EXPERIENCE DESIGN
An extended viewon affordance theoryMedia platform affordances and the planning of a media production(Ecological, visual perception—J. J. Gibson 1986)
The value of the experiencesThe DNA of the event (Have 2004 via Lyck 2008)
The Experience Compass (Lund 2005)
Creating a flow in the experience (Csikszentmihalyi 1975)
Workshop
E X P E R I E N C E D E S I G N
Affordance TheoryAn extended view on the ecology ofvisual perception 1/4 Medium, substance, layout (J. J. Gibson 1986)
• Gibson on the concept of a medium:Air is a medium for animal locomotion, so is water. There are no sharp transitions in a medium, no surfaces in itself. You arelocated in- , using- and living in the medium.
• Water is not the medium of human beings: we think of water as a substance and not as a medium. We do not navigate naturally in water, but in the medium of air.
E X P E R I E N C E D E S I G N
Affordance TheoryAn extended view on the ecology ofvisual perception 2/4 Medium, substance, layout (J. J. Gibson 1986)
• When this smooth process of navigating in a naturalmedium takes place, the affordancesin the medium are invariant.
• Where there is an invariant environment, you accept and use the affordances naturally and withoutquestioning the very nature of things.
• In any medium there are surfaces with a certainlayout or grid in which you navigate.
• Any surface and object has a characteristic shape, illuminated in light or shade. alltogether such objectsmay form an invariant, coherent layout
E X P E R I E N C E D E S I G N
Affordance TheoryAn extended view on the ecology ofvisual perception 3/4 Medium, substance, layout(J. J. Gibson 1986)
• Take a look at the illustration.
• There are two environments: air and water are botha medium for different lifeforms to navigate in.
• You look at the picture and see the water as a substance. The fish fears the substance of only air.
• There is a surface before your eyes. The layout/grid of this surface may beinvariant for you to navigate in.
• In general it is a meaningful environmentfor you, you can take a walk and use the forest path as a useful object of affordance.
E X P E R I E N C E D E S I G N
Affordance TheoryAn extended view on the ecology ofvisual perception 4/4 Medium, substance, layout (J. J. Gibson 1986)
• Take a look at the illustration and the model.
Medium
Substances
Surfaces/layout
E X P E R I E N C E D E S I G N
Affordance TheoryAn extended view on the ecology ofvisual perception 1/3 invariant or variant objects(J. J. Gibson 1986)
• According to Gibson concepts like planes and spaces aregeometrical terms. They are only describing numbers.
• The environment affords something morepractical for the animal and for us.
• A stone is a useful hiding spot for the mouse, who triesnot to be spotted by the cat. To me, the stone is either of noimportance (as I pass by) or I may be careful not to stumbleover the stone. This is the difference betwen invariant and variant perceptual information.
• If I recognize the stone’s natural layout as a potential danger to me, I percieve of the stone as an variant objectand not invariant—I take notice of its meaning to me.
E X P E R I E N C E D E S I G N
Affordance TheoryAn extended view on the ecology ofvisual perception 2/3 invariant or variant objects(J. J. Gibson 1986)
• Take a look at the illustration.
• You are driving on a road. The road affords a pathwayto your desired destination. There are no new perspectives as far as the eye can see, only theinvariant optical structure created by human technology.
• The layout tends to persist (with its objects).
E X P E R I E N C E D E S I G N
Affordance TheoryAn extended view on the ecology ofvisual perception 3/3 invariant or variant objects(J. J. Gibson 1986)
• Suddenly a road sign appears, and you take noticeof its presence and its information.
• The road sign is an variant object. It is a display made to make you aware of a change in the layout.
• But … then again … you might be used to thisparticular sign, and then it’s invariant.
E X P E R I E N C E D E S I G N
Affordance TheoryAn extended view on the ecology ofvisual perception 1/1 Affordances are for someone(J. J. Gibson 1986)
• The affordances of the layout in the environmentare that, which offers something to you.
• Some objects and surfaces affords support to you:the chair is sit-able (surface and object), the laptop is port-able (object), the magazine is read-able and entertaining (object) etc.
• Affordances also involves a possibility and the near future:The affordance of a toy is to play (for the child).The affordance of your education programme is to becomea skilled graduate.
• You interact with affordances and create affordances.
E X P E R I E N C E D E S I G N
Affordance TheoryAn extended view on the ecology ofvisual perception 1/1 Affordances of communication—exercise(J. J. Gibson 1986)
• Gibson says that information pickup needs an awarenessof variant information in an environment. In other words: When you’re designing for information, you must beable to use the media objects and surfaces as relevant affordances.
• A graphic user interface (GUI) for web or for the mobile media requires that you can make the surface/layout meaningful to the user:
• Find a website or an app, investigate these areas …
• Can you understand the landing surfaces as meningful environments (pages)?
• How is the information structure of affordances (links)?
• What is it that the objects affords the user (interactivity)?
• What is invariant and what is variant information?
• Apart from the GUI, how can links and networks be affordances—what can they afford to whom?
E X P E R I E N C E D E S I G N
The value of the experienceAffordance theory and the DNA of the event1/4 Designing the event(Have 2004 via Lyck 2008)
• The event also creates affordances for an experience.
• Have (2004) lists the DNA of an event:
• Unique: New, trendy, annual event, one time only etc.
• Unpredictable: Surprising, exiting etc.
• Predictable: Some elements of predictability affords security, like traditions.
• Storytelling: Structure, roles, conflict etc.
• Historic: A certain context, a cultural framework?
• Media friendly: Can it be used for PR and other marketing strategies?
• Creates an identity: What can the event offer as affordances of identity?
• Involves an audience: Engaging with a respect for the flexibility the audience demands
• Star quality: Are there celebrities present or does the event itself have a star quality?
E X P E R I E N C E D E S I G N
The value of the experienceAffordance theory and the DNA of the event2/4 Designing the event(Have 2004 via Lyck 2008)
• Have (2004) places these elements in a scale:
• 1: The element is not present
• 3: The element is present to some extent
• 5: The element is highly present
Unique
Historic
Unpredictable
Predictable
Star qualityInvolves the audience
Storytelling
Media friendly
Creates anidentity
54
32
1
0
E X P E R I E N C E D E S I G N
The value of the experienceAffordance theory and the DNA of the event3/4 Designing the event—how-to-example(Have 2004 via Lyck 2008)
• Have (2004) places these elements in a scale:
• 1: The element is not present
• 3: The element is present to some extent
• 5: The element is highly present
Unique
Historic
Unpredictable
Predictable
Star qualityInvolves the audience
Storytelling
Media friendly
Creates anidentity
54
32
1
0
E X P E R I E N C E D E S I G N
The value of the experienceAffordance theory and the DNA of the event4/4 Designing the event—exercise(Have 2004 via Lyck 2008)
• Mapping the scale togetherwith examples:ChristmasOscar showEvent for animal rightsFashion showLaunching a new app
• Other examples?
Unique
Historic
Unpredictable
Predictable
Star qualityInvolves the audience
Storytelling
Media friendly
Creates anidentity
54
32
1
0
E X P E R I E N C E D E S I G N
The value of the experienceThe experience compass 1/(Lund 2005)
• In a narrow sense there are two kinds ofexperiences:
• The experience as the core business idea:for example a movie company, a game producer,the theme park, the zoo etc.
• The experience as a by-product of a productor a service: for example the customer’s experienceof the supermarket’s ethics.
• There can be hybrids between these two types:to dine in a restaurant can be an experience in itself if it’s a part of special event. It becomes a dining experience.
• Segmentation is important
E X P E R I E N C E D E S I G N
The value of the experienceThe experience compass 2/(Lund 2005)
• These elements can be depicted as the one axis of the experience compass (examples):
The concept of experience as the
core business
The concept of experienceas the by-product, as generator of extra value
TVTheater
Movies
Mobile phones
RetailRestaurant
E X P E R I E N C E D E S I G N
The value of the experienceThe experience compass 3/ The types of experiences(Lund 2005)
• The other axis of the compass depicts whetherthe experience has a high or a low value:
The concept of experience as the
core business
The concept of experienceas the by-product, as generator of extra value
TVTheater
Movies
Mobile phones
RetailRestaurant
Low value of experience
Live broadcast of a concert
High value of experience
Reruns of M*A*S*H
E X P E R I E N C E D E S I G N
The value of the experienceThe experience compass 4/ The types of experiences(Lund 2005)
• Examples:times change
The concept of experience as the
core business
The concept of experienceas the by-product, as generator of extra value
Mobile phones
Low value of experience
1990s: Texting (SMS)
High value of experience
Today: Texting (SMS)
VALUE AXIS
PRODUCER AXIS
E X P E R I E N C E D E S I G N
The value of the experienceThe experience compass 4/ The types of experiences(Lund 2005)
• Examples:Value change
The concept of experience as the
core business
The concept of experienceas the by-product, as generator of extra value
A
Low value of experience
High value of experience
VALUE AXIS
PRODUCER AXIS
A = First time you see a play
The third time you see the play
E X P E R I E N C E D E S I G N
The value of the experienceThe experience compass 4/ The types of experiences(Lund 2005)
• Examples:Product change(the telephone)
The concept of experience as the
core business
The concept of experienceas the by-product, as generator of extra value
A
Low value of experience
High value of experience
VALUE AXIS
PRODUCER AXIS
Once you could only make a call from a stationary phone
Now youdownload apps, tjeck mails, playgames etc. onthe mobile phone
E X P E R I E N C E D E S I G N
The value of the experienceThe experience compass 4/ The types of experiences(Lund 2005)
• Examples:The new mix
The concept of experience as the
core business
The concept of experienceas the by-product, as generator of extra value
Laundromat
Low value of experience
High value of experience
VALUE AXIS
PRODUCER AXIS
Vintage booksCafe
Laundromat book cafe
E X P E R I E N C E D E S I G N
The value of the experienceThe experience compass 4/ The types of experiences(Lund 2005)
• Examples:One journey, many experiences
The concept of experience as the
core business
The concept of experienceas the by-product, as generator of extra value
Low value of experience
High value of experience
VALUE AXIS
PRODUCER AXIS
Waiting in the airport
Goal: Disneyland
The pool by the Hotel
E X P E R I E N C E D E S I G N
The value of the experienceThe experience compass 4/ IT and experiences(Lund 2005)
• 1. Example: A museum usesinteractive IT solutions in a exhibition(touch screens, bluetooth, Twitter etc.)
• 2. Example: Robots, computergames, new technology etc.
• 3. Example: Ipad, new interactive apps etc.
• 4. Example: A retail store launchesa website or a microsite, a charityevent is launched by usinglaserlights and big screens etc.
Litt
le s
hare
of
IT t
echn
olo
gy
Great share
of
IT techno
log
y
Low value of experience
High value of experience
The primary productof the company:
EXPERIENCE & ITThe product itselfis an experience
The primary productof the company:
EXPERIENCE IT is used to
enhance/supportan experience
The primary productof the company:
Neither experiencenor IT
IT experiences areused for promotion
The primary productof the company:
ITExperiences areused to sell the
product
1 2
34
E X P E R I E N C E D E S I G N
The value of the experienceThe flow 1/1 Mood compass(Csikszentmihalyi 1975)
• Csikszentmihalyi’s model depicts the different mental stages in the areasbetween skills and challenges.
• Match the experience design with yourtarget group’s skills and expectationsof particular challenges.
• Create affordances to maximize flow and the value of the experience.
* Not an original part of this model
SKILLS
High value of experience*
Hig
hLo
wC
HA
LLE
NG
ES
Low High
Anxiety Arousal FLOW
ControlWorry
Apathy Boredom Relaxation
Bibliography
Mihaly Csikszentmihalyi:Beyond Boredom and Anxiety: Experiencing Flow in Work and Play. Published by Jossey-Bass 1975.
Jacob Lund:Følelsesfabrikken. Oplevelsesøkonomi på dansk.Published by Børsens Forlag 2005.
Christian Have 2004:Via Lise Lyck: Service- og oplevelsesøkonomi i teori og praksis.Published by Academica 2008.
J. J. Gibson:The Ecological Approach to Visual Perception.Published by Lawrance Erlbaum Associates 1986, (originally published in 1979)
E X P E R I E N C E D E S I G N