, was text which in cases in Even text. and images both contained study our during sent messages the of all Practically that the two photographs, instead of one being inherited from the other,the from inherited being one of instead photographs, two the that mutually this was not simply a case of abuse or intentional misinterpretation. Looking at the defi taken was paddle) and (man Minna’sphoto that notices one photos, the of dates responding toresponding an emotional message: joint emotional displays before she received Lisa’sreceived the Despite she before store. the from baguette) and (man message example below, from the male group, the text explicates both the contents of the of contents the both explicates text the group, male below,the the example from In conversations. or message(s) previous the to image the linked explicitly Gentlemen, are things notfi Saturdayway to start morning. What afantastic loadofplates. abloody mugs, twenty glasses, almost forty statistics: Some ohsheet. outthis ofdishes; check pile Dudes HELLO! ned eachotherintheturn-by-turnprocessofgroupcommunication. example 7. dishes example 8.re:dishes example 7.dishes example Both of these transformations were done to better facilitate an invitation. Yet,invitation. an facilitate better to done were transformations these of Both ne right now! —Ike only 4hto Iamalready go, parched… at allthose crappy damn look plates… Me too, the dishes hit the fan and just theandjust disheshitthe fan Me too, 18.8.2003, 9.19.26 Empathic Design -kirja0.997.indd 91 Therefore, the meanings, fun and pleasure of communication that lead to our our to lead that communication of pleasure and fun meanings, the Therefore, The successful devices, services and interfaces of tomorrow’s imaging phones may The second message is humorous, but relates to the evaluative perspective that perspective evaluative the to relates but humorous, is message second The was madeavailableinthefi was also not taken until the fi photos and building new messages, but also for making sense of previous ones. previous of sense making for also but messages, new building and photos party mess at home. In essence, the second message joins in the mood, and shares pleasantness ofthesituation. for others to see what they see in real time. If we defi we If time. real in see they what see to others for in more detail, they often take it into account. Example 7 is the fi the is 7 Example account. into it take often they detail, more in not be emotionally charged as such (although, of course, they might how they may turn non-emotional messages into emotional ones and relate to to relate and ones emotional into messages non-emotional turn may they how the less-than-nice experience with the fi the with experience less-than-nice the fi the the reply, Example8,follows20minuteslater. for reference of frame a builds message a of pair text-image the result, a As text. rhetoric in everyday life. People create emotional experiences for each other turn- other each for experiences emotional create People life. everyday in rhetoric discussion message. The replying photograph did not only present a visually similar view,similar visually a present only not did photograph replying The message. it ytr i te iees niomn mc a te d i eeya life. everyday in do they as much environment wireless the in by-turn by nature.Rather, theystemfromcontinuouscomparisonsbetweenmessages. of taking action, remains in the background of the experience. We have also seen Wealso experience. have the of background the in remains action, taking of on how to interpret the message. Most often these instructions were given in the in given were instructions these often Most message. the interpret to how on on how to take a similar one. Style-wise, the text of the second message follows message second the of text the Style-wise, one. similar a take to how on fi the discuss to are they if especially and topic same the on emotional displays. In this sense, this paper represents a study on emotional emotional on study a represents paper this sense, this In displays. emotional take-it-or-leave-it means no by are services imaging mobile future in engagement coordinate and interpret their vision for and with others, and make it possible it make and others, with and for vision their interpret and coordinate advanced wireless technology that, although it provides people with new means new with people provides it although that, technology wireless advanced shown above, each visual message is a potential resource for not only taking new taking only not for resource potential a is message visual each above, shown subsequent messages. Of course, they need not do so, but if they are to continue to are they if but so, do not need they course, Of messages. subsequent The reply was constructed using both visual and textual references to the fi the to references textual and visual both using constructed was reply The instructions some least at with recipients the provides sender Typically,the h fi The We have seen how people can communicate emotions with images through an rst one, its strong fi strong its one, rst rt esg aray ae a eoinl tne oad a yia after- typical a towards stance emotional an takes already message rst rst-person perspective and swearing projecting the un- the projecting swearing and perspective rst-person rst message.Whatweseehereis empathy inaction. rst photograph was received and provided guidance rst one, and establishes a joint viewpoint. joint a establishes and one, rst ne empathy as spontaneous, as empathy ne rst message or image or message rst rst message and message rst

be). As I have 80 They They rst 18.8.2003, 9.19.26

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92 2: studying experience with objects and prototypes emotions in mobile visual messaging lyst for emotional communication. In providing new means for communicating for means new providing In communication. emotional for lyst non-refl happens in real-time. We can also claim that a technical system became a cata- a became system technical a that claim also can We real-time. in happens emotions, it also introduced these emotions into participants’ lives in surprising in lives participants’ into emotions these introduced also it emotions, settings humorously. best done by giving users rich access to the local history of personal and group- and personal of history local the to access rich users giving by done best specifi oet o e et Snig mgs o red i nt ne wiig for waiting need a not is friends to images Sending sent. be to moment Mobile imaging services should support user activity. Paradoxically, this is is this Paradoxically, activity. user support should services imaging Mobile c messaging, as well as storage space for images waiting for a suitable a for waiting images for space storage as well as messaging, c ected coordination of perspective, this represents a case of empathy as it as empathy of case a represents this perspective, of coordination ected fulfi llment. Itisaprocessthatneeds to benourished. 18.8.2003, 9.19.26 Empathic Design -kirja0.997.indd 93 There is a large amount of social science literature on photography,on literature science social of amount large a is There party? Perhaps photography could even become something of a game, a part of the future. The reason for building a prototype was that in 2001, such services and services such 2001, in that was prototype a building for reason The future. festivities? How can they share them through mobile terminals and do so while still at the at still while so do and terminals mobile through them share they can How imaging phonesdidnotexist. background onphotography research much on ordinary photography. However, a few conclusions can be drawn from drawn be can conclusions few photography.a However,ordinary on much ence prototypes.” ence unlikely that every participant wants to keep all his images in private use only.use private in images his all keep to wants participant every that unlikely they come to document the gathering with 200 digital photographs. It is is It photographs. digital 200 with gathering the document to come they To study these questions, we did a study for which we built a series of “experi- phone. If each one of them takes fi takes them of one each If phone. Imagine a party of ten people, all equipped with an imaging imaging an with equipped all people, ten of party a Imagine Esko Kurvinen&IlpoKoskinen anexperience prototype mobile photo album: 81 We aimed at developing concepts for photo services of the of services photo for concepts developing at aimed We ve images per hour for four hours, four for hour per images ve 82 but not so not but 18.8.2003, 9.19.26

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94 2: studying experience with objects and prototypes mobile photo album: an experimental prototype “latent” functions in remembering. in functions “latent” literature. Photos taken by ordinary people in ordinary situations focus on fairly on focus situations ordinary in people ordinary by taken Photos literature. photography skillssystematically. EU-funded project called “Maypole,” called project EU-funded In design terms, Maypole concluded that the apparatus ought to have several fea- several have to ought apparatus the that concluded Maypole terms, design In functioning prototype for taking and sending mobile images. The prototype was prototype The images. mobile sending and taking for prototype functioning is the “manifest” function of photos. In addition to this overt function, there are there function, overt this to addition In photos. of function “manifest” the is in conventional situations, using conventional photographic practices. Obvious practices. photographic conventional using situations, conventional in home, children, symbols of success (cars, boats, company), nature, pets and vaca- and pets nature, company), boats, (cars, success of symbols children, home, their meals, dirty plates in the sink, their home street, and so forth. Lots of editing tions. tures. It has to support text and voice, simple editing, creative and sending stories, fi remembering. People construct and keep memories intact with photographs. This replicate and maintain established visions of the world by showing family life family showing by world the of visions established maintain and replicate deviations from this pattern are professionals and active amateurs, who develop who amateurs, active and professionals are pattern this from deviations be connectabletocomputers,andsupportviewingimages immediately. became even more mundane and mundane more even became conventional contents such as family and its rites of passage (e.g., weddings), weddings), (e.g., passage of rites its and family as such contents conventional groups by building ties between members. They focus on the high points of life of points high the on focus They members. between ties building by groups age.” seniors untouched. This way, they make the world a better place. Photographs of place. better years a world last the make the they way, leave This but untouched. seniors children, or parties graduation weddings, as such small groups for approximately 2—3 months each. In this study, photography photography study, this In each. months 2—3 approximately for groups small eld-tested inHelsinkiandVienna. Theirmainresultswere: In factual communication, photos were not useful: visual communication is • Usersenjoyedthepossibilitytoeditimages. • memory,of supporters primarily not were Photos things communicated but • activi- artistic and communication emotional joking, for used were Photos • In functional terms, photographs have been primarily seen as instruments of instruments as seen primarily been have photographs terms, functional In n 9920, e otne tee hms n poet ald Mbl Im- “Mobile called project a in themes these continued we 1999—2001, In How does digital imaging change this situation? In 1997—9, the partners in an 86 not accurateenoughforexactcommunication. ties (enhancingimages,buildingstoriesfromimages). as theyhappened,andcommunicatedemotions. We gave a Nokia 9110 Communicator and a Casio digital camera to four to camera digital Casio a and Communicator 9110 Nokia a gave We ad hoc ad 84 83 Photographs help to constitute and solidify and constitute to help Photographs 85 studied social communication and built a built and communication social studied than in Maypole. People shot images of images shot People Maypole. in than 18.8.2003, 9.19.26 Empathic Design -kirja0.997.indd 95 These studies have been based on existing technology. As such, they give some give they such, As technology. existing on based been have studies These prototyping, specifi use would people In terms of content, the majority of images consisted of group poses, postcards, poses, group of consisted images of majority the content, of terms In jects experimented with small albums, but the main mode was daily interaction, daily was mode main the but albums, small with experimented jects importantly, for commenting them, sometimes with text, sometimes with new new images, andevenimagemanipulations. with sometimes text, with sometimes them, commenting for importantly, their specifi their took place in the camera, and some in the Communicator. The main results of the experience prototyping andtemplates withi-zone cameras or sociability. They used the system not only for sending images, but also, and also, but images, sending for only not system the used They sociability. or each of these applications, we built an “experience prototype.” In experience experience In prototype.” “experience an built we applications, these of each clue about future uses of wireless digital imaging. Maypole and Mobile Image also give uscluesaboutthekindsofwantsandneedsfuture technologiesprompt. about them with each other. More interestingly, images became interactive: sub- interactive: became talked images interestingly, and More other. each cameras, with them with about stories created people Maypole, in As forth. so and selected three key applications for study: a diary, calendar and photo album. For album. photo diary,and a calendar study: for applications key three selected sible servicesandtechnologiesintheirenvironment. how about much say can study neither Thus, services. its and WWW the as such study wereasfollows: • After the initial active period, there were times of lower activity with occa- with activity lower of times were there period, active initial the After • After this period, there were large variations between people: some sent lots • The number of sent messages and images was initially very high, but dropped• Almost all images were distributed by e-mail rather than through a wireless • We collected a series of empirical data for three possible future products. Weproducts. future possible three for data empirical of series a Wecollected However, both of these fi from social processes: when one member sent lots of photos, others com- others photos, of lots sent member one when processes: social from to anaverageof4—7imagesaweekafterinitialperiod2—3weeks. mented with photos. Participants followed each other in constructing their of photos,whileothersusedthesystemverylittle. activities. sional peaks of activity in image sending. Apparently,sending. image in activity of peaks sional resulted peaks these system becausetheGSMdataconnectionusedinstudywasslow. c features. Also, they did not focus on the technological environment, technological the on focus not did they Also, features. c 87 the aim is to build a prototype that mimics a possible future prod- future possible a mimics that prototype a build to is aim the c program modules, and interact with them, given acces- given them, with interact and modules, program c eld experiments focused on equipment rather than on 18.8.2003, 9.19.27

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96 2: studying experience with objects and prototypes mobile photo album: an experimental prototype There weretwoparties,andbothvideotaped. photo building of experience the study to designed was prototype second The (besides being cheap). This solution mimics digital imaging in two ways. First, ways. two in imaging digital mimics solution This cheap). being (besides uct enough so that users can experience its basic functionality. Our experience Our functionality. basic its experience can users that so enough uct prototype was done with small Polaroid cameras. The small Polaroid photographs epe a se hi poo ams imdaey Scnl, hy a gu their glue can they Secondly, immediately. almost photos their see can people future needs latent of kinds the evaluate and technology, future of uses portant possible it made method This section). next the in explained (“@Party”, parties images to a series of provided templates and prototypes. This feature mimics a mimics feature This prototypes. and templates provided of series a to images technology inspires. im- most the of some study could we which in environment research a build to building stories together: the@party template could also be used as stickers (Picture 2). For the users, we custom-built diaries custom-built we users, the For 2). (Picture stickers as used be also could central featureofadigitalphotography:on-the-spotfeedback. albums together. To this end, we selected highly social occasions, namely, parties. two to album digital shared a of mock-up a took we addition, In calendars. and Indoors • The reasons for using a Polaroid camera with a sticker possibility were twofold evening. This event, which resembled a cocktail party, had no distinct distinct no had party, cocktail a resembled which event, This evening. subjects. Photographing and fi and Photographing subjects. picture 1. i-zone camera and scissors used and inthe scissors study 1.i-zonepicture camera Te fi The : rst party was an indoor party with 20—30 international international 20—30 with party indoor an was party rst lling in the template was done during one during done was template the in lling 18.8.2003, 9.19.27 Empathic Design -kirja0.997.indd 97 h bsc ainl bhn ti eecs ws o td hw epe ul visual build people how study to was exercise this behind rationale basic The were given i-Zone cameras and an experience prototype, which contained several joint building of a shared album could be assisted. Participants in these sessions these in Participants assisted. be could album shared a of building joint elements wewantedtostudy(Picture2). an easily accessible table. The idea in the template here was to follow one of the of one follow to was here template the in idea The table. accessible easily an stories together. In addition, we wanted to test several possible ideas of how such Suomenlinna/Picnic • 100 cm. It was PVC covered, and placed on placed and covered, PVC was It cm. 100 × 70 was template the of size The was fi was visual structure, but consisted mainly of socializing, eating and drinking. and eating socializing, of mainly consisted but structure, visual ins lnug a te nvriy f esni Tee ee 11 par- 11—13 were There Helsinki. of University the at language Finnish frisbee. Thus,thetemplatebecameaction-oriented. In termsofcontent,thetemplatebecamepeople-oriented. island located 15 minutes from Helsinki. Participants were students of of students were Participants Helsinki. from minutes 15 located island took place at several locations, mostly outdoors. However, the template template the However, outdoors. mostly locations, several at place took event The island. the to trip picnic day-long a was party whose ticipants, consisted of a series of visually rich activities such as playing soccer and soccer playing as such activities rich visually of series a of consisted lled indoors after the picnic. In contrast to the fi the to contrast In picnic. the after indoors lled picture 2. the@partypicture template . The other event took place in event tookplace other The . Suomenlinna rst party, this party this party, rst , a fortress a , 18.8.2003, 9.19.27

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98 2: studying experience with objects and prototypes mobile photo album: an experimental prototype was built. photographs using available cameras. The resulting Polaroid photos were thrown were photos Polaroid resulting The cameras. available using photographs participants, recording fi recording participants, Esko Kurvinen observed these parties by collecting basic information about the about information basic collecting by parties these observed Kurvinen Esko it was found that people often want to edit images together. Consequently, they Consequently,together. images edit to want often people that found was it icons/folders inaservice. the regrouping of the photos. The method of grouping was mainly visual: photo- visual: mainly was grouping of method The photos. the of regrouping the the subjects discussed lively and jokingly about individual photographs and their tested with the prototype were “icons” that could be understood as possible possible as understood be could that “icons” were prototype the with tested During the prototyping session in session prototyping the During design implications of the Maypole and Mobile Image projects. In both studies, both In projects. Image Mobile and Maypole the of implications design building ashared album together built several albums simultaneously. Below, we show how one of these albums these of one how show we Below,simultaneously. albums several built on a quilt that was lying on the ground. As new photos arrived, they were vividly constellations. commented and some preliminary grouping was done. While grouping the photos, aspect oftheprototype,namely, howpeoplebuiltalbumstogether. should seewhatothersaredoingwhileworkingonanalbum. • Storytelling: (4) Timeline;(4) Storytelling: WithComics. (6) Curve”; “Groove (5) icons, these • Storage: we gave participants three folders for storing images: (1) Folder; (2) • While on the picnic, subjects (10—13, depending on time) took hundreds of hundreds took time) on depending (10—13, subjects picnic, the on While Later, when the photos were placed to the prototype template, people started people template, prototype the to placed were photos the Later,when In addition, pens and stickers were given to participants. More specifi More participants. to given were stickers and pens addition, In h gov cre etd mtos wehr epe at o lsiy their classify to want people whether emotions: tested curve groove The want to build funny photo stories based on a cartoon-like strip of images. of strip cartoon-like a on based stories photo funny build to want would people whether testing for given were comics ideas: three tested we unwanted photosintofolders,thepeoplefolder, orthetrashcan. parties. party.the at feelings their of terms in photos Finally, we timeline, the with to fi tested whether people want to understand the party as a sequence from start hs ios te da a t se hte pol wne t casf their classify to wanted people whether see to was idea the icons, these With 5). Picture to refer numbers (these (trashcan) can Garbage (3) People; nish. Thus, these templates offered three alternative ways of describing eld notes and taking videos. Here, we focus on just one just on focus we Here, videos. taking and notes eld Suomenlinna , our subjects photographed and photographed subjects our , c ideas c 18.8.2003, 9.19.29 Empathic Design -kirja0.997.indd 99 “Wildlife PhotosoftheYear 2001.” After all of the images were grouped, the group was named and individual pho- individual and named was group the grouped, were images the of all After yet unnamed cluster of photos could be called “Wildlife Photos of the Year 2001.” logic. It was invented, as people follow what others do, and place objects into objects place and do, others what follow people as invented, was It logic. photo wasputintoagroupinthefollowingway. noticed that there is a common feature in all of them, and suggested that the whole those that were already on the template. Next, they clustered photos into smaller into photosclustered they Next,template. the on already were that those fi the at Looking annotated. were tos discussion, after which they agreed that the group should be renamed (here) as (here) renamed be should group the that agreed they which after discussion, onto the template. When others noticed them, they placed similar photos near to near photossimilar placed they them,noticed others Whentemplate. the onto ery, animals and plants on their way to the picnic site. One of them put his photos collections, and regrouped them into animals and plants. Finally,plants.and participantanimals intoone themregrouped collections,and graphs were grouped by visual rather than conceptual characteristics. Typically, a Again, the background was that participants had taken several photos of scen- of photos several taken had participantsthat was background the Again, Step 3: Step 2: Step 1: In Wildlife Photos, people followed a combination of visual and conceptual and visual of combination a followed people Photos, Wildlife In After the group was agreed upon, the photo was placed in its its in placed was photo the upon, agreed was group the After Anyoneoftheotherparticipants One of the participants noticed a visual similarity, and suggested that ) suggestedanothergroupasmorerelevant,or b) category. suggestedthatanewgroupbecreated. c) ) agreed, a) a photoshouldgotogetherwithanexistinggroupofimages. nished album, the participants had a short a had participants the album, nished picture 3.wildlifepicture photos oftheyear 18.8.2003, 9.19.29

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100 2: studying experience with objects and prototypes mobile photo album: an experimental prototype The Importance ofEditinginIndoors: The Importance towards ascenario design: of ashared album As previous examples show, participants enjoyed not just the images, but also the e ae hw aoe o a abm s pout f iutd hie ta par- that choices situated of product a is album an how above shown have We fact that they could edit images together. In together. images edit could they that fact Exploring Inner Worlds Inner Exploring withImagination Visual in any western culture, in which a good deal of situated action follows such lay such follows action situated of deal good a which in culture, western any in instance, therearetwopanoramasinthelowerrightcorner). tinct areas: the sea, animals, people, visually distinct activities such as football, as such activities distinct visually people, animals, sea, the areas: tinct In tion. system a that show we other.Next each with photos taking when make ticipants to others’ images, and saw how their responses shaped the evolving album in in album evolving the shaped responses their how saw and images, others’ to tograph eachother, if theywantedtocatchactiononfi to edit images and explore the limits of the prototype. As a result, there were lots were there result, a As prototype. the of limits the explore and images edit to in than raphy and editing took place in a social context. People took images, responded images, took People context. social a in place took editing and raphy does noteasilytranslatetophotography, funismadeout ofediting. direction assoontherewasanexampletobefollowed,orcontested. badminton, and socializing on the grass. In grass. the on socializing and badminton, through make people innovations support not does approach one only on based f h mi dies f s. ee i ws vn oe u lrey eas photog- because largely fun more even was it Here, use. of drivers main the of occasions, there should be some basic editing functions. If the activity as such as activity the If functions. editing basic some be should there occasions, a got activity random a initially was What suit. followed others template, the on fi the However,after collages. created participant one only of visual innovations in explorative useofanopenenvironment. categories. up grown has who anyone to familiar thoroughly is logic this Still, categories. subsequent images. Photography became co-experience. The key feature is that is feature key The co-experience. became Photography images. subsequent such as cropping (1 below), collaging (2) and cutting (3), among other things (for things other among (3), cutting and (2) collaging below), (1 cropping as such As As in Wildlife Photos, this invention process was social. For example, initially, ml wne, hn ta te hd o fi to had they that then, wonder, Small In design terms, if a service is marketed for marketed is service a if terms, design In Indoors Suomenlinna Suomenlinna 88 took place in a city apartment, there was much less topical varia- topical less much was there apartment, city a in place took . Instead of taking photos and classifying them, they started they them, classifying and photos taking of Instead . , participants created a pool of images that had visually dis- visually had that images of pool a created participants , Indoors . These innovations consisted of several activities, nd other ways to amuse themselves themselves amuse to ways other nd Indoors Mobile Image Mobile Indoors , participants could only pho- only could participants , lm. type of parties and other and parties of type rst picture was placed was picture rst , having fun was one was fun having , 89 18.8.2003, 9.19.29 Empathic Design -kirja0.997.indd 101 want to delete photos, they may suggest it to John, the wizard. If a guest wants to wants guest a If wizard. the John, to it suggest may they photos, delete to want link several photos into an ordered sequence. Once there, guests receive an SMS an receive guests there, Once sequence. ordered an into photos several link picture 4.editingpicture in people see immediately their images and the responses they produce. Since new Since produce. they responses the and images their immediately see people imaging phones do just this, they may provide similar possibilities for design for design for possibilities similar provide may they this, just do phones imaging them into its categories. They can also suggest names for the categories. If guests If categories. the for names suggest also can They categories. its into them these insights be translated into a future service that works on the small screen of make a “story,” he can select “a story template.” This template makes it possible to of the album from him. The guests can send their images to the album, and place and album, the to images their send can guests The him. from album the of about the story. If they want to see it, it is shown in order—for instance, as a slide number phone the receive who guests, his for album the opens who “wizard,” a an imagingphone.Howcouldtheybuildandviewalbumtogether? an imaging phone? To illustrate such a system at work, let us return to the opening question of this chapter. John arranges a garden party. Ten guests arrive, all with all party.Tenarrive, garden guests a arranges chapter.John this of question show, asasilentmovieor acomicstrip. storage space and a service package @PARTY from his mobile carrier. He becomes social activity. To begin with, John sets up an album for the occasion by renting 20 MB of MB 20 renting by occasion the for album an up sets John with, begin To can how but down, laid well be to seems services future for groundwork The indoors 18.8.2003, 9.19.29

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102 2: studying experience with objects and prototypes mobile photo album: an experimental prototype The system works in a situation in which some—or even all—participants are in are all—participants even some—or which in situation a in works system The 2002. The fi (see chapter by Kurvinen) can be taken towards concrete design—that is, how how is, design—that concrete towards taken be can Kurvinen) by chapter (see less less than 1000 use such a system. This prototype had implications for software, interaction and and interaction software, for implications had prototype This system. a such use people share their images by viewing their catch on the terminal’s screen. How- screen. terminal’s the on catch their viewing by images their share people SonyEricsson’s and Nokia’s fi How to study social interaction with technology that does not exist yet? To ad- To yet? exist not does that technology with interaction social study to How interface ideas. hardware designers. It also shows how a behavioral study such as as such study behavioral a how shows also It designers. hardware tem is expandable into situations in which several people are separated from each sys- a Such means. visual Web.with the thinking and support terminals should It fi that an important class of use situations is camera phones enabling co-experience, is it far, So multimedia. mobile into augmented is which (SMS), messaging text the results of concept search can be translated into concrete services and user user and services concrete into translated be can search concept of results the fi Dublin. Suchasystemwouldalsoworkwithvideophones. dress this question, we showed how we studied mobile photo albums with a with low- albums photo mobile how we we studied showed question, this dress daughter arrives at 10 pm, she can log onto John’s site, and view images there. If there. images view and John’ssite, onto log can she pm, 10 at arrives daughter different places. John can be at his Helsinki home, Monica in Nice and Mary in Mary and Nice in Monica home, Helsinki his at be can John places. different prototyping interactionwithnon-existing technology mainly meantformessagingbetweentwopeople,orsmallgroups. be simple ways of sharing images through a less cumbersome procedure. The The procedure. cumbersome less a through images sharing of ways simple be other, but want to share their experiences, and participate in each other’s visual other’s each in participate and experiences, their share to want but other, experiences astheyarebeing built. must there entertainment, mutual supports that technology make really to ever, Consequently, a system that works should be based on a combination of mobile of combination a on based be should works that system Consequently,a and introducing a playful element into ordinary social activities. Toactivities. extent, social some ordinary into element playful a introducing and a multi-user situation. What are people going to do in such situations? We suggest are used for sharing experiences. sharing for used are she has an imaging phone or a digital camera, she can add images into the system. rst imaging phones will have a limited memory capacity and processing power.processing and capacity memory limited a have will phones imaging rst dlt eprec pooye Cmrs n fi and Cameras prototype. experience delity hs ytm a as b vee o te e. hs hn iin 1, John’s 16, Vivian, when Thus Web. the on viewed be also can system This ht bu te aiiy f h suy n em o peitos o te future? the for predictions of terms in study the of validity the about What However, sooner or later, when terminals become common, people will be in be will people common, become terminals later,when or However,sooner rst experiences support the idea that they may become successful: they € , , but with it, we were able to get an idea of how real people would rst imaging phones arrived on the market in summer 90 At fi At rst, they are based on the analogy of short of analogy the on based are they rst, lms included, the prototype cost cost prototype the included, lms Mobile Image Mobile 18.8.2003, 9.19.29

Empathic Design -kirja0.997.indd 103 h ie i t se o pol rsod o ah te wie n h cmay of company the in while other each to respond people how see to is idea The productions. This form of analysis is based on ethnomethodological thinking. ethnomethodological on based is analysis of form This productions. means following real people in action, and studying their activities as situated as activities their studying and action, in people real following means other people. People show their understanding of what is going on through through on going is what of understanding their show People people. other their words and actions, and see whether and how they were understood by With a situated background theory, getting an empathic understanding of users watching howothersrespondtothem. 91

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103 Empathic Design -kirja 0.997.indd 104 18.8.2003, 9.19.30 3 understanding experience for concept design

Katja Battarbee Stories as Shortcuts to Meaning

Tuuli Mattelmäki Probes: Studying Experiences for Design Empathy

Riitta Nieminen-Sundell & Mika Pantzar Towards an Ecology of Goods: Symbiosis and Competition Between Material Household Commodities

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106 understanding experience for concept design 18.8.2003, 9.19.30 Empathic Design -kirja0.997.indd 107 Users may all buy the same product, but each product is adapted to a life of its of life a to adapted is product each but product, same the buy all may Users understanding real users and their experiences for product development. In this In development. product for experiences their and users real understanding people and their products. By collecting stories of meaningful, important and and important meaningful, of stories collecting By products. their and people image, whichhashelpedtoshapethecontextofexperienceintowhatitis. technologies used. The ways in which the context engages the person’s senses person’s the engages context the which in ways The used. technologies memorable products we attempt to better understand the meanings that people that meanings the understand better to attempt we products memorable own. While produced for the masses, products should be designed for individu- for designed be should products masses, the for produced While own. give to products through ownership and use. als. A recent evolution in design practice, design empathy, design practice, design in evolution recent A als. and enables or denies actions refl around the people, places and products, which they encounter, inhabit and use. and inhabit encounter, they which products, and places people, the around study, our aim is to focus on one part of user experience, the relationship between ence—including the size, location, shape, controls, aesthetics, materials and and materials aesthetics, controls, shape, location, size, the ence—including reaction to the context. All aspects of the context contribute to the experi- the to contribute context the of aspects All context. the to reaction However, products are bought and used by real people, not mental images. images. mental not people, real by used and bought are products However, The experience itself is subjective and personal but it is formed in in formed is it but personal and subjective is itself experience The For experience design, products are contexts for experiences. for contexts are products design, experience For Katja Battarbee meaning stories shortcuts as to ects the designers’ mental image of the user: the 93 People’s daily experiences revolve 92 is an approach for approach an is 18.8.2003, 9.19.30

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108 understanding experience for concept design stories as shortcuts to meaning Through descriptions of product experiences we can gain an insight into people’s views to participatory prototyping, photographing, diary keeping and collage collage and keeping diary photographing, prototyping, participatory to views versions of experiences—Erickson calls stories pearls, irritating bits of reality now life values, attitudes and personal history. Product stories can provide an under- an provide can stories history.Product personal and attitudes values, life Empathic design utilizes a broad range of techniques and methods to provide provide to methods and techniques of range broad a utilizes design Empathic o dvlpn ad etn dsg ideas. design testing and developing for incident technique is that it facilitates a fast overview of a situation and related and situation a of overview fast a facilitates it that is technique incident the tendency of stories to spawn other related stories. The advantage of the critical requires personal engagement personal requires recent breakdowns—failures or other unusual events—for prompting relevant relevant prompting events—for unusual other or breakdowns—failures recent dictionary, empathy is the action or capacity for “understanding, being aware of, aware being “understanding, for capacity or action the is dictionary,empathy empathy, storytelling, design uligte hl syd-ae range. say-do-make whole building—the being sensitive to, and vicariously experiencing the feelings, thoughts, and experi- objects and uses examples to reveal the richness of meanings and the potential of potential the and meanings of richness the reveal to examples uses and objects empathic design activities. It also presents a study on stories about meaningful about stories on study a presents also It activities. design empathic ence of another of either the past or present without having the feelings, thoughts, experiences isakeytounderstandingfactsandmaking objectivedatarelevant. early user studies for defi course ofeventsratherthananunusualone,suchasstoriesoftendo. oee i cutes lsy layers. glossy countless in covered and experience fully communicated in an objectively explicit manner.”explicit Empathy objectively an in communicated fully experience and Merriam-Webster the to According users. future real the of description rich a approaches. Stories can also be the raw material for building compelling scenarios eea tcnqe rnig rm fi from ranging techniques several strict setofmethodsortools. stories inempathicdesign. ships andhowtheserelationshipscouldbesupportedthroughdesign. relation- meaningful lasting, in together come products and life how of standing stories. uses Flanagan by introduced technique incident critical The design. of stages This chapter looks at what stories are and how they could be applied in in applied be could they how and are stories what at looks chapter This Techniques that collect stories are particularly useful in the early,conceptual the in useful particularly are stories collect Techniquesthat User studies are tailored to meet the needs of each design case and include and case design each of needs the meet to tailored are studies User Stories are subjective and should be understood as dramatized and edited edited and dramatized as understood be should and subjective are Stories 99 The technique relies on the memorability of breakdown situations and situations breakdown of memorability the on relies technique The ning a user-centered orientation and for supporting other 94 and is more an attitude and willingness than a than willingness and attitude an more is and ed ras ue tss osrain ad inter- and observations tests, user trials, eld 98 However, understanding those subjective subjective those understanding However, 96 95 Scenarios tend to describe a typical typical a describe to tend Scenarios Collecting stories can be applied in in applied be can stories Collecting 97 18.8.2003, 9.19.30 Empathic Design -kirja0.997.indd 109 The study of person—product relationships began as a pilot experiment. Stories experiment. pilot a as began relationshipsperson—product of study The was provided as assistance. Of the returned material, more than half of the essays lected from users in a design project, however, often require the team to acquire to team the require however,often project, design a in users from lected project meeting. They were processed with affi withprocessed were Theymeeting. project point formorestructuredanddetailedresearch. introduction into the particular issues of study, especially what people do, how do, people what especially study, of issues particular the into introduction Meaningful Tool, Meaningful Association and Living Object (Figure 1). night schools from several towns in southern Finland. The participants were were participants The Finland. southern in towns several from schools night new, domain-specifi hy o t ad ht rbes hy a ecutr Sois r a od starting good a are Stories encounter. may they problems what and it, do they tacit knowledge do not make it into these stories. Stories give a quick, memorable them fromdifferentpersonalexperiencesandprofessionalbackgrounds. f ennfl esnpout eainhp vle it tre an categories: main three into evolved relationship person—product meaningful of of personally signifipersonallyof elevenstories wellastheasobvious biastowards design professionals resulted in studying meaningful person—product relationships conducting a wider study in order to verify and develop the framework. The model challenge, companion and symbol. and companion challenge, attitudes, expectations and problem areas. The shortcoming is that routines and routines that is shortcoming The areas. problem and expectations attitudes, asked to write about a personally important object and a list of sample essay titles an initial grouping of six types of person product relationships: link, design, tool,relationships:design,product link,person of types six ofgrouping initial an A total of 121 written essays and stories were collected through schools and schools through collected were stories and essays written 121 of total A Everyday stories are usually interpreted without much attention. Stories col- Stories attention. much without interpreted usually are stories Everyday fi gure 1.meaningful product relationship categories self expression meaningful facilitator challenge tool cant objects were collected from 11 participants in a research a participantsin 11 fromcollected were objects cant c knowledge. Stories are also ambiguous and people interpret link tolink memory, person emotion, story association meaningful 102 identity, style The number of dimensions found in these in found dimensions of number The nity clustering,nity 100 object living 101 and formed intoformed and 17 18.8.2003, 9.19.30

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110 understanding experience for concept design stories as shortcuts to meaning way. Although stories can be categorized in sociological terms, these idiosyncratic third-grade from also essays with adults, young and teenagers by written were voice, describing personal aims, circumstances and motivations in a memorable a in motivations and circumstances aims, personal describing voice, three stories port traditional gender stereotypes, as has been found in similar studies. people value things that afford action whereas older people fi people older whereas action afford that things value people ful tothemall. in contemplation. The reasons for object attachment vary with the stages of life: of stages the with vary attachment object for reasons The contemplation. in the teller. Some of the stories were about relationships with small, yet meaningful Despite these stereotypic gender and age patterns, each story still holds a unique a holds still story each patterns, age and gender stereotypic these Despite mention furniture almost exclusively. Women also mentioned self-expression self-expression mentioned also Women exclusively. almost furniture mention mtos a wl a epesn sye Mn ecie mtryls gdes and gadgets motorcycles, described Men style. expressing as well as emotions, carry quite different meanings to members of the same family, but yet be meaning- children, middle-agedandelderlypeople(seeFigure2). childhood, adolescence, early adulthood and adulthood. and adulthood early adolescence, childhood, gender patterns. Women, who also write about jewelry and decorative objects, objects, decorative and jewelry about write also who Women, patterns. gender and meaningful associations more often: links to memories, persons, stories and stories persons, memories, to links often: more associations meaningful and qualities aremoreinterestingandevocativefordesigners. sports equipment and did so sparingly and less emotionally. These fi emotionally.These less and sparingly so did and equipment sports 5 The stories have a great range in how central they are to the life and identity of In quantitative terms, the kinds of objects mentioned in the stories reveal reveal stories the in mentioned objects of kinds the terms, quantitative In 0–9 03 4 4 31 10 fi gure 2.distribution ofage and gender of writers 257316 3 7 5 22 10–19 20–29 104 30–39 The same object may object same The nd more meaning more nd 40–49 22 58 ndings sup- ndings 103 Young 50+ years 53 18.8.2003, 9.19.30 Empathic Design -kirja0.997.indd 111 The story is “entry into meaning” into “entry is story The values in a small but signifi but small a in values Laine inherarticle. products. A woman tells about a compact little hairbrush, which is somewhat ugly Stories have an important function in creating these meanings: they collect the collect they meanings: these creating in function important an have Stories ful relationshipswithproductscanbeatdifferentstagesinlife. in Lapland, but is useful also in her daily life. Its qualities refl they showhowperfectlysomethingsareembeddedinourlives. threads together, and give them coherence in showing how the threads are related. riods and key transitions in life, and other constitutive symbols in the teller’sthe in symbols constitutive other and life, in transitions key and riods life. makes the particulars meaningful by lifting them out of the fl but functional. This travel brush gives her pleasure once a year when backpacking as they are, for a designer, stories of meaningful objects are shortcuts to meaning: to shortcuts are objects designer,meaningful a of for stories are, they as pe- important people, other life: in central are that things several with associated story of the object and the teller become intertwined. In these stories, objects are objects stories, these In intertwined. become teller the and object the of story The three example stories below serve to demonstrate how broad our meaning- In contrast, other objects have almost a central role in the life of the teller—the I had left it. At school, I got to know a boy who played the guitar. I guitar. the played who boy a know to got I school, At it. left had I I triedtheguitaragain,andsameexperiencerepeated itself. imagined. I turned the volume down and tried to imagine beautiful imagine to tried and down volume the turned I imagined. had I as wonderful as were made I sounds the of None such. as ing her, tooktheguitarand theamplifi did not know this until he came over for the fi the for over came he until this know not did that did not work. I put the guitar in a corner and crawled onto my onto crawled and corner a in guitar the put I work. not did that them downstairs to my room to set them up. I connected the amplifi went months few A own. my of guitar a for mother my asked I that bed to think about it, I was close to tears. It took several weeks before by, and I got one. I was so excited, I ran up to my mother and hugged six months went by and my guitar was still in the same corner where even but imagined, had I as out them play to tried then and sounds, inspir- very not was It rip. let and volume the up turned down, sat friend playing the acoustic guitar. I was so enchanted by its sound This convinced me that my career as a musician was over.was musician a as career my that me About convinced This I was about ten years old when I fi cant way,cant Meri by studied objects small the like much It Changed myIt Changed Life 105 : it provides the background contexture that contexture background the provides it : er ontomyshouldersandcarried rst heard my mother’s rst time. We went to went We time. rst ux of life. ect her interests and 106 er, Rhetoric 18.8.2003, 9.19.31

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112 understanding experience for concept design stories as shortcuts to meaning The hero in this story is the teller. For him the guitar is a tool that has allowed has that tool a is guitar the him For teller. the is story this in hero The probably holds the guitar in a way that feels real, but then the diffi the then but real, feels that way a in guitar the holds probably present day, withanevaluative,butproudending. His learning strategy—pitifully naïve—is a disaster and results in a great disap- great a in results and disaster a naïve—is strategy—pitifully learning His in his story. The boy has not realized that playing is a skill that has to be learned be to has that skill a is playing that realized not story.has his boy in The musical career, from the diffi career,the musical from music to become an integral part of his life and identity. He tells the history of his before expression can take place. Setting up the guitar seems easy enough and he and enough easy seems guitar the up Setting place. take can expression before “wonderful produce will who someone as musician, a as himself see to begins sounds.” Theguitarisagiftfromhismother, butafterthisadultsarenot featured After the fi the After e tre rcutn paes ad bu to ots ae w had we later months two about and players, recruiting started We I was shivering with excitement, how fantastic, I had a friend who friend a had I fantastic, how excitement, with shivering was I Puberty hit me hard, I had a rough time at home and school did not did school and home at time rough a had I hard, me hit Puberty amplifi the guitar,adjusted the took He were very proud of our accomplishment. It happened in time that time in happened It accomplishment. our of proud very were rcie n wih a rcre a hm o or eo ae We tape. demo our on home at recorded was which and practice my room and he saw my dusty guitar, and asked me if he could play. deal withmyfeelings. go very well either. Still, I kept on playing; it gave me an escape from the guitar became less important. I never stopped playing, though, playing, stopped never I important. less became guitar the our band broke up, our friends were no longer the same and even and same the longer no were friends our up, broke band our play to learned I time short a In it. got I that then only was It own. could play. He showed me a few things that I then practiced on my on practiced then I that things few a me showed play.He could me to that music miserable his to listened I play.Enchanted, could but kept on practicing. I played in a few bands every once in a while. everyday troubles in some way. It was a way for me to express and express to me for way a was way.It some in troubles everyday everything ayoungbandneeds. as well as my friend and soon he suggested we should start a band. a start should we suggested he soon and friend my as well as at that age sounded amazingly good. I wanted to learn everything he start to play. I made our fi our play.made to I start 24 years old. I still play the guitar and am one of fi We agreed that we would practice twice a week, and could now could and week, a twice practice would we that agreed We ay hns ae apnd n mn hv nt I m now am I not. have many and happened have things Many doing gigs and earnestly waiting for our fi rst experience and awe of hearing a guitar played, the young boy young the played, guitar a hearing of awe and experience rst cult beginning and early days fast-forwarding to the to fast-forwarding days early and beginning cult rst song, which we played at almost every almost at played we which song, rst er knobs and started to play.to started and knobs er rst record deal. ve players in a band, culties ensue. culties 18.8.2003, 9.19.31 Empathic Design -kirja0.997.indd 113 words), he admits that his current band is doing quite well, in fact they are waiting pointment: he cannot make wonderful sounds after all. The guitar is rejected and rejected is guitar The all. after sounds wonderful make cannot he pointment: for arecorddeal. career the on, then From practice. of concept the understands he and things few it is a story of growing up around and with music, for which the guitar is the the is guitar the which for music, with and around up growing of story a is it the relationship with the guitar is utilitarian. He never talks fondly of his guitar guitar his of fondly talks never He utilitarian. is guitar the with relationship the tape. Musicbecomesapartofeverydaylife. roles roles are names downplayed—no are not mentioned, even of the friend or the fi deal with the hardships of life. Finally (the smile can almost be sensed behind the discarded inthecorner. medium. band. Much is left unsaid, only the essence of the hero-role remains. Essentially, remains. hero-role the of essence the only unsaid, left is Much band. fi the reach and songs write practice, organize band, or attaches any emotional or sentimental value to it, even though the story of the the of story the though even it, to value sentimental or emotional any attaches or early days is told with humor. Also, the presence of people is marginal and their their and marginal is people of presence the humor. Also, with told is days early cal rough life of a teenager. Music becomes a form of emotional release and a way scenario wakes up again and the guitar becomes a social tool. The boys form a form boys The tool. social a becomes guitar the and again up wakes scenario The most noteworthy qualities of this story are the fact that the all the time time the all the that fact the are story this of qualities noteworthy most The stereotypi- the and career his in obstacles were there how describes writer The a him shows friend a when chance by later happens experience learning The from the village carpenter. It was stained dark brown, very comfort- very brown, dark stained was It carpenter. village the from in the rocking chair. In it the baby was fed and lulled to sleep, and if my mother’s mother died in childbirth and the baby was laid to sleep grandmother used to sit in it at the end of the day, resting quietly and their motherandmovedinwithgrandmaauntie. before death. baby. My mother was seven when she, together with four siblings lost aunt spent her fi my it, In years. ninety almost for use constant in been has and able she cried, all they had to do was rock the chair gently to soothe the soothe to gently chair the rock was do to had they all cried, she rie hr. y ohrs rnmte hd omsind it commissioned had grandmother mother’s My here. arrived The rocking chair was in great-grandmother’s cabin already when I have heard about this rocking chair all my childhood. How How childhood. my all chair rocking this about heard have I Our rocking chair was with my family for years before it rst months of life and my own mother her last weeks The Rocking Chair rst real milestone, the demo the milestone, real rst rst rst 18.8.2003, 9.19.31

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114 understanding experience for concept design stories as shortcuts to meaning This story is of a shared history spanning generations of women. The chair has, chair The women. of generations spanning history shared a of is story This which men are dead and children are orphaned and survival relies on the strength through simple utilitarian qualities, found its place in the home of a family in family a of home the in place its found qualities, utilitarian simple through daily actions. The teller describes how she has so often as a child heard these heard child a as often so has she how describes teller The actions. daily of older women. Having through its simple rocking motion soothed old women old soothed motion rocking simple its through Having women. older of and newborn babies it has become an important symbol and part of the family’s the of part and symbol important an become has it babies newborn and stories ofthefamily’s past. After auntie Mandi died, my mother inherited the chair. She would She chair. the inherited mother my died, Mandi auntie After I stared at the rocking chair: the solution had to be in it somehow. ryn, rnig p rncide tgte wt ani, n with and auntie, with together grandchildren up bringing praying, nothing butacowtorelyon. for a few weeks. I tried to think of how she could get in and out of bed. it—was: the chair is still there, isn’t it. My sister knows parts of of parts knows sister My it. isn’t there, still is chair the it—was: in landed yet not had that starlings spring the saw she chair the in in the chair when she had no strength for anything else. In three years, help. At times she was in hospital, even there she was required the required was she there even hospital, in was she times At help. without bed of out get to weak too became muscles and bones her dragged the rocking chair into the kitchen and onto the porch. Sitting the story. To my brother’s children it’s just like any other rocking rocking other any like just it’s children brother’s my To story. the the backyard. fl the to chair the lowered and pillows away took I down, sit to other fi other chair. To me it is a miraculous thing, which has served the women of attempted she As it. on lean could back her so upright, almost chair chair was the best because my mother would talk about it so often. so it about talk would mother my because best the was chair n te fi the and arm strength she did not have. She was allowed to come back home back come toallowed was She have. not did shestrength arm and auntie.Ilikedsittinginittoo,didsoateveryopportunity. sit in it often, remembering her childhood and thinking of grandma of thinking and childhood her remembering often, it in sit y aiy o fu gnrtos rm it t dah always death, to birth from generations four for family my After grandma died, auntie Mandi took over the chair. There were I put a soft blanket and some pillows into the chair. I pulled the pulled chair.I the into pillows some and blanket soft a put I My sister now has the rocking chair. She has recently moved, moved, recently has She chair. rocking the has now sister My My mother got cancer when she was 71. For a few years she rested bringing hopefortomorrow. ne pieces of furniture in the cabin, but I thought the rocking the thought I but cabin, the in furniture of pieces ne rst question of my auntie—the one who grew up in in up grew who one auntie—the my of question rst oor. I 18.8.2003, 9.19.31 Empathic Design -kirja0.997.indd 115 it next? she wonders whowillhave repairs and over the years, through been some has coffee. Themorning chair sheenjoys day as her every inthe rockingsits chair teacherschool herself, still four yearslater andaretired 1912: another rocking chair a sepia-toned story of 2001: 2001: 1917: four yearsold. sitting inthe rocking chairis Thegirl little photograph. children for pose aformal The soon. baby isarriving daughters andanothertwo ing: by now there are also wife holds their fi wife holds teacherschool seminar. His rocking chairhimself at the chair home. intheir son, sittinginthe rocking The father the built The is family grow- The little girl, eighty- girl, The little rst born rst born 18.8.2003, 9.19.31

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116 understanding experience for concept design stories as shortcuts to meaning A well-made chair will last generations, and often there is concern of conveying of concern is there often and generations, last will chair well-made A ple getting to use it, and everyone else competing for a chance to sit in the chair.the in sit to chance a for competing else everyone and it, use to getting ple they arenotchairsforoneperson,belongtothefamily. the importance of the chair to the future generations as well as preserving it intact. the rockingchair. made it, how it was acquired. The most essential aspect of rocking chairs is that is chairs rocking of aspect essential most The acquired. was it how it, made Other stories talked more about the chair’s appearance, qualities and history: who of cancer at home with her. She talks about the chair as a symbol of hope and hope of symbol a as chair the about talks She her. with home at cancer of about the chair as a real center of life and action in the home: babies and old peo- old and babies home: the in action and life of center real a as chair the about survival and regrets that her brother’s children have no idea about the meaning of The interesting aspect of this story is that all rocking chair stories have talked have stories chair rocking all that is story this of aspect interesting The days last her suffering mother own her of one sad a is story own teller’s The All thattogetherwassofantastic,Ihadnoideawhat was tocome. I was 14 at the time, so my parents’ reluctance was to be expected. I expected. be to was reluctance parents’ my so time, the at 14 was I people. My phone also helped me to get in contact with girls. As a As girls. with contact in get to me helped also phone My people. pay for my phone calls and text messages. In my happiness I did not fell back on my old persuasion tactics, which meant fi meant which tactics, persuasion old my on back fell my fi my innocently I bill. phone the as known otherwise is shock This ing. would I and account, the me get would father my money, own my much do couldn’t father my which after permission give to mother home to ask my parents’ opinion. They were not thrilled by the idea. the by thrilled not were They opinion. parents’ my ask to home rapidly in the fi the in rapidly realize theweightofthisresponsibility. thought and desire of owning a mobile phone. In excitement I ran I excitement In phone. mobile a owning of desire and thought opened the envelope and, as is the custom in this unnamed ritual, unnamed this in custom the is as and, envelope the opened consequence, I met my fi except agree. The conditions were that I would buy the phone with phone the buy would I that were conditions The agree. except school was exciting. The phone number list in my phone expanded phone my in list number phone The exciting. was school started crawling up my spine and I felt my blood pressure go up. A up. go pressure blood my felt I and spine my up crawling started summer and earned some money. On payday, I was struck with the It was a day of shock. That day I cursed the phone for ever exist- ever for phone the cursed I day That shock. of day a was It My life was beautiful and eighth grade began. Going back to to back Going began. grade eighth and beautiful was life My rst glance was towards the total sum of the bill. Cold shivers Cold bill. the of sum total the towards was glance rst I remember it like yesterday. I had been working in the in working been had yesterday.I like it remember I rst few days. I made lots of new friends and met new met and friends new of lots made I days. few rst How aMobilePhone Changedmy Life rst girlfriend and fell in love for the fi rst getting my getting rst rst time. 18.8.2003, 9.19.32 Empathic Design -kirja0.997.indd 117 The phone is a social tool and status symbol: the phone’s phone.list mobileof a numbers with is experiences concretetypical teenager’srather a describes story This This is followed by some reckless event, which causes the person to realize the realize to person the causes which event, reckless some by followed is This phone, especially in the 8 phone—no doubt until now a cherished messenger of love—delivers the message the love—delivers of messenger cherished a now until doubt phone—no the when greater even is disappointment The life. social his for price the paying fresh memory although he is able to tell a very entertaining story of his negative his of story entertaining very a tell to able is he although memory fresh ity through product ownership and use. Both aspects are important: to acquire to important: are aspects Both use. and ownership product through ity faces he until successful wonderfully is life His well. as are threats the invisible the object as well as use it. Achieving the age and permission to do something do to permission and age the Achieving it. use as well as object the fi ringing tonesandscreenlogos. described the appearance: color, unique hand-painted covers, and personalized and covers, hand-painted unique color, appearance: the described bile phonebecomesanintegralpartofhisfi of learning to manage phone use was a recurring topic. Other essays often focused vdne f oil is Te we prevs ra sca avnae n aig a having in advantage social great perceives owner The ties. social of evidence even cars: the achievement of ownership and often partial responsibility for costs. experiences. grown-up is important to teenagers. Similar stories describe bicycles and mopeds, announcing the end of a relationship. The fi serious life of a teenager, perhaps the consequences of that day are still in rather in still are day that of consequences the teenager,perhaps a of life serious rst on the functional and usability characteristics of phones, girls also often often also girls phones, of characteristics usability and functional the on rst This story is an illustrative example of growing up and learning responsibil- learning and up growing of example illustrative an is story This issue The experiences. phone mobile about story rich particularly a was This The drama in this story illustrates well how salient the advantages are, but how you have a mobile, makes this so much simpler.” I felt paralyzed. I paralyzed. felt I simpler.” much so this makes mobile, a have you in which she “subtly” announced that we, our relationship, was now history. She fi She history. (i.e., 150 (i.e., that was not enough. I received a short message from my girlfriend my from message short a received I enough. not was that cursed in my mind, wondering if there was anything good to be said be to good anything was there if wondering mind, my in cursed cold sweat ran from my pores as I thought of the sum: 898,20 marks 898,20 sum: the of thought I as pores my from ran sweat cold about mobilephones. advantages, but will also have disadvantages. And that’s the that’s And disadvantages. have also will but advantages, At this time I have come to the conclusion that no thing has only end ofthestory. € )! Where could I possibly fi possibly I could Where )! nished off by commenting “how convenient it is that is it convenient “how commenting by off nished th grade, and very much so in approaching girls. The mo- rst romantic relationship with a girl. nal conclusion comes from the deadly nd that kind of money? Even money? of kind that nd 18.8.2003, 9.19.32

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118 understanding experience for concept design stories as shortcuts to meaning The aim of this study was to develop a better understanding of how people de- people how of understanding better a develop to was study this of aim The weight of responsibility and the limitations of his or her own resources, possibly resources, own her or his of limitations the and responsibility of weight link them to signifi to them link language ofdesignersorinthetheoreticalresearchers. understanding of the meaningful product relationships most designers would like In order to do this competently, both the advantages and the shortcomings of of shortcomings the and advantages the both competently, this do to order In for a month. The result is a change that leads to more responsible and sustainable jects in their lives—in Daniel Miller’s anthropological terms, “ghosts that haunt” that “ghosts terms, anthropological Miller’s Daniel lives—in their in jects including some form of punishment, for example, having the moped locked away how these stories can be better incorporated into the toolbox of empathic design. empathic of toolbox the into incorporated better be can stories these how them. to design for. Furthermore, they do it in people’s own terms, not in the technical the in not terms, people’sown in it do they for.Furthermore, design to makes them economic and evocative for design. As stories take some objects, and behavior anduse. but not in life as it was originally lived. However, it is this rhetoric quality that quality rhetoric this is it However, lived. originally was it as life in not but stories shortcuts as to meaning coming more holistic and empathic. The direction of empathic user studies is is studies user empathic of direction The empathic. and holistic more coming and reconfi and stories asaformofcommunicationcanbetakenintoconsideration. and tell, they stories of kinds what them, to meaningful are that products scribe towards the seamless and creative combination of different tools and techniques: narrative and visual, documentary and visionary. Developing such empathic such Developing visionary. and documentary visual, and narrative As we have seen, stories provide shortcuts to how people understand key ob- key understand people how to shortcuts provide stories seen, have we As design methods requires not only creativity and sensibility, but also a solid tre cn ae n motn rl i spotn ery sr tde i be- in studies user early supporting in role important an have can Stories 107 Stories are rhetoric statements: they pick elements from the stream of life, knowledge ofmethodsandtools. gure them into a coherent whole that may have existence in the story,the in existence have may that whole coherent a into them gure cant people, events and objects in people’sin objects and provide events they people, lives, cant 18.8.2003, 9.19.32 Empathic Design -kirja0.997.indd 119 listic understanding of the users. Design empathy is not only information and and information only not is empathy Design users. the of understanding listic problems, but rather to look for design opportunities as well as develop a ho- a develop as well as opportunities design for look to rather but problems, personal experience and interpretation. However, when moving from rational rational from moving when However, interpretation. and experience personal information. com- about is practice design Empathic professionals. sensitive and innovative needed. On the other hand, empathy, intuition, inspiration and subjective visions bining these subjective approaches with user data and other sources of objective of sources other and data user with approaches subjective these bining are ambiguous. They are something that the designers are supposed to master as master to supposed are designers the that something are They ambiguous. are fi subjective more to issues practical and Thus, alsodesignersneedtohavearoleinconductinguserstudies. designers to get a good empathic grasp of people in their dynamic contexts. dynamic their in people of grasp empathic good a get to designers The aim of empathic design studies is not to seek solutions for recognized recognized for solutions seek to not is studies design empathic of aim The When studying people for design, user data is processed through the designers’ contexts. Marketing and human factors data is often not adequate for adequate not often is data factors human and Marketing contexts. User experience takes place in physical, social and cultural cultural and social physical, in place takes experience User Tuuli Mattelmäki for design empathy fordesign probes: studying experiences 108 elds of experience, design empathy is empathy design experience, of elds 18.8.2003, 9.19.32

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120 understanding experience for concept design probes: studying experiences for design empathy The probes in out sent instrument recording automatic an with associated is “probe” word The Presence was an experimental design-oriented user study in the EU-funded project EU-funded the in study user design-oriented experimental an was with people from near cultures. The probes enter private places and situations to situations and places private enter probes The cultures. near from people with verbalize and visualize their dreams and what they imagine, to look ahead with with to ahead look imagine, they and what dreams their and visualize verbalize Cultural Probes Cultural provide people with tools for refl participants’ opinions. participants’ pictures, mapping tasks, postcards with questions, an album and a diary. Once diary. a and album an questions, with postcards tasks, mapping pictures, for designers. facts but also inspiration and food for ideas. It requires a specifi a requires It ideas. for food and inspiration also but facts inspiration and information on local cultures, people, environments and their their and environments people, cultures, local on information and inspiration into the tasks and graphics in the probes package. The approach allowed the the allowed approach The package. probes the in graphics and tasks the into to observe peoples’ everyday world. This chapter describes the Probes approach Probes the describes chapter This world. everyday peoples’ observe to to capture signals and samples from places where human researchers cannot go. cannot researchers human where places from samples and signals capture to the designer. the to process their own ideas and understanding of different places and people people and places different of understanding and ideas own their process to relationships. Thepackageincludeditemssuchasadisposablecamerafortaking data on people’s actions and the contexts in which they take place. They also also They place. take they which in contexts the and actions people’s on data document personal experiences in the original context in a multi-sensory fashion. probes: studying experiences withself-documentation packages designers to include their own insights to the process, and still be open to to open be still and process, the to insights own their include to designers methods to support it. Design empathy calls for direct contact or connection connection or contact direct for calls empathy Design it. support to methods between the users and the designers—studying potential customers in their own customers potential the between users and the designers—studying atrd aa bu wkn u eprecs o ein n mtoal sensitive emotionally an design to experiences up waking about data captured completed, thetasksweresentbacktoresearchersanddesigners. context. s n mahc ol Te rbs r sl-ouetto pcae fr gathering for packages self-documentation are probes The tool. empathic an as lr cok Ti eprmn idcts ht hs prah a b uiie also utilized be can approach this that indicates experiment This clock. alarm and sent to people in three different cultures. These packages were tools to gather studies. While making the the making While studies. tpa Wensveen’s Stephan In However, for practical, ethical and economic reasons it is not always possible always not is it reasons economic and However,ethical practical, for Presence 109 . The theme of the project was to design new media for elderly people. elderly for media new design to was project the of theme The . 112 Presence , the probes were described as a designerly approach to user user to approach designerly a as described were probes the , , introduced by Bill Gaver, Anthony Dunne and Elena Pacenti, Elena and Dunne Gaver,Anthony Bill by introduced , were specially designed material packages that were given 111 113 The participants were also provided with means to to means with provided also were participants The probes study at the Technical University of Delft Delft of University Technical the at study probes Cultural Probes Cultural ecting and projecting their opinions and feelings packages, the designers were able able were designers the packages, c attitude and and attitude c

called 110 18.8.2003, 9.19.32

Empathic Design -kirja0.997.indd 121 Wensveen’s playful and creative probes consisted of a diary, family tree exercise, tree diary,family a of consisted probes creative Wensveen’sand playful lations intermsofcolorsandshapes. interesting themes. Interviews can be complemented with projective tools such as pos- a provide Interviews interpretations. the of direction the adjusting and ing fi The interpretations. and observations ing to searchformoresubjective andemotionalaspectsofexperience. and visual being but lives, people’s to just not access provide probes The texts. con- cultural and social physical, real in moods and dreams attitudes, thoughts, actions, of form the in experience user’s the documents that package probes the produc- components: main two into divided be can approach probes the terms, interviews with approach probes the combined but signals, inspiring collect to text closer to the design industry. Unlike in industry.Unlike design the to closer text disposable camera,anaudiorecorderandemotionaladvertisingsignals. Our interest has been in gaining experience in using the probes approach in a con- but also an explanation of how he sees things in that window.that methodological in In things sees he how of explanation an also but of the case studies and the client companies. We did not want to send probes only experiences sothattheycouldbediscussedlaterinpersonalinterviews. emphasis was on using the probes package to allow the participants to collect data collages, scenarios and cartoons to summarize thoughts about the design theme or aspects of people’sof aspects constel- their and equipment, objects, environments: and lives material studying for useful also are they experiences, multi-sensorial addressing and dreams attitudes, style, life environments, social and physical their about Our participants. the of understanding holistic more a get to tools projective and selves developed the developed selves sibility for discussing non-visible aspects of the user’s life and getting deeper in deeper getting and life user’s the of aspects non-visible discussing for sibility The second component of the approach focuses on deepening the understand- the deepening on focuses approach the of component second The life, user’s the into window a only not need we user, the with empathize To The probe proved to be a good tool to capture the experience of wak- of experience the capture to tool good a be to proved probe The which helped to empathize with each person and gave a good feeling provided more general information about people waking up, like the for the context in which they wake up. The results of some tasks tasks some of results The up. wake they which in context the for ing up. Its ingredients returned rich feedback from each individual, each from feedback rich returned ingredients Its up. ing diary and the questions in them. Some were more inspirational like inspirational more were Some them. in questions the and diary the taskwith“parents”ofuser’s idealclock. Cultural Probes Cultural , we have worked between the participants the between worked have we , Presence rst component of the approach is is approach the of component rst , where the designers them- designers the where , 114 115 18.8.2003, 9.19.33

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122 understanding experience for concept design probes: studying experiences for design empathy The primary aim of the probes package is to produce observations of the user’s the of observations produce to is package probes the of aim primary The Polar life in contexts in which experiences happen. The material the users provide with provide empathic and subjective information about emotional issues, cultural cultural issues, emotional about information subjective and empathic provide probes captures their world in their own terms and enables designers to utilize to designers enables and terms own their in world their captures probes niture manufacturer, all of which were interested in senior citizens’ living habits, living citizens’ senior in interested were manufacturer,which niture of all the users’ subjective interpretations directly as a source of inspiration. When When inspiration. of source a as directly interpretations subjective users’ the the possibilitiesofemotionalapproachesonusabilityandinteractiondesign. the focuswasonverydemandingworkingenvironmentofnurses. Datex-Ohmeda (later (later Datex-Ohmeda designing theprobes designing done in collaboration with the heart-rate monitor manufacturer Polar Electro (later probes case studiesprobes case Our fi exercised forwellbeingandenjoyment. equipment for hospitals, and their design consultancy ED-design. In this study, this In ED-design. consultancy design their and hospitals, for equipment companies. The partners were construction companies, a tele-operator and a fur- a and tele-operator a companies, construction were partners The companies. attitudes, and practical needs and opportunities in the home environment, in in environment, addition tostatisticaldataprovidedbyotherpartnersintheproject. home the in opportunities and needs practical and attitudes, quality of life and possible business opportunities. A probes study was done to done was study probes A opportunities. business possible and life of quality The third study about nurses and transportation was a collaboration with with collaboration a was transportation and nurses about study third The The second study ( study second The Finally, probes have been used in several student projects that have explored have that projects student several in used been have Finally,probes rst experiment with probes concerned exercising and well being, and it was ). The study was focused on non-athletes and non-users. The participants The non-users. and non-athletes on focused was study The ). Datex Väinö) ), a company that manufactures patient monitoring monitoring patient manufactures that company a ), picture 1.probespicture package from väinö was done in collaboration with a group of Finnish of group a with collaboration in done was 116 117 18.8.2003, 9.19.33 Empathic Design -kirja0.997.indd 123 Probes, visual and designed so that it can be used easily in communicating the results the communicating in easily used be can it that so designed and visual rbs ak. h dsges atd h mtra t refl to material the wanted designers The tasks. probes mah hs w drcin: oad te atcpns f h suy o rae a create to study the of participants the towards directions: two has Empathy in the form of, e.g., cards and maps. More experiential items such as a dream dream a as such items experiential More maps. and cards e.g., of, form the in the designer’s intuition works in the world created by the probes package, it is it package, probes the by created world the in works intuition designer’s the their experiencestheybecomemoreawareofthem. well as approachable, easily and interesting visually communicative, typically epcfl ilge n twrs h dsge t spot mahc understand- empathic support to designer the towards and dialogue respectful recorder and a pinhole camera have also been a part of the package. the of part a been also have camera pinhole a and recorder refl of the study.fi the The of elderly they studied. they elderly experiences. While having the material kit to document their life, people become people life, their document to kit material the having While experiences. grounded intheusers’self-understanding. abstract terms,thepackagestypicallyconsistof: attentive of their experiences and routines. When people are asked to verbalize to asked are people When routines. and experiences their of attentive be should package the Also, issues. design the and study the of topics the about refl can material The users. the for directed specially as • Finally, there are “props” that are aimed at facilitating data gathering. For gathering. data facilitating at aimed are that “props” are there Finally, • Specifi routines, actions, users’ • how of understanding an creates that diary A • Visual documentingelements(typically, acamera)thataimatdocumenting • eto b mkn te rcs fl process the making by ection Typically, a probes package contains a diary, camera, set of questions and tasks However,In information. gathering beyond goes approach probes the users’ lives, their material and social environments, and the users’ interpre- task books. These tasks can also consist of open questions about opinions about questions open of consist also can tasks These books. task tations ofthem. the study”). during town in routes your map the on “mark or have,” you do telephone moods andthoughtssituateintheireverydaylives. xml, hy ntut h ue’ sl-ouetto atvte. s n ex- an As activities. self-documentation user’s the instruct they example, ample, weshowhowhaveused“reminders.” and attitudes (“What is your attitude towards technology,”towards attitude your is (“What attitudes and a of kind “what much effort was put into the fi the into put was effort much c issues that can be probed with illustrated question cards, maps and nal aim is to activate the users to notice and think about their about think and notice to users the activate to is aim nal 118 The approach must also motivate the documentation and documentation the motivate also must approach The uent and playful. The probes materials are are materials probes The playful. and uent nished look and design of the individual the of design and look nished 119 ect respect towards the the towards respect ect ect the designer’s view designer’s the ect 120 In more In Cultural 18.8.2003, 9.19.34

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124 understanding experience for concept design probes: studying experiences for design empathy Visualizing a User’s Life with a Disposable Camera aUser’s LifewithaDisposable Visualizing your refrigerator”), while other assignments can require more interpretation (“The landscapes, while the designer is more interested in the use of sports gear. Assign- understanding ofcomponents user experience: examples ofprobes user’s awareness to the elements of experiences and allows both documentation both allows and experiences of elements the to awareness user’s understanding atseveralphasesoftheprocess(Figure1). efpoorpy ie ues n potnt t dcmn gnrl n detailed and general document to opportunity an users gives Self-photography for facilitating user-professional dialogue. Also, the data from the interviews can interviews the from data the Also, dialogue. user-professional facilitating for interview then complements the probes data. Data from the interview is added to added is interview the from Data data. probes the complements then interview situ- the captures package probes The (2) process. design the of part a already is ing. The whole process of research with probes aims at supporting this dialogue this supporting at aims probes with research of process whole The ing. information of themselves, their physical environment and lifestyles. The photos The lifestyles. and environment physical their themselves, of information the probes package. Components such as images and cards provide tangible tools tangible provide cards and images as such Components package. probes the the pictures are taken freely, the result might be a full roll of pictures of lovely of pictures of roll full a be might result the freely, taken are pictures the refl and look purposeful a take to user the stimulates lens camera the through a is picture the of framing the and content the pictures, the take themselves designers and researchers. Probes provide tools for communicating user experi- user communicating for tools provide Probes researchers. and designers designers in getting more and relevant results. Some tasks for taking pictures can pictures taking for tasks Some results. relevant and more getting in designers material that can be used to stimulate inspiration as well as supply information for ments support the participants in using the camera in various contexts and the and contexts various in camera the using in participants the support ments fi to activated are members be added to the probes packages. (5) Finally, probes provide visual and narrative and visual Finally,provide (5) probes packages. probes the to added be between the users, and the design team. The probes package facilitates empathic facilitates package probes The team. design the and users, the between be documentative, aimed to illustrate life style (“Take a picture of the content of content the of (“Takepicture style a life illustrate to aimed documentative, be on theassignments. ences toteammembersandotherstakeholders. can illustrate, for example, their furniture or exercise equipment. When persons When equipment. exercise or furniture their example, for illustrate, can and self-expression. (3) When the team gets the package back for fi for back package the gets team the When (3) self-expression. and the elicits It happen. they which in contexts the in experiences of quality ational some questions are answered and new questions are produced. (4) The personal The (4) produced. are questions new and answered are questions some suggests that assignments, even open or abstract ones, are more useful. When When useful. more are ones, abstract or open even assignments, that suggests environment familiar the seeing and pictures taking of act The choice. subjective (1) When designing the package, the researcher, designer and other team team other and designer researcher, the package, the designing When (1) Pictures can be taken freely or according to given assignments. Our experience nd possible scenarios and experiences. and scenarios possible nd 122 121 rst overview, rst This phase This ect 18.8.2003, 9.19.34 Empathic Design -kirja0.997.indd 125 the probes and designing Preparation life: actions, routines, moods and thoughts related to exercising and well being”). well and exercising to related thoughts and moods routines, actions, life: users’ explanationsandstoriesareaddedtotheprobespackage. Such open-ended tasks support more holistic visions, but produce narratives thatnarratives produce but visions,holistic more supporttasks open-ended Such Contextualizing Data withDiaries Data Contextualizing However, the task can also be given in a more open way (”Write about your daily (”Writeyour aboutway open more a in given be also canHowever, task the ing tasks and stickers. People are to write down their feelings and thoughts as well telling about warming her sauna, washing the stairs to the basement, watching TV the interview, the After interview. the before developed are users the by taken Diaries are used to document everyday life, routines, thoughts and feelings. Diary design task. For example, a 82-year old woman described her Saturday evening by draw- illustrations, questions, with ones to booklets blank from vary can designs best moment of the day” or “the most terrible piece of furniture”). The pictures The furniture”). of piece terrible most “the or day” the of moment best can be laborious to analyze, and which are largely outside the focus of the original as “write down daily how many hours you exercise and your average heart rate.” heart average your and exercise you hours many how daily down “write as as describetheirdailyactivitiesandwayoflife. probes

People can be guided to write only task-focused actions with assignments such researcher 1

design team with probes data user of Collection fi gure ofaprobes 1.the phases study 2

user design team)design pretations (with Probes inter- 3 with probes User interviews 4 Communication pretations inter-for design with probes of user data 5 18.8.2003, 9.19.34

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126 understanding experience for concept design probes: studying experiences for design empathy According to our experience, stickers inspired some people to make humorous make to people some inspired stickers experience, our to According with everydaylifeandthethemeofstudy. Illustrated cards with open questions can be used for gathering information about for researchers and designers. Wensveen’s experiences with stickers and written and stickers with Wensveen’sexperiences designers. and researchers for Question Cards and Mapping Tasks Cards Mapping and Question interpretation betweentheparticipantsanddesigners. in in complete harmony about being alone, and both physically and mentally satis- mentally and physically both and alone, being about harmony complete in tions, the users’ handwritten notes facilitate creating an empathic connection and fi diaries facilitating the feeling of empathy are similar to ours. to similar are empathy of feeling the facilitating diaries make diary keeping more playful for the users, and more motivating and enjoyable be little cartoon faces describing moods, or other small illustrations having to do to having illustrations small other or moods, describing faces cartoon little be opinions and stories about attitudes. As an example, Ireland and Johnson describe expressing themselves.Somepersonalissuesareeasiertowritethansayaloud. a poie ep n rjcig elns n ise ta d nt eblz easily. verbalize not do that issues and feelings projecting in help provide can a Barbie-doll dressed in army gear to provoke discussion on unisex products. unisex on discussion provoke to gear army in dressed Barbie-doll a attitudes, opinionsand other more focused issues.Thecard format wasalsoused and emotional remarks to illustrate issues in the diary. Easy-to-access illustrations selves, and thus open a subjective view into their lives with their personal way of stimulating illustrations e wt te copihet Pol cn lo el esnl sus bu them- about issues personal tell also can People accomplishment. the with ed Presence. The use of strong, ambiguous and contradicting images and objects arouse arouse objects and images contradicting and ambiguous strong, of use The To assist the process of describing feelings, stickers with illustrations or words and open questions on thereverseside picture 2.cards: picture Cards make an appealing set of material and together with illustra- with together and material of set appealing an make Cards 123 The stickers can stickers The 124 18.8.2003, 9.19.34

Empathic Design -kirja0.997.indd 127 All the material in the probes package is not meant for documenting. There can There documenting. for meant not is package probes the in material the All To make the probes data useful for design, it needs to be interpreted. In interpreted. be to needs it design, for useful Todata probes the make The users were also given a fl was attached to hallway mirrors to make the users remember their probes tasks. probes their remember users the make to mirrors hallway to attached was attentive more become can they reminders these with but time, the all them with wards technology” to- was illustrated with a attitude picture of a computer, your heart rate about monitor “Tell example, For images. factual with supported were venient to report in visual form. In form. visual in report to venient physical environment were collage tasks: “Choose pictures that illustrate the the illustrate that pictures “Choose tasks: collage were environment physical personal issues, social environment, patient and transportation, technology and technology transportation, and patient environment, social issues, personal in stimulating and attractive questions and tasks make to chosen were pictures In another example, illustrated postcards were used as stimuli to make people make to stimuli as used were postcards illustrated example, another In impulses intosubjectivememoriesandexperiences,facilitatedstorytelling. h poe mtras ee et ak o h rsaces n dsges directly. designers and researchers the to back sent were materials probes the forFacilitatingProps anExample Gathering:“Reminders” Data as phones. mobile with experiences their about talk to describe with pictures. In the In pictures. with describe to addition, study.In the during town in routes their draw and network social their devices, andthephysicalenvironment. interpreting probes with interviews and collages more provocative illustrations. For example, “How do you reward yourself” had yourself” reward you do “How example, For illustrations. provocative more make themawareoftheirexperiencesrelevanttothe study. be stimulators and visual reminders that remind and instruct the user about the about user the instruct and remind that reminders visual and stimulators be of experiences that are interesting to designers. Thus, in atmosphere inthehospitalandtellmore.” an environment with strict roles and responsibilities. The cards had fi had cards The responsibilities. and roles strict with environment an transportation, and nurses about study the In it. on cakes sugar pink of picture a and mobile phone. Other cards were related to experiences and emotions and had another example, a group of students asked people to wear a self-made amulet to amulet self-made a wear to people asked students of group a example, another age to create a positive attitude towards the study, and to remind them about it. In questions that address moods, senses, including sounds and taste, can be easier be can taste, and sounds including senses, moods, address that questions study. The idea is that people do not necessarily carry the documenting equipment Some of the tasks can be non-verbal for information about issues that are con- are that issues about information for non-verbal be can tasks the of Some In the Polar study Polar the In 126 some questions on the cards about attitudes and facts and attitudes about cards the on questions some ower in the fi Datex case Datex Väinö rst meeting as a part of the probes pack- , elderly people were asked to describe to asked were people elderly , , the cards with questions about the about questions with cards the , 125 Pictures served as projective as served Pictures Väinö, a visual reminder ve themes: ve Presence , 18.8.2003, 9.19.34

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128 understanding experience for concept design probes: studying experiences for design empathy 1940s. Other pictures show other important aspects in her life including music music including life her in aspects important other show pictures Other 1940s. what they make. they what photographs can be looked through, reasons behind the choices can be heard, heard, be can choices the behind reasons through, looked be can photographs interviews, personal In packages. probes returned the on based created picture epe a (chiefl say people interesting details can be discussed further, and the stories relating to the mate- the to relating stories the and further, discussed be can details interesting independent woman, who enjoyed cooking and baking. The collage revealed revealed collage The baking. and cooking enjoyed who woman, independent memory a describes corner left lower The it. in past her of symbols important not justthewholecollage,butalsoindividualpictures andassociations. homes. In Researchers did not analyze data, but created coherent, gossipy stories of the par-the of stories gossipy coherent, created but data, analyze not did Researchers this interview, we focus more deeply on probed issues. For instance, in the the users’worldbecameasourceofinspirationfordesigners. ticipants in an effort to create an understanding of them. real context. For example, in example, a For context. real in done be can interview the if fruitful especially is This elicited. be can rial mary of the study. However, and equally importantly, it can also capture thoughts or the design team has constructed a general understanding of the user and the and user the of understanding general a constructed has team design the or expressive. Pictures and texts give impulses to formulate ideas in a similar way similar a in ideas formulate to impulses give texts and Pictures expressive. elements of experience revealed in probes were also discussed. For example, how interview.With personal a is there packages, probes returned the from elements case, we learned how wires and tubes are handled in hospitals. The subjective The hospitals. in handled are tubes and wires how learned we case, asked to explain their impressions and ideas about the collage, and the meaning of and associations that have not been mentioned previously in the study. People are approach toprobesaninterpretiveratherthaninspirationalexercise. aging affects one’s ability to work at night. It is this understanding that makes our another side of her cooking hobby: its social importance (top-left). In essence, essence, In (top-left). importance social its hobby: cooking her of side another an as herself pictured she interview, the in and probes the From reading. and the in Finland of president the was who Mannerheim, Marshall Field about stimulating cardsdescribedearlier. sociations and expectations and can enrich a probes study. Collages are quick and An interview with the participants facilitated with the probes deepens the the deepens probes the with facilitated participants the with interview An When designingforuserexperience,designersneedtofocusnotonlyonwhat In probes studies, collages provide a possibility of a quick and intuitive sum- intuitive and quick a of possibility a provide collages studies, probes In In our studies, we have added another step to the process. After the researcher Picture 3 is a collage by a 70-year old woman, who pictured the most most the pictured who woman, old 70-year a by collage a is 3 Picture Datex , interviewstookplaceathospitals. 128 y, diaries and interviews), and do (observations), but also on on also but (observations), do and interviews), and diaries y, Make-tools, such as collages, can help to get to dream-like as- dream-like to get to help can collages, as such Make-tools, Väinö , we conducted the interviews in the people’sthe in interviews the conducted we , 127 Treated in this fashion, Datex 18.8.2003, 9.19.34 Empathic Design -kirja0.997.indd 129 provide design solutions, but create an empathic understanding of potential users. diffi is It method. research viable only the is it Often, presence. task. design the framing for questions and points package alone. into the users’ kitchen or sauna for weeks at a time. Probes tools are designerly are tools Probes time. a at weeks for sauna or kitchen users’ the into issues, and in creating a holistic and empathic picture of the user. her collage is an amalgam of symbolized feelings that represent key events and and events key represent that feelings symbolized of amalgam an is collage her tools for creating a dialogue between users and designers. The users get means to means get users The designers. and users between dialogue a creating for tools this fuzzy front-end phase of design. They help in mapping the network of related terns. Probes are tools for gaining access into the private and changing contexts of people’s document their life, stimuli to clarify their opinions, and both verbal and visual and verbal both and opinions, their clarify to stimuli life, their document pat-behavioralandperceptions for look to projectsdevelopmentproduct in done probes as a design tool adesign probes as means to express their attitudes, experiences and feelings. The results do not not do results The feelings. and experiences attitudes, their express to means out the interviews, or by inspecting the elements of the collage or the probes probes the or collage the of elements the inspecting by or interviews, the out experiences. Self-documenting exercises, i.e., giving users diaries and cameras, are activities in her life. It would be impossible to understand these feelings with- feelings these understand to impossible be would It life. her in activities The probes approach is visual, and minimizes the designers’ and researchers’ and designers’ the minimizes and visual, is approach probes The 129 In the fi rst phase of concept design, the challenge is to fi picture 3.collage:picture an example 130 Probes are suitable tools for tools suitable are Probes nd fruitful starting cult to “plunge” to cult 18.8.2003, 9.19.35

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130 understanding experience for concept design probes: studying experiences for design empathy Equipped with this understanding, designers can still err, but it gives confi gives err,it still but can designers understanding, this with Equipped in selectingdirectionsthefuture. Web-diaries, SMS and MMS messages or other mobile technology.possibil- mobile This other or messages MMS and Web-diaries,SMS ity would enable researchers and designers to react to data in real-time. It might The probes could be developed into a more interactive dialogue using e-mail, using dialogue interactive more a into developed be could probes The also provide a possibility to combine probes with experience sampling sampling experience with probes combine to possibility a provide also methods. 131 dence 18.8.2003, 9.19.35 Empathic Design -kirja0.997.indd 131 Why do certain commodities become rooted in our daily lifestyle? Why do some do Why lifestyle? daily our in rooted become commodities certain do Why o isac, e ugs ta te esnl optr s ooiig oe. Suc- homes. colonizing is computer personal the that suggest we instance, For technology) or internal logic (e.g., animals affect the succession of their habitat / habitat their of succession the affect animals (e.g., logic internal or technology) point for our exploration into the empathy between material things in a house- a in things material between empathy the into exploration our for point consumers learntoappreciatenewtechnology). new / changes climatic (e.g., conditions external either from result can cession ings people give to them. The mechanisms that guide the adoption and rejection and adoption the guide that mechanisms The them. to give people ings hold. We suggest that things in everyday life, such as refrigerators, books and and books refrigerators, as such life, everyday in things that suggest We hold. televisions, have relationships with each other almost irrespective of the mean- the of irrespective almost other each with relationships have televisions, on observations of concrete things in real-life settings. real-life in things concrete of observations on based perspective ecological an from scrutinized are commodities, domestic of commodities become extinct? These seemingly simple questions are the starting the are questions simple seemingly These extinct? become commodities extinct whereas other species or communities of species colonize free space. space. free colonize species of communities or species other whereas extinct other, forming communities. Some species, or types of products, become become products, of types or species, Some communities. forming other, from forests? Like trees in a forest, goods replace and follow each each follow and replace goods forest, a in trees Like forests? from When thinking about the goods around us, could we learn learn we could us, around goods the about thinking When towards Riitta Nieminen-Sundell&MikaPantzar anecology ofgoods: household commodities between material symbiosis andcompetition 132 We do not discuss the discuss not do We 18.8.2003, 9.19.35

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132 understanding experience for concept design towards an ecology of goods The second main type of a commodity relationship is a The morethereisofcommodityA,theless commodityB.Competition works) or with ideas and meanings such as masculinity or the theme of winning, of theme the or masculinity as such meanings and ideas with or works) with each other. We also describe how things act as predators, hunting other spe- other hunting predators, as act things how other.describe Weeach also with level withinthesameproductcategory(twochairscompete) orbetweendifferent product categories (a sofa competes with a chair). Competition takes place also place takes Competition chair). a with competes sofa (a categories product is built and described. Wedescribed. and between built relationships is of categories main three present goods of ecology the for framework theoretical a cases, Withthese cases. three in interact materially or conceptually, or relate to each other in space are scrutinized ewrs tblz it coue, hc ae hn ae fr granted. for taken then are which closures, into stabilize networks how commodities relate to each other. We show how things compete or cooperate things, which are cooperation (symbiotic, epiphytic and parasitic relationships), parasitic and epiphytic (symbiotic, cooperation are which things, between cooperative networks of things. The battle between the computer and the ecological consequences of consumption, but use ecological concepts to describe to concepts ecological use but consumption, of consequences ecological connections are not always required for a working network of things. Things can Things things. of network working a for required always not are connections cies toextinction. competition andprey—predatorrelationships. can be identifi be can as willbeshownlater. support and encourage each other over immaterial connections (e.g., digital net- digital (e.g., connections immaterial over other each encourage and support In • In • In • Through e al u faeok n clg o goods. of ecology an framework our call We who suffersfromtherelationship. them exploits the other, and the relationship is based on mutual success. mutual on based is relationship the and other, the exploits them relationship with ice hockey trophies, which inhabit the same physical physical same the inhabit which trophies, hockey ice with relationship Olli’s computer, analyzed later in this chapter, lives in symbiosis with the with symbiosis in chapter,lives this in later Olli’scomputer,analyzed other (B), but commodity B can. A’s existence is based on the existence of B, of another, but it does not exploit the other. Thus, the master good does not structure asthecomputer. epiphytic an has instance, for computer, Olli’s epiphyte. the from suffer shelving. parasitic cooperation parasitic symbiotic cooperation symbiotic epiphytic cooperation epiphytic cooperative relationships, cooperative ed on various levels. Commodities can compete on an individual an on compete can Commodities levels. various on ed , commodity A cannot work or survive without the without survive or work cannot A commodity , , the existence of a good is based on the existence the on based is good a of existence the , , two goods benefi goods two , products form groups, and in time, these time, in and groups, form products t from a relationship. Neither of Neither relationship. a from t 133 The ways in which things things which in ways The competitive relationship. 134 Physical Physical 135 18.8.2003, 9.19.35

