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Experience Design

All Aboard!A Railroad Journey Through

Your Life!

Your Chief Conductors:

Chief Conductor Andrew LacanientaChief Conductor Gary Ellis

Texas A&M University (and Railway) System

©2018 Gary Ellis and Andrew Lacanienta

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Contents

All Aboard! …………………………………………………………. 4

Key to Experience Design Strategies Used Today……5

The Pivotal Importance of Customer Service…………..6

Types of Experiences………………………………………………7

Narrative Story Board…………………………………………….9

Act 1: Our Invitation Experience………………………..10Act 2: Our Reception Experience………………………..11Act 3: Our Boarding Experience………………………….12Act 4: Our Visit to Engagement Land……..………….14Act 5: Our Visit to Immersion Land…………………….17Act 6: Our Visit to Absorption Land……………………19Act 7: Our Departure Experience……………………….21Act 8: Our Debriefing Experience…….…………………22

Appendix……………………………………………………………..23 A Diagram of Room Set-up

B Materials and Supplies Check-ListC Personnel and Roles

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All aboard!

We hope you have enjoyed your journey through your life, aboard the locomotive, Jupiter!

As a memento of your tour, we thought you might enjoy this “narrative story board,” which we used to plan the experience for you. As you may know, a storyboard is a series of drawings depicting a sequence of events that occur. Storyboards are often used to design motion pictures, such as a video commercials and movie scenes.

We use words instead of drawings for our storyboards. We imagine that we are a participant in the events we are planning. We then write paragraphs as if the event was over and we were describing each phase to a friend. Thus, our “narrative storyboards” are stories of our imaginary participation in our own event.

As you read our narrative storyboard, you will notice that we use a variety of symbols at the end of some of the sentences in our stories. These symbols represent instances in which experience designers used one or more techniques from the technology and science of “structured experience.” The specific techniques and their associated codes that we used for your journey today are listed on the next page!

We hope you enjoy our storyboard and find the technique useful in planning your own events!

Key to Experience Design Strategies Used Today

Code Strategy T Convey a clear and pervasive theme

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X A deliberate action taken to eliminate a “negative cue.” A negative cue could be an object that does not fit the theme or it could be an unpleasant feature of the structured experience environment related to light, sound, smell, taste, function, or order

M Create multi-sensory experiences using stimuli not inherent to the activity

P Personalize the content. Structure the activity such that it touches things participants value, enjoy, and are interested in

V Unanticipated (surprise) value-added take-away. A tangible object that may serve as a cue for a memory of your structured experience. This booklet is an example.

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The Pivotal Importance of Customer Service

Research has shown that the effectiveness of the strategies on the previous page in producing delightful experiences depend on whether or not service quality is provided at acceptable levels. Above a certain threshold of customer service, the techniques “work.” Below that threshold, the techniques actually diminish the quality of participants’ experiences.

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Service Quality*

Description

Tangibles Appearance of physical space, including physical facilities, equipment, personnel, and communications materials

Reliability Ability to perform the promised service dependably and accurately

Responsiveness Willingness to help customers and to provide prompt service

Assurance Knowledge and courtesy of employees and their ability to convey trust and confidence

Empathy Provision of caring, individualized attention to customers

Recovery Performance in correcting mistakes that have been made by employees

*Based on Parasuraman, Zeithaml, and Berry, 1988

Types of Experiences

Our “Theory of Structured Experience” recognizes four states of attention and motivation that occur during activities. A summary of the definitions and strategies that experience designers can use to facilitate each of

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these follows:

Experience Strategies

Engagement: A transitory condition of heightened attention, emotion, and motivation that varies by degree and is characterized by (a) extraordinarily high focus of attention on an unfolding narrative or story told in words, actions, and/or music; (b) heightened emotions; and (c) agentic inclinations.

Relevant Activities (examples) Spectator events, conversations, movie attendance, reading

●Make the story clear and

coherent: Introduction, escalating conflict, climax, denouement.

●Personalize the story.

●Add provocative elements to

the story

Immersion: A transitory condition of action, attention, and motivation that varies by degree and is characterized by (a) high focus of attention on a limited stimulus field, (b) environmental demand for immediate action, and (c) automatic responses (i.e., action without conscious, calculated decisions), (d) immediate feedback on the efficacy of those actions, and (e) perception of control.

●Structure the

experience such that it is “self-relevant;” participants care about it

●Balance the challenges

of the activity with the skills of the participants

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Relevant activities (examples) Competing in a sport, creating a piece of art, performing in a play, performing a dance, playing a musical instrument

Absorption A transitory condition of heightened attention, motivation, and emotion that varies by degree and is characterized by (a) high levels of relaxation and pleasure, (b) absence of demand for behavioral or mental action in response to stimuli, and (c) absence of active thinking.

Relevant activities (examples) Massage, wine tasting, sun-bathing, lounging, enjoying food, non-competitive swimming, hot tub experiences

●Create anticipation, use

“mental time-travel”

●Express emotions with

observable actions (smile, thumbs up, etc.)