Empathic Design -kirja0.997.indd 133 (predator) is positively related to the existence of commodity A (prey), but the but (prey), A commodity of existence the to related positively is (predator) items are launched to enable the differentiation. the enable to launched are items increases, and leads to a decrease in the prey population. This kind of interaction fl the massesarestilldomesticatingoldercommodities. their relationshipwiththespaceandfurnitureofhousehold. themselves and some try to imitate. When fashion goods become too popular, new modity (B). As the number of prey commodities increases, the predator population TV the how shows below Raisa’sJukka’sdiscussed in and case equipment media between two commodities may lead to oscillation, as is the case in the chase and chase the in case the is as oscillation, to lead may commodities two between existence of commodity A is negatively related to the existence of the other com- other the of existence the to related negatively is A commodity of existence also be seen in technology markets—connoisseurs rush to adopt new things while social shapingoftechnology set, stereo system and videos gained victory over the new computer because of because computer new the over victory gained videos and system stereo set, ight mechanism of the fashion system in which some groups try to differentiate to try groups some which in system fashion the of mechanism ight • These theories have little to say about meanings or individual choices and choices individual or meanings about say to little have theories These • the studied have tradition technology of shaping social the of Members • h fi The Finally, in the the in Finally, They alsoincludelegislativeartifacts(suchasregulatorylaw),communica- ways in which different technologies and social systems become stabilized become systems social and technologies different which in ways intentions. Micro-level cultural and psychological standpoints are taken taken are standpoints psychological and cultural Micro-level intentions. innovation or electricity systems. Social and technological systems interact fl in n traffi and tion people. and bank investment the as such organizations generator, turbo through othercomponentstothecommonsystemgoal.” more seriously in consumer research and lifestyle analysis. McCracken McCracken analysis. lifestyle and research consumer in seriously more or gasoline-driven automobile, will be embedded within the technological the within embedded be will automobile, gasoline-driven or osdr gos s esl fr h tasiso o meaning. of transmission the for vessels as goods considers a system interacts with other artifacts, all of which contribute directly or directly contribute which of all artifacts, other with interacts system a in component a as non-physical—functioning or physical artifact—either and institutionalized into identifi into institutionalized and and integrate with each other. each with integrate and society-shaping. Interactions between artifacts result in “system goal”: “An systems. ows from the culturally constituted world, through the efforts of systems of efforts the through world, constituted culturally the from ows ndings in this chapter can be compared to two opposing camps: the the camps: opposing two to compared be can chapter this in ndings 140 These systems are composed of physical artifacts such as the as such artifacts physical of composed are systems These rypeao relationship prey—predator c Tcnlgcl ytm ae oh oily osrce and constructed socially both are systems Technological c. 137 andlifestyleanalysis. 139 Inventions, such as the radio, airplane radio, the as such Inventions, able closures, such as railroad, national railroad, as such closures, able te xsec o cmoiy B commodity of existence the , 136 This kind of mechanism can mechanism of kind This 138 141 142 Meaning Meaning 18.8.2003, 9.19.35

133 Empathic Design -kirja0.997.indd 134

134 understanding experience for concept design towards an ecology of goods The data has been gathered in a series of recurrent interviews conducted in ten in conducted interviews recurrent of series a in gathered been has data The Finnish households between spring 2000 and June 2002. Observations have ac- have Observations 2002. June and 2000 spring between households Finnish in the household. It is necessary to interview users repeatedly for studying the studying for repeatedly users interview to necessary is It household. the in things with interaction everyday the about talk general with concluded and item, its more psychological variants is that they all chart the way “from uncontrolled “from way the chart all they that is variants psychological more its namics of the everyday use of things. Wethings. of use everyday the of namics technological of adoption the that argue have to go beyond the simple linear metaphor of a product as a service-producing things were discussed, for example, when a new digital purchase replaced an an replaced purchase digital new a when example, for discussed, were things tions based on the existing ecosystem of goods in their possession and use. We use. and possession their in goods of ecosystem existing the on based tions infl is things related meanings. By the term ecology of goods we suggest explicitly that there that explicitly suggest we goods of ecology term the By meanings. related data might be some room for generalization concerning how goods relate to each each to relate goods how concerning generalization for room some be might ways the commodities, of networks the in interested especially Weare machine. but become part of our cultural and personal identity—and an inherent part of part inherent an identity—and personal and cultural our of part become but of the interviews has been on the adoption of digital things, but also non-digital also but things, digital of adoption the on been has interviews the of other peopleinourlives,andevencreateasenseofimmortalityafterdeath.” other. est purchases, proceeded to the details of the domestication process of each new each of process domestication the of details the to proceeded purchases, est Common to socio-technological studies, the “new sociology of consumption,” and companied all the interviews, and one set of interviews was videotaped. The focus chaos to ordered cosmos.” ordered to chaos rdal nraie ad ntttoaie, n ae o ogr ut implements, just longer no are and institutionalized, and normalized gradually goods are related to each other almost irrespective of human interventions and interventions human of irrespective almost other each to related are goods analog predecessor. The interviews usually started with questions about the lat- the about questions with started usually interviews The predecessor. analog are…” and later in life “…remind ourselves of experiences, accomplishments, and society. Products are a means to “…learn, defi We attempt to combine the strengths of these two views to encompass the dy- the encompass to views two these of strengths the combine to Weattempt the perspective of “consumption rituals” that sustain both micro level tra- level micro both sustain that rituals” “consumption of perspective the ditions and macro level technological paradigms. emergence and existence of routine choices has also been approached from game involves many different activities, provides many different kinds of kinds different many provides activities, different many involves game services andfulfi such as the advertising and fashion systems, into consumer goods. The The goods. consumer into systems, fashion and advertising the as such uenced both by consumers’ “mental work” and the material restric- material the and work” “mental consumers’ by both uenced ls manydifferentneeds. 145 In entering the life of consumers, new products are products new consumers, of life the entering In ne and remind ourselves of who we 144 143 For instance, a baseball 146 18.8.2003, 9.19.36 Empathic Design -kirja0.997.indd 135 The apartment in which they lived during most of the interview period had three had period interview the of most during lived they which in apartment The was able to monitor the programs on the television as he saw it as a refl a as it saw he as television the on programs the monitor to able was He back. his behind located was which television, on interesting something was fi things which in ways were located. The shelves were bought for the computer, but there was room left room was there computer,but the for bought were shelves The located. were a computer, trophies icehockey and furniture photographing is used in connection to interviewing, it is possible to gather rich gather to possible is it interviewing, to connection in used is photographing process of adopting new things new adopting of process In front of the shelves, there was a chair on a special kind of carpet that allowed that carpet of kind special a on chair a was there shelves, the of front In facts. The interviewees were also able to refl ferent relationshipwiththecomputer. ThetrophiesandCD-ROMsonthe shelves for ice hockey trophies, CD-ROMs, and the snacks he ate while using the computer. following. interest along with the debates or discussions the family had about its use. The use. its about had family the discussions or debates the with along interest nature of the computer was more masculine than that of any other digital thing in the screenofcomputermonitor. the follow to parties both allowed data The general. in consumption and things the chairtorollsmoothly. Olliwasabletoturnaround withthechairwhenthere the in shown is masculinity of stamp the got computer the How household. this room, there was a big wooden set of shelves where most of his important things important his of most where shelves of set wooden big a was there room, did not compete for attention, but shaped the meanings of the computer. The game data thatisfreefromreconstructiontypicaltostoriesandinterviews. One of the households was a family with two children aged 10 and 16 (in 2000). (in 16 and 10 aged children two with family a was households the of One bedrooms. Both children had a room of their own. There were three televisions, three were There own. their of room a had children Both bedrooms. cooperative interactionsbetweenartifacts: of commoditiesinthehouseholds. old things such as inherited decoration items and fi and items decoration inherited as such things old one computer. The way the computer related to other things became an area of area an became things other to related computer the way The computer. one nbe u t rc te eainhp ta e omdte hv ih l arti- old with have commodities new that relationships the track to us enabled CD-ROMs were used as a part of the computer when inserted into the system, system, the into inserted when computer the of part a as used were CD-ROMs although both competed for Olli’s attention. The things on the shelves had a dif- a had shelves the on things The attention. Olli’s for competed both although several music devices and three or four mobile phones in the household, but only h tlvso sae te om ih h cmue wtot ao confl major without computer the with room the shared television The 12-year-oldnow the of boy,room the in located was computer his The In Olli. Because of the associative nature of the interviews, it was possible to talk about nd their places in the users’ lives. When videotaping and videotaping When lives. users’ the in places their nd 147 and to scrutinize the relationships of all kinds all of relationships the scrutinize to and ect on their relationship with material fty year old cameras, which cameras, old year fty ection on ection icts, icts, 18.8.2003, 9.19.36

135 Empathic Design -kirja0.997.indd 136

136 understanding experience for concept design towards an ecology of goods virtual world. Internet web sites are in symbiosis with the computer—they would purpose. The shelving was the home for the computer. In addition to the material It was connected to the Internet, that is, it used the telephone line to connect to the food occasionally brought next to the computer supported the game playing. Thus, the Even gaming. about was shelving the on Everything idea. same the followed nected to the sites. The accessed sites depend on the games Olli plays as he uses he as plays Olli games the on depend sites accessed The sites. the to nected tionship is very material—the things have a location, and the shelving fulfi shelving the and location, a have things material—the very is tionship theme: gaming.Alltheelementsservedthispurpose. common one with things of network cooperative a formed complex shelving the be useless without it, and the computer offers a richer user experience when con- when experience user richer a offers computer the and it, without useless be a it made computer—they the with relationship conceptual a had also they but game machine, a toy, which is about winning or losing. The ice hockey trophies hockey ice The losing. or winning about is toy,which a machine, game support provided by the shelving, the computer was helped by immaterial things. In effect, the set of shelves cooperated with the things it contained. This rela- This contained. it things the with cooperated shelves of set the effect, In fi gure 1.therelationships ofthecomputer withother things: hligchair shelving computer, shelving, cd-roms,trophies, icehockey snacks, joystick display, keyboard) computer (cu, andmusic cds game snacks loudspeakers trophies (landline connection) internet sites special carpet chair, carpet and television competition shelving tv set tv lls its lls 18.8.2003, 9.19.36 Empathic Design -kirja0.997.indd 137 h gmn ntok ih t mtra ad maeil lmns s fi is elements immaterial and material its with network gaming The was a weaker species in his room. It was not able to create a symbiosis with the with symbiosis a create to able not was It room. his in species weaker a was which wasonlyintermittentlyswitchedonbyOlli.Inotherwords,thetelevision vidual commodity. Itsnature becomesevidentonlyinrelationtootherthings. purchase. Internet for fetching lines of code to cheat in the games. A game does not need the instance) with the help of the things in the network. The other things mould and mould things other The network. the in things the of help the with instance) instance, For usage. and image its is—shapes it room whose apartment—in the in ners received lots of attention from Olli. The gaming network won over television, has become an entertainment machine (instead of being a tool for studying, for studying, for tool a being of (instead machine entertainment an become has fi tion as a boys’ toy, and it is practically impossible to have the computer in anyone household this in computer the of aspects spatial and material conceptual, the located is computer the way computer.the the things, of other ture to addition In this sense, the entire shelving system is about symbiosis. The symbiosis functions theme—in gaming the to add to seen be can relationships epiphytic merely the different kinds of relationships the things have between them. Thus, the computer more attention. The computer clearly benefi clearly computer The attention. more below). Theygettheirsupportfromgames,butdonotharmthegame. other things shape its usage and meaning. It is not only the symbiosis with the with symbiosis the only not is It meaning. and usage its shape things other of paradise the in parasite a is set TV the sense, this In screen. computer the on extensions/companions in the shelving system to exist, but they help it to receive else’s room, even after the family moved to a new home. The network it has with has it network The home. new a to moved family the else’safter even room, evant to the consumption patterns adopted and repeated in everyday life after the computer gaming. computer shelves to strengthen its position although it cleverly refl so many goods makes it a powerful thing that is diffi is that thing powerful a it makes goods many so rel- is home the in things their put people Where Internet. the of use the shape na- social the shape that trophies the with link conceptual the also but shelving, part- its and computer The alluring. very is games computer playing that well so ses) whereas some are more or less trivial to its functioning (epiphytic ones). Even sites without suffering, the sites might be characterized best as “epiphytes” (see “epiphytes” as best characterized be might sites the suffering, without sites sites, but the sites exist only in relation to the game. As the game can live with the x the social nature of the computer. The machine cannot be analyzed as an indi- an as analyzed computer.be the cannot of machine nature The social the x After the computer took its place in this household, its has stabilized its posi- its stabilized has its household, this in place its took computer the After The presented case illustrates how the relationships a commodity has with with has commodity a relationships the how illustrates case presented The Strictly speaking, the computer does not need the immaterial and material material and immaterial the need not does computer the speaking, Strictly ts from some relationships (symbio- relationships some from ts cult to change or challenge. or change to cult ected its image xd y the by xed 148 18.8.2003, 9.19.36

137 Empathic Design -kirja0.997.indd 138

138 understanding experience for concept design towards an ecology of goods There have been many changes in technological and social aspects in another another in aspects social and technological in changes many been have There with each other, her family interacted with things. Apparently, the parents had parents the Apparently, things. with interacted family her other, each with concentrated Jukka and conversation, casual prevented sounds people—its with with almost everything else. It confl It else. everything almost with was rooted out from a girl vented its fi liked themedia. located in the daughter’s room where she was supposed to do her homework after size small the to Due on. was TV the when even games, computer play to liked Its position in the ecosystem of the household was very diffi aiy osse o te ohr as, h fte Jka n te i-erod girl six-year-old the and Jukka father the Raisa, mother the of consisted family the started, project research the When project. research the during visited family in the household. No other man—machine relationship was as intensive and as and intensive as was relationship man—machine other No household. the in noisy. Jukka had exceeded the limit of moderate and sensible use—he kept playing pre- questions spatial the only However,not space. of lack a to due partly niche, Reija who had just started school. At that point, the household owned a TV set, a set, TV a owned household the point, that At school. started just had who Reija the game even when the wife wished he would participate in other activities. Ac- activities. other in participate would he wished wife the when even game the the close relationship between the computer and the father. The computer had not technologically mediated programs interrupting family life. The father, however,father, The life. family interrupting programs mediated technologically three mobilephones. members. She appreciated “natural” interaction, i.e., conversations without any without conversations i.e., interaction, “natural” appreciated She members. competing goods:how anoffensive computer of the apartment, the sounds of both the TV and the game playing could be heard be could playing game the and TV the both of sounds the apartment, the of confl cording to Raisa, the computer competed not only with other things, but foremost computer; although, the desk was original intended for the homework and artistic computer, stereos, a smaller radio with a tape recorder, a landline telephone and telephone landline recorder,a tape a with radio smaller a computer,stereos, and radio she used occasionally—stole time from people. Instead of interacting of Instead people. from time occasionally—stole used she radio and television the things—including that thought Raisa game. the on attention his all was problem the Instead, existed. thus niche spatial daughter.A the of activities solved itspositioninrelationtosocialpracticesthehome. school. According to the mother, it should not take all the attention of the family the of attention the all take not mother,should the it to According school. simultaneously. Using the computer was diffi There was, however, debate about the soundscape in the home. The father father The home. the in soundscape the about debate however, was, There In Raisa’s opinion, the Jukka—computer composite was disturbing the balance In ecological terms, the computer of this family had a competitive relationship icts in theirinterpretationsoftherightecologicalformsin home. nal removal from the household. In fact, there had been a desk for the ’ s room icted with the TV, books, toys and the radio. the and toys TV,books, the with icted cult also due to other reasons. It was cult. It did not fi nd its 18.8.2003, 9.19.36 Empathic Design -kirja0.997.indd 139 shelving tv set tv video we cannot know, a solution in which the family would have abandoned only the only abandoned have would family the which know,in cannot solution we a people and things—malfunctioned, and the father left. Now, the space in this this in space the Now, left. father the and things—malfunctioned, and people home is strongly dominated by older technological species, which do not extend not do which species, technological older by dominated strongly is home order.With of out was it that Reija to recorder,explaining cassette video the hid tronic things, the TV set and the radio are still occasionally used for relaxation, for used occasionally still are radio the and set TV the things, tronic elec- remaining The household. the of ecology the in things and people other the the from removed was equipment media the of most father, the of departure the also Raisa change, this with Along him. with stereos and computer the taking relationship Jukka and the computer had developed was too strong. At least Raisa routines of the mother and daughter. Leaving the human tragedy out of the discus- but e-mail was abandoned, and so were the computer games. It seems that the that seems It games. computer the were so and abandoned, was e-mail but computer wasnotpossible.Thewholeecologyofthehousehold—includingboth saw it as inappropriate in the peaceful ecosystem of older technology. For reasons to connection their lost they as most, the Jukka—lost computer—and the sion, During the research project, the parents separated, and Jukka moved out out moved Jukka and separated, parents the project, research the During fi gure 2.computer competes withevery other item except thefurniture (andfather of thefamily). radio two camps arecreated. camps two father (family) computer books desk competition toys human interaction — human 18.8.2003, 9.19.36

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140 understanding experience for concept design towards an ecology of goods which had just received a powerful rival. Jani would not carry both cameras with cameras both carry not would Jani rival. powerful a received just had which per- one only 2002, summer In snapshots. social for cameras pocket analog were pattern. It tries to steal the place of the analog camera and make the old camera old the make and camera analog the of place the steal to tries It pattern. needs camera digital the Jani, to character.According artistic an had pictures—it Internet on Jani’s weblog page. In this sense, the new camera species has proved to in the interview conducted in summer 2002, Jani was talking about going back going about talking was Jani 2002, summer in conducted interview the in in theirecosystem. Most of the studied households owned at least one camera. Usually,cameras camera. the one least at owned households studied the of Most him at the same time, which resulted in the cameras fi cameras the in resulted which time, same the at him tion as the camera of choice, or whether both cameras develop a specialized niche posi- its keep will camera Jani’sanalog whether seen be to remains It it. using to the artistic quality of photographs taken with the analog camera, and has returned the oldphotographseverdid. important photographing of hobby old the in root a has afterwards pictures the old hobby.The a is it pictures, taking to used is Jani culture. photographing the strong his Despite technological enthusiasm,Janivaluestheoldcameramore. counterpart. analog its over win to further developed be to beautiful more enabled camera analog The match. not could camera qualities digital has the It quality. professional of lenses with camera analog the using to to transferred be can images the Withcameras, possibilities. digital technological the onesRaisaappreciates,ortheyareatleastusedwithself-control. are They did. computer the as strongly as relationships human the to power their prey and predator: thestory cameras oftwo moments and beautiful sights. Thus, the digital camera takes over an old usage old an over takes camera digital the Thus, sights. beautiful and moments be stronger than its predecessor—its products have received more publicity than publicity more received have products predecessor—its its than stronger be extinct. At the moment, pictures taken with the digital camera are shown on the on shown are camera digital the with taken pictures moment, the At extinct. created camera old the sense, a In relationship. prey—predator a have also eras camera (and all its predecessors) has shaped the way Jani relates to landscape or landscape to relates Jani way the shaped has predecessors) its all (and camera area theyareusedfor. camera, analog an had also Jani e-mail. as immediately out sent and computer a son in the study, Jani, owned a digital camera, which he had bought because of its social happenings. He sees opportunities to take pictures. Even the need to share to need the Even pictures. take to opportunities sees He happenings. social The battle over living space between the cameras continues. Jani appreciates Jani continues. cameras the between space living over battle The The digital camera did not completely replace its analog predecessor. Actually, In addition to having a competitive relationship, the analog and digital cam- digital and analog the relationship, competitive a having to addition In ghting for the same space same the for ghting 18.8.2003, 9.19.37 Empathic Design -kirja0.997.indd 141 towards an ecology ofgoods:from dyadic interactionsto networks We call our framework the ecology of goods. This means that commodities exist commodities that means This goods. of ecology the framework our call We would be easy to buy a bag large enough for both. Ultimately, it is Jani’s situational for space because Jani does not want to carry two cameras with him. However,it him. with cameras two carry to want not does Jani because space for hand, other the On peace. in exist and niches their found both other: each from facts are related to each other in a complicated way. Quite clearly this perspective is in contrast to the standard mechanistic theories of technology and consumer and technology of theories mechanistic standard the to contrast in is computer the where Jukka and Raisa of household the in happened what is interactions of microscopic entities such as goods and human beings. This This beings. human and goods as such entities microscopic of interactions not suffi kinds of interactions between commodities can be observed. The presented cases presented The observed. be can commodities between interactions of kinds television for Olli’s attention. In this way, the computer exists in relation to many towards consumption patterns is suggested. Thus, researching only one good is good one only researching Thus, suggested. is patterns consumption towards they compete in some situations. For instance, when on the move, they compete they move, the on when instance, For situations. some in compete they exist use or purpose similar a with products If later. camera another of use the relationships. For example, Olli’s computer forms varying relationships with with relationships varying forms computer Olli’s example, For relationships. defi man activity. The case of Jani’s two cameras shows how a predecessor supports predecessor a how shows cameras two Jani’s of case The activity. man behavior in which a unilinear relationship from either technology or preferences or technology either from relationship unilinear a which in behavior of theecologicalrelationshipsbetweengoodsisneeded. other things in the room. It cooperates with the shelving, game CD-ROMs, Internet different home, of context the in that suggest Weother. each to relation in only raiig systems. organizing medd n agr oaiis n em o gnrl vlto ter ad self- and theory evolution general of terms in totalities larger in embedded commodities. challenged the other media goods. In a way, the prey—predator relationship relationship benefi prey—predator cameras Jani’stwo hand, one On the competition. and cooperation way,combines a In goods. media other the challenged a starting point for a theory of consumption that takes seriously the fact that arti- that fact the seriously takes that consumption of theory a for point starting a a prey—predatorrelationship. and patterns such as a city, department store or household, emerge out of the the of out emerge household, or store department city, a as such patterns and simultaneously, they stop supporting each other and become competitors. This competitors. become and other each supporting stop they simultaneously, the with competes it but carpet, the even and chair the trophies, hockey ice sites, prey—predator and competitive cooperative, have may commodities how show nition, grounded in practical reasoning, that pushes his two cameras towards cameras two his pushes that reasoning, practical in grounded nition, The observations and theoretical framework presented above should be seen as It is sensible to elaborate the process in which different products become become products different which in process the elaborate to sensible is It oie ht l tee eainhp ae eitd y idu, refl mindful, by mediated are relationships these all that Notice cient for understanding the actual consumption patterns, and an analysis 149 “Self-organizing” means that macro-level structures structures macro-level that means “Self-organizing” etv hu- ective t 18.8.2003, 9.19.37

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142 understanding experience for concept design towards an ecology of goods “biographies of things.” of “biographies These interactions are in turn limited and shaped by the intended and unintended within the limits of budget constraints (products fulfi (products constraints budget of limits the within preferences). have been the kick-start for a whole new ecological system, in which old species old which in system, ecological new whole a for kick-start the been have tive provides us with a richer picture of consumption than the simple mainstream rela their mented in the life cycles of products and industries, and products of cycles life the in mented that commodities new especially is It potential. transforming hidden have might might occur without outside intervention, i.e., without any specifi any without i.e., intervention, outside without occur might beings pro pro beings social and Technological entities. stable than rather processes cyclic are beings open to radical re-orientations in their early stages. This tendency has been docu- been has tendency This stages. early their in re-orientations radical to open of analog technology have been slowly replaced by digital things, forming a com- a forming things, digital by replaced slowly been have technology analog of or plans. economics idea of the “service-producing machine,” i.e., utility maximization maximization utility i.e., machine,” “service-producing the of idea economics carry the seeds of emerging challenges and change. Various systems of goods are goods Variousof change. systems and challenges emerging of seeds the carry consequences of previous social actions. As the integ systems existonlyinandthroughtheirreproductionmicro-socialinteractions. munity of interoperable goods. Social, psychological and economic processes processes economic and psychological Social, goods. interoperable of munity such as routinization, socialization, learning, habit-formation or rationalization According to an evolutionary view, existing systems of goods and human human and goods of systems existing view, evolutionary an to According Systems of goods, then, are not only simple responses to existing needs. They needs. existing to responses simple only not are then, goods, of Systems can be understood in evolutionary terms. These systems have a tendency a have systems These terms. evolutionary in understood be can toward betterandreproductivequality. tive autonomy to the networks they themselves constitute. This perspec- This constitute. themselves they networks the to autonomy tive ceeds toward larger entities, the constituent components relin relin components constituent the entities, larger toward ceeds 152 For instance, the fi the instance, For rst digital item in a household may household a in item digital rst ration of artifacts and human 150 lling pre-existing needs and needs pre-existing lling 153 in social habits, social in c intentions intentions c 151 and in and quish quish 18.8.2003, 9.19.37 Empathic Design -kirja0.997.indd 143 18.8.2003, 9.19.37

143 Empathic Design -kirja 0.997.indd 144 18.8.2003, 9.19.37 4 making it work

Alison Black Why I Work in User Experience Consulting

Anu Kankainen Directions for Designing Emotionally Rich Products

Empathic Design -kirja 0.997.indd 145 18.8.2003, 9.19.37 Empathic Design -kirja0.997.indd 146

146 making it work 18.8.2003, 9.19.37 Empathic Design -kirja0.997.indd 147 way ofworking. what of understanding an by than easily,technically,rather do could they what a cnieal epne bcue t ipy i nt onc t ptnil users’ potential to connect not did simply it because expense) considerable (at I took on a “user advocate” role for them. Togetherthem. for role advocate” “user a on took I observed I colleague, my with their customers (interior designers) really needed. She felt the exercise might fail might exercise the felt She needed. really designers) (interior customers their designers working in their studios, relaying back their needs to the textile manu- textile the to needs their back relaying studios, their in working designers design studio—their time was committed to keeping existing systems running. So of example An you. isn’t who user the understanding as clients my to it describe merce. My colleague was concerned that the manufacturers were being driven by driven being were manufacturers the that concerned was colleague My merce. at the plans a textile manufacturer was making to move their business into e-com- some recentworkmightgiveanideaofitsscope. and information design—with a modicum of business awareness, too. In short, I short, In too. awareness, business of modicum a design—with information and hscl roois ehorpi rsac mtos ad rdc, service product, and methods; research ethnographic ergonomics; physical A few months ago I worked with a management consultant colleague, looking colleague, consultant management a with worked I ago months few A None of the textile manufacturers’ project team had spent time in an interior an in time spent had team project manufacturers’ textile the of None for my area of work. It draws together several strands: cognitive and cognitive strands: several together draws It work. of area my for “User experience consulting” is the best name I have yet found yet have I name best the is consulting” experience “User Alison Black why i work consulting in userin experience 18.8.2003, 9.19.37

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148 making it work why i work in user experience consulting “scrapbooks” of favorite fabrics rather than having to deal with the manufacturers’ whole rangeeverytimetheyusedtheirservice. while working on a passenger information project for the London Underground London the for project information passenger a on working while viding better quality fabric images than had been planned, giving detailed techni- detailed giving planned, been had than images fabric quality better viding Sometimes they were corrected by staff members, who would say something to something say would who members, staff by corrected were they Sometimes focus of the original initiative) was just a small step at the end of an iterative and iterative an of end the at step small a just was initiative) original the of focus selec- textile of process tactile and visual very the how proposing and facturers, in 1992, I noticed that people asked staff at information kiosks for “tube maps,” “tube for kiosks information at staff asked people that noticed I 1992, in example, For them. of people’sexperience improve can services and products in had no information at all when trains stopped between stations. One outcome of outcome One stations. between stopped trains when all at information no had changes small very Some costly. are experience user in improvements all Not tiny element of a range of recommendations, from a team of consultants, focused consultants, of team a from recommendations, of range a of element tiny a is Underground Planner.The Journey title the as with presented, were of maps tube think us of most things The planner.” journey a mean “You of, effect the the in than supported better least at Internet—or the on supported be might tion diffi different lights.) manufacturers’ initial plans. (There’s no real digital substitute for the experience the for substitute digital real (There’sno plans. initial manufacturers’ on getting information to people at the right time and in the right place. Regular place. right the in and time right the at people to information getting on (particularly,implemented pessimism be recent will given recommendations our of holding a cloth sample in your hand, feeling how it drapes and examining it in small details abigdifference make can cal information about the fabrics and helping designers compile and organize organize and compile designers helping and fabrics the about information cal omtr wl bma te or ult o ifrain vial we things when available information of quality poor the bemoan will commuters calling aspade,spade—ormap,map? go wrong on the Underground. Thinking back ten years or so, passengers usually passengers so, or years ten back Thinking Underground. the on wrong go about theprospectsfore-commerce). our augmented proposals, or with not going ahead at all. plan, It remains to be initial seen how many of the with ahead going of consequences likely the and als, aimed to support the processes leading up to order placement. They included pro- evc w loe a te raiainl n bsns cnet o tee propos- these for context business and organizational the at looked we service proposals Our fabrics. selecting and researching of process eclectic sometimes Such changes do not come cheap, and after proposing the ideal e-commerce ideal the proposing after and cheap, come not do changes Such It was clear that from the users’ point of view, placing orders for textiles (the textiles for orders view,placing of point users’ the from that clear was It Changing the name of the tube map to match people’s expectations was just a just people’swas match expectations to map tube the of name the Changing cult environment for newcomers to negotiate; why add an extra hiccup by not 18.8.2003, 9.19.38 Empathic Design -kirja0.997.indd 149 lhuh wud o hv cle i s te, y fi my then, so it called have not would I Although work was as a postgraduate at the Applied Psychology Unit in Cambridge, under Cambridge, in Unit Psychology Applied the at postgraduate a as was work voice. In user experience consulting, you set the direction that things need to go to need things that direction the set you consulting, experience user In voice. ling the keys, or even providing better information in a product manual, or at a at or manual, product a in information better providing even or keys, the ling prehension of the complex legal and fi and legal complex the of prehension For example, the layout of a keypad on a product may make it diffi purse strings and while you fi fraud trial transcripts improved if they had time to study a glossary of the legal the of glossary a study to time had they if improved transcripts trial fraud nology supports high quality information, presented visually and broadcast by by broadcast and visually presented information, quality high supports nology know it is possible your recommendations will not be taken up in their entirety.their in up taken be not will recommendations your possible is it know help desk, can achieve any interim benefi Rather than becoming discouraged by this, you develop fl develop you this, by discouraged becoming than Rather the Roskill Commission on Fraud Trials, to fi to Trials, Fraud on Commission Roskill the for work of piece in involved me got She Wright. Patricia Dr of supervision the the nextgenerationproductshouldbedevelopedwithyourinput! fi the in drivers the to available information of quality the to least not made, be to improvements still are There them. behind carriages the in passengers to cabs their in receiving were they information relay them help to involved not are you if that recognition Underground’s London was project the result may not surprise anyone, but it started me off on the theme of information of theme the on off me started it but anyone, surprise not may result client’sand the timescale beyond be will product the re-tooling and re-designing during fraud trials. I ran a small study and found that people’sthat found of and comprehension study small a ran I trials. fraud during are passengers least At carriages. the in reproduction sound the to downstream, experience isfounded oninformation modern, international metro systems where investment has been high and tech- and high been has investment where systems metro international modern, budget. So you look to see if re-distributing functionality on the keys, or re-label- or keys, the on functionality re-distributing if see to look you So budget. better informedaboutwhatisgoingonthantheywerepreviously. opportunities to make improvements that your clients will be able to implement. to able be will clients your that improvements make to opportunities on theoperationssideofUnderground,twominuteswithoutinformationcan content, right format and right channel. When I say “right,” I mean “right from the at the right time, and in the right place, to which I would also want to add right add to want also would I which to place, right the in and time, right the at fi and and givestandardsforyouclientstoaspireto.Unfortunatelydonotholdthe seem a very long time. London Underground invested in training for its drivers its for training in invested Underground London time. long very a seem London Underground’s progress still looks limited compared to the many many the to compared limited looks still progress Underground’s London nancial terms used in the transcript before hearing the transcript itself. The itself. transcript the hearing before transcript the in used terms nancial ght hard for the highest quality user experience, you nancial information they had to listen to listen to had they information nancial ts—at the same time making it clear that nd ways of improving jurors’ com- jurors’ improving of ways nd rst taste of user experience experience user of taste rst exibility, and look for look and exibility, rst place and, further and, place rst cult to use, but 18.8.2003, 9.19.38

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150 making it work why i work in user experience consulting “it depends.” with theextendedprocessofuse. viewpoint of the end user”. It is surprising how many organizations fail to take to fail organizations many how surprising is It user”. end the of viewpoint (to the extent that I do) sometimes gives me reference points to talk with clients with talk to points reference me gives sometimes do) I that extent the (to levels. But a connected thread of information throughout an experience gives gives experience an throughout information of thread connected a But levels. predictions about what people will do in a given situation. A common complaint common A situation. given a in do will people what about predictions confi the people internal processes. While businesses may have marketing teams whose job it is to fi Providing Knowledge oraPoint ofView phone by someone with interacting or product, a using environment, an through trek totoomanydifferentplacesoraskingpeople. to your screen the fi that viewpoint—not deliberately, of course, but because their focus is on their own managers, marketers) is that human scientists tend to preface their opinions with: Occasionally—and, really, only occasionally—clients want to know the theoreti- the know to want occasionally—clients only really, Occasionally—and, only takes me so far, and I have extended into other areas of research and practice or shape through subtly: quite conveyed be may Information site. Web a on or experiences—ensuring safety, effi strong too not is mastery,it in if result and, can information Good environments. can put ticks in all three boxes they will be able to deliver the fl and products with interactions safe for essential is thread information connected cal or research background to my recommendations. Sometimes clients want fi So on. so and feedback tactile by cues, sound or lighting through coding, color about what might be happening in their context. Studies such as those under the under those as such Studies context. their in happening be might what about engineers, (designers, with work I professions different the all almost among although the origins of my practice are in the psychology of text comprehension, it fl and sequence coherent a assembled without injury (or a family row), the digital camera that sends pictures a description, delight in the experience of use. This three-tiered checklist for user deal necessarily not do they products, its or organization the to customers attract such asgraphic,productandenvironmentaldesign. nd research that can be transposed directly to them, but keeping up with research Usually the applied settings in which I work are so “muddy” that it is hard to hard is it that “muddy” so are work I which in settings applied the Usually Information does not just come in the form of words and pictures, but via via but pictures, and words of form the in come just not does Information People respond to products, services and environments on many different different many on environments and services products, to respond People dence to engage in it fully and to want to engage in it again. A again. it in engage to want to and fully it in engage to dence rst time you use it, or the hospital department found without a ow of events, whether you are talking about moving about talking are you whether events, of ow ciency and delight—is powerful: if organizations at-pack that can be rm 18.8.2003, 9.19.38 Empathic Design -kirja0.997.indd 151 with a physical disability, the expert who has done a task many times before, the before, times many task a done disability,has physical who a expert with the (often very expert) view of what they are delivering. Rather than providing theory lish the techniques they were using—realizing there was as much value in these in value much as was there using—realizing were they techniques the lish are they When in. working am I contexts the about thinking my enrich and late umbrella of the Offi the of umbrella person (most of us, actually) who does not read the instructions—ensures an in- an instructions—ensures the read not does who actually) us, of (most person is fundamental to user experience research—whether it is observing people using is using a home hair dye, tracking shares on the Internet, preparing the kids’ meal new, really—but reviews are often new to people working outside research, and a that havebeenmockedupforuserfeedback. out- the what seeing and them doing are they while questions them asking tasks, do, their needsaremet. people whatever that ensure and manner broad a in thinking keep to try to person hurry,the a in is who user circumstances—the of set wide a for Planning to me to be a strength rather than a weakness of user experience work. It is a conse- the fi done there is no substitute for watching carefully as other people do it, whether it is something how about know you think you much However it. meet to deliver rapid, so is change technology although them, to clients point I relevant, directly mice for Microsoft and Apple, the Palm Pilot and Kodak digital cameras), this was ment than traditional market research interviews and questionnaires. Observation or claiming more than I can about what people will actually do, I use techniques use I do, actually will people what about can I than more claiming or of view, to making the effort to discover it and convey it to the people who must who people the to it convey and it discover to effort the view,making of to existing products or services, or using prototypes of future products and services and products future of prototypes using or services, or products existing comes are, delivers far more useful information for product and service develop- service and product for information useful more far delivers are, comes clusive approach. Frequently it is hard for client teams to think outside their own nothing was written had he review a that apologetically me told once colleague and engineering group responsible for designing, among other things, computer things, other among designing, for responsible group engineering and as in the results they produced. In the consultancy where I worked (IDEO a design Watchingwork. at meeting a organize to trying or school after these doing people in featured kind the of articles quence of needing to accommodate different people with different predispositions. signpost pointingatmoreinformationifweneedit.) The lack of certainty about how exactly people will respond in a context seems Practitioners in user experience must be committed to taking the users’ point users’ the taking to committed be must experience user in Practitioners During the 1990s, people working in product and service design began to pub- to began design service and product in working people 1990s, the During eld sometimes moves on before research reaches the public domain. (Review ce for Science and Technology’s Foresight programme stimu- Technology’sprogramme and Foresight Science for ce h Psychologist The are also useful. An academic academic An useful. also are 18.8.2003, 9.19.38

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152 making it work why i work in user experience consulting Why Bother? There is genuine satisfaction in moving from what people need to ensuring it is it ensuring to need people what from moving in satisfaction genuine is There When you see the impact on subsequent development, it is where the satisfaction life. Actually, that is not true. There is so much to learn from getting under other under getting from learn to much so is There Actually,true. life. not is that lies. people’s skin, being in their environments, and so much that can be drawn from drawn be can that much so and environments, their in being people’sskin, perspective theremightotherwiseneverhavebeen. user a introduced have you know you organizers—where personal to post-boxes impact, if the observation data (photographs, video clips, verbatim quotes) are not it to improve the products and services people (including us) have to deal with. deal to have us) (including people services and products the improve to it have little time to read long reports. Many professionals, particularly designers, particularly professionals, Many reports. long read to time little have transformed and communicated in a way that can be used by design teams. Most teams. design by used be can that way a in communicated and transformed little has It story. the of part only is it is, observation user as fundamental that, tographs can have greater infl greater have can tographs product through right observation from forward perspective user the carry to elzd i ngtaig ihn rjc tas uig esain cam n (oc- and charm persuasion, using teams, project within negotiating in realized; described as giving the net as well as the fi the as well as net the giving as described development. At IDEO, I learned that six, carefully selected, well-captioned pho- well-captioned selected, carefully six, that learned I IDEO, At development. development projects are done under time pressure and other team members will On a gloomy day, when nothing seemed to be going right, I once said wearily to a Often both are needed. The ability to extract the core issues and ensure they are they ensure and issues core the extract to ability The needed. are both Often casional) bloody-mindedness, to get the best results for end users. There is even is There users. end for results best the get to bloody-mindedness, casional) colleague that I didn’t want to go on doing observations for the rest of my working championed throughout a project is part of the challenge of user experience work. greater satisfaction in seeing ordinary members of the public using things—from using public the of members ordinary seeing in satisfaction greater are not great readers. They need key points, vividly and memorably presented, memorably and vividly points, key need They readers. great not are Alison BlackResearch-Consulting 56 AlexandraRoad Reading RG15PP Phone/fax 01189261158 E-mail [email protected] uence on subsequent work than a ten page report. page ten a than work subsequent on uence sh. While working at IDEO, I realized I IDEO, at working While sh. 18.8.2003, 9.19.38 Empathic Design -kirja0.997.indd 153 user experience, the designer should be conscious about them. In Gaver’s opinion, there arefi designer intends this or is even conscious of it.” of conscious even is or this intends designer tions from the user, or convey emotions from its designer, whether or not the 1. 2. “There is no such thing as neutral interface. Any design will elicit emo-

logically plausible but socially implausible; the cultural values cultural the implausible; socially but plausible logically Allow emotions Elicit emotions on the part of users the users’values. tion (kisses)betweentwolovers withahandhelddevice. designed into the artifact might not be consistent with some of some with consistent be not might artifact the into designed be used in a more emotional way. A good attempt has been the been has attempt good A way. emotional more a in used be exploration of emotional communication. For example, IDEO did an explorative design concept for exchanging emotional informa- emotional exchanging for concept design explorative an ve waysinwhichproductscould bedesignedtomoreemotional: As Bill Gaver from the Royal College of Art, London, writes: London, Art, of College Royal the from Gaver Bill As Anu Kankainen emotionally richproducts fordesigning directions . Much more can be done in designing artifacts to . Some artifacts can be techno- 154 Since emotions are part of part are emotions Since 155 18.8.2003, 9.19.38

153 Empathic Design -kirja0.997.indd 154

154 making it work directions for designing emotionally rich products In addition, I would like to bring up two potential aspects that can make the use the make can that aspects potential two up bring to like would I addition, In of productsemotionallyrich: 7. 3. 4. 5. 6.

Create the feeling of fl Provide kinesthetic enjoyment explicitly emotions Recognize omnct emotions Communicate Have emotions themselves emotions Have The aim of the interactive storytelling environment, SAGE, was SAGE, environment, storytelling interactive the of aim The Wizard havesimilaremotionalfeatures. which the experience itself is so enjoyable that people will do it do will people that enjoyable so is itself experience the which user in browsing Web sites are good examples of software agents software of examples good Webare browsing sites in user Boston children’s hospital could exchange experiences and learn from one another, and to encourage young patients to express and that have emotions by themselves. Recent versions of Microsoft’s to provide a forum where families and cardiac child patients at a at patients child cardiac and families where forum a provide to more pleasurablethantheyarecurrently. because itprovidesmeansofdealingwithfearsandfantasies. tool therapeutic a be can narrative that assumption an on based even atgreatcost,forthesheersakeofdoingit. emotional states and react accordingly by using physiological physiological using by accordingly react and states emotional emotional communication more directly than traditional media. traditional than directly more communication emotional area of expertise, physical interactions with a product could be could product a with interactions physical expertise, of area sensors orbehavioralcues. share their feelings through storytelling. The application was was application The storytelling. through feelings their share ow . Flow is a state of optimal experience in . Modern technology could support support could technology Modern . . For example, the agents that help the help that agents the example, For . 157 . Closer to the designers’ traditional Pout cud eet h user’s the detect could Products . 159 158 156 18.8.2003, 9.19.39 Empathic Design -kirja0.997.indd 155 18.8.2003, 9.19.39

155 Empathic Design -kirja 0.997.indd 156 18.8.2003, 9.19.39 Empathic Design -kirja0.997.indd 157 . SeeDreyfuss1967;Keinonen2000. 1. 9 CsikszentmihalyiandRochberg-Halton 19. Richins1994. 18. SeeRichins1994. 17. Akrich1992;Pantzar1996;Margolin 16. BaumanandMay2000. 15. Norman1998:31. 14. SeeJärvinenandKoskinen2001. 13. JärvinenandKoskinen2001. 12. Source:HSBC,Mintelwwwsites. 11. Koskinen2002.SeeLashandUrry 10. . Simmel1990:454—455. 4. . Margolin2002:42—43. 7. . Gaveretal.1999. 2. . RayandAnderson2000. 9. . SeeSassen1991:335—336who, 8. . Simmel1990:455—457. 5. . Esping-Andersen1990:199;Lashand 6. introduction to userexperience and empathic design preface references 1981. 1994; Ritzer1999;Hannigan2001. 2001. Urry 1994;PineandGilmour1999. however, underestimatesthisgroup by limitingitunnecessarilytoglobal cities only. 9 Hollyetal.2001. 29. Forlizzietc.2000. 28. Cf.Orr1996;alsoRosaldo1986foran 27. ForlizziandFord2000. 26. Cf.Dewey1934;Husserl1973;Garfi 25. Pantzar1996. 24. Rhea1992. 23. Holman1986;Kankainen2002. 22. Jordan2000. 21. BattarbeeandMattelmäki2002. 20. . Margolin2002:45. 3. 7 SeeBuchenau andFultonSuri 37. Carroll 2000. 36. SeeAnderson andSharrock1994. 35. Forden 2000:257—258;compareto 34. Sanders andDandavate1999. 33. TheCambridge DictionaryofPhiloso- 32. Forexample, HackosandRedish1998. 31. SeeOrr 1992,1996;Rosaldo1986. 30. 2000; Kelley2001.Forseeing how kel 1967. phy 1999:261. Molotch 1996. anthropological example. n- 18.8.2003, 9.19.39

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158 empathic design references 1 Forexample,Nielsen1994;Preeceet 41. www.congresswest.com.au/IFA/ 40. 9 Iacucci,KuuttiandRanta2000. 39. SeeNorman1998;BeyerandHoltzb- 38. 5 Asalways,thisthoughthasbeen 55. SandersandDandavate1999:89. 54. SandersandDandavate1999. 53. SandersandDandavate1999. 52. SegalandFultonSuri1997. 51. 7 SeeBeyerandHoltzblatt1998. 57. SeeSeale1999. 56. 6 However, these needsareconstructed 66. SeePantzar2000. 65. Forthisidea,IamgratefulforMika 64. empathic terms methodic in design pockets and bags 211—212. (forthcoming in2004)ofhowSuunto, latt 1998;CaganandVogel 2002. formulated withunbeatableclarityby fee makeroramobilephone,we talk involvement insportsmakessurethat Suunto designersunderstanduser hobby amongitsdesigncrew. Active Pantzar. AlsoCrozier1994. turer systematicallyencouragessports the sociologistHowardS.Becker1992: requirements andexperiencealike. moore.html. bodystorming ofsortscanbecome by people;whenwesayneedacof- companies, seeKotro’s casestudy a high-techsportsequipmentmanufac- an organizationalprincipleformajor al. 1994. 7 Hughes1984. 47. 9 Latour1991a. 49. ComparetoMargolin2002:21—25. 48. 6 Kankainen2002distinguishesusefully 46. SeeUlrichandEppinger1995. 45. CaganandVogel 2002. 44. SeeBecker1992:211. 43. SegalandFultonSuri1997. 42. 0 SandersandDandavate1999. 50. 9 ParaphrasedinGeertz1993:30. 59. Kaplan1964:11. 58. 9 CoughlanandMashman1999. 69. See Orr1996. 68. See CoughlanandMashman1999. 67. Kohut1977:302—303.InhisLocal 63. SeeHenderson1999. 62. Bartlett1932. 61. SeeSeale1999. 60. level needs,knowledgeofbehavioral level needs.To studymotivational ford GeertzreferstoKohut’s evocative ity withergonomics,usability, and Knowledge, theanthropologistClif- terminology. technology. than whenwetalkaboutneedforfood or drink. sciences isneeded,whilestudying motivational levelneedsfromaction- about “need”inmuchweakersense action-level needspresumesfamiliar- 18.8.2003, 9.19.39 Empathic Design -kirja0.997.indd 159 103. See CsikszentmihalyiandRochberg- 102. Battarbee andMattelmäki2000a. 101. See BeyerandHoltzblatt1998. 100. Erickson 1995. 7 Pantzar2002. 77. SeeChapter2,andTheCambridge 76. Forexample,Nielsen 1994. 75. 1 SeeGiddens1984and Lash1999.As 71. Holman1986. 70. 9 SeeHackosandRedish 1998. 99. Erickson1995. 98. Erickson1995. 97. Nakhtsen1997. 96. SandersandDandavate 1999. 95. Laurel1987. 94. MattelmäkiandBattarbee2002. 93. Dandavateetal.1996;Black1998. 92. 6 SeeKoskinen,KurvinenandLehtonen 86. SeeMäkeläetal.2000. 85. BoltanskiandChamboderon1990. 84. SeeMerton1968:73—138. 83. 82. SeeBuchenauandFulton 81. mobilephoto album:an experience prototype motions inmobile visual messaging storiesshortcuts as to meaning 2001. See Koskinenetal.2002:Chapter2. Suri 2000. dopes”: humanactionisalwaysmind- Dictionary ofPhilosophy1999:261. Halton 1981. the sociologistHaroldGarfi once notedpeoplearenot“cultural nkel (1967) 106. Compare toForlizziandFord2000, 105. Following Bruner’s (1990)evocative 104. Myers 1985. 107. Miller 2001. 9 Koskinenetal.2002. 79. 8 Garfi 78. 4 Jordan2000. 74. Holman1986. 73. SellenandHarper2002. 72. 1 SeeSuchman1987;Dourish2001. 91. SeeKoskinen2003. 90. 0 Katz1999. 80. 9 SeeKoskinenetal.2002:Ch.6. 89. SeeSacks1994. 88. SeeBuchenauandFultonSuri2000. 87. 1998. ful eveninsmallestdetails.(Editor’s phrase. psychology andphenomenology(see particulars isfamiliarfromGestalt note.) to thisbook.Thenotionofdialectic odology (seeGarfi of thebackgroundcontextureand Gurwitch 1964),aswellethnometh- and alsotheintroductorychapter nkel 1967HutchbyandWooffi nkel 1967:77—79). tt 18.8.2003, 9.19.40

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160 empathic design references towardsan ecologygoods of 133. Compare Boulding1989;Pantzar 132. Cf. Appadurai1999[1986]:5. 120. Hemmings 2002. 119. Forlizzi andFord2000. 118.Gaver, DunneandPacenti1999. 117. Mattelmäki andKeinonen.2001 116. Mattelmäki andBattarbee2002. 115. Sanders andDandavate1999. 114. Wensveen 1999. 113. Wensveen 1999. 112. Bødker, NielsenandPetersen2000. 111. Gaver, DunneandPacenti1999. 110. Gaver, DunneandPacenti1999. 109. Leyonard andRayport1997. 108. Black 1998. probes:studying experiences empathyfor design 1989, 1993.Ourapproachisrelated we aremoreinterestedaboutchanging Boulding concentratesmoreonstatic is aclassictheme:“asAdamSmith instance, contrarytothe19 dyadic modesofinteractionswhereas Furthermore, Boulding’s perspectiveis pay attentiontothefactthat today carsandhorsecarriagesmight the extentofmarket,which fur- the evolvingnetworksofcommodities. to Boulding’s outlineofan“ecology observed: divisionoflaborproduces of commodities”.Bouldingdoesnot means oftransport,whichincreases mainly static:littleattentionispaidto much subjecttohistoricalcontext.For be cooperativee.g.inaholidayresort. cycles ofinteractions.Ofcourse,this quality oftheseinteractionsisvery th century, 131. Csikszentmihalyi andRochberg-Halton 130. Keinonen 2000. 129. See ForlizziandMcCormack2000. 128. Sanders andDandavate1999. 127. Remember theTom Fordquoteinthe 126. Mattelmäki andBattarbee2002. 125. Mäkelä andMattelmäki2002. 124. Ireland andJohnson1995. 123. Wensveen 1999. 122. Dunne etal.2001. 121. Hemmings 2002. 148. The computeritselfisalreadyacoop- 147. Lehtonen 2002. 146. Belk 1988:160. 145. Kopytoff 1986. 144. Holt 1995. 143. Bell 1992. 142. McCracken 1988. 141. Hughes 1983. 140. E.g. Hughes1983. 139. Callon 1987;Latour1993. 138. McCracken 1988;cf.Kopytoff1986 137. Callon 1987;Hughes1983;Latour 136. McCracken 1988:94—95. 135. Boulding 1989. 134. Bijker 1995:84—85. 1981. 1991b; MacKenzieandWajcman 1999. [1999]. ponents. Forinstance,wehavetaken Introductory essay. thers thedivisionoflabor, andsoon.” Cf. Boulding1989:8;Saviotti1994. erative networkofmanyseparatecom- 18.8.2003, 9.19.40 Empathic Design -kirja0.997.indd 161 150. Tushman andRomanelli1985. 149. Csanyi 1989;Pantzar1989,1991,1992, 157. For example,Picard’s (1997)workon 156. Bers etal.1998. 155. Moggridge 1999. 154. Gaver 1999:51. directions for designing emotionally fordesigning directions rich products 1993. focusing onthisaspectofartifacts. for grantedtheroleofsoftwarein Olli’s computer. affective wearableinMIThasbeen 153. Cf. Basalla1987;Pantzar1993;Petro- 152. Kopytoff 1986. 151. Löfgren 1990. 159. Fulton 1993. 158. Csikszentmihalyi 1990. vski 1993. 18.8.2003, 9.19.40

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