●Tell other people about

your delight or degree of interest

Deep Structured Experience A state of effortless concentration during which individuals lose (a) their sense of time, (b) their thoughts about themselves, and (c) awareness of their problems. Participants have a genuine interest in the activity in which they are involved and a strong desire to continue doing that activity.

Relevant activities (examples)

May occur during

●Apply a clear, compelling

and pervasive theme

●Structure multisensory

elements

●Personalize the

experience

●Eliminate negative cues

●Provide surprise, value-

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engagement, immersion, or absorption activities

added take-aways

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Act 1: Our Invitation Experience

Act 2: Our Reception Experience

Act 3: Our Boarding Experience

Act 4: Our Visit to Engagement Land

Act 5: Our Visit to Immersion Land

Act 6: Our Visit to Absorption Land

Act 7: Our Departure Experience

Act 8: Our Debriefing Experience


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NarrativeStoryBoard

After checking in on the morning of the first day of the Experience Design Quest, I briefly explored the assortment of interesting items in my registration packet.

One of the items that caught my attention looked like a ticket for a journey on a train (T, V):

I discovered the ticket was an invitation to participate in a special session of the conference titled, “All Aboard! A Railroad Journey through Your life.”

The ticket caught my attention for several reasons. I like travel and trains, and I also enjoy reflecting on positive experiences, people, and events that have been major influences on my life (P).

I added the event to my calendar.

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I arrived at the reception room for the “All Aboard! A Railroad Journey through Your life” event at the scheduled time.” I was greeted immediately (customer service, responsiveness, assurance) by a smiling young man/woman wearing a railroad hat. She/he welcomed me by name (P) and handed me a railroad bag and a sheet of paper on which six star-bursts were printed. The bag contained a train whistle, a sleep mask, and a train lollipop (V, T).

The paper described a task for me to complete. In one of the six star-bursts, the words, “I am a…” (P) was printed. The others were blank. The task involved two parts:

1) Inside the first starburst, provide at least 4-5 responses to the question, “Who am I?” In other words, by what role do I define myself? The author of the example had written father, son, sailor, husband, and professor.

2) On the same paper, draw stick-figure diagrams representing each of the 4-5 roles. Use one starburst for drawing items for each role.

On the back of the paper was an example of version of the task, previously completed by someone else. My host directed me to the “train station,” which was a room with tables at which I could complete the two tasks.

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I entered the train station. A large screen had been positioned in the room, and an image of an historic locomotive, which I recognized to be the Jupiter from the Golden Spike National Historic Site, was playing (T,M). Sounds of trains, people at a train station, and train songs were also being played through a stereo speaker system (T, M) and train-related images were posted around the train station. The departure schedule is also found on the wall.

Three railroad tracks led out a single door of the room. A miniature train rested on each track (T, M). A small “boarding platform” was positioned beside each track.

A greeter wearing a railroad hat welcomed me and invited me to go to the table of my choice to complete the two tasks. She said I was welcome to board the train after completing the two tasks. She reminded me to bring my ticket. After tooting her railroad whistle twice (T M) and making sure I had no questions, she excused herself in order to assist other guests.

I completed my drawing and then proceeded to the boarding platform. My drawing looked like this:

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When I arrived at the boarding platform, a smiling young man/woman wearing a railroad hat greeted me by name (P). We chatted briefly while a few other passengers made their way to the platform. Our host asked if we would like a water while we waited for the train to depart (V).

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Next, our host led us from the boarding platform to a different room, which was arranged to simulate the passenger car of a train. We were invited to take any seat we wanted.

I noted that the seats were arranged like those in a passenger train. Sets of six were facing forward and another six were facing to the rear (T). A carpet runner separated sets of rows. Train songs and sounds were playing in the background (T, M), and images of the locomotive we saw in the reception area were projected (T, M).

Suddenly, a long train whistle sounded (T, M) and two conductors appeared. Both of them wore full conductor costumes (T, M). They introduced themselves as Chief Conductor Lacanienta and Chief Conductor Ellis, from the Texas A&M University and Railroad System (T). They explained that our journey through our own personal history would have three stops:

● Engagement Land

● Immersion Land

● Absorption Land

These experience type names were projected on the large screen that had previously displayed the locomotive. Chief Conductors Lacanienta and Ellis very briefly described the three types of experience and

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explained that they had been conducting research in each of these lands. They said our experience today would engage us with some of the things they had learned. They invited us to “sit back, relax, get to know one another better (P), and enjoy the tour.” They explained that after we returned to the terminal, they would talk about how our tour was designed according to the experience design techniques that they were studying in their research.

The conductors then called our attention to the image of the locomotive (T). They explained that we were particularly blessed today, because our train was being pulled by the famous locomotive, “Jupiter.” Jupiter was one of the two engines to pass over the newly joined rails when the “East joined the West” following the driving of the golden spike at Promontory Point, Utah territory in 1869. The two railroads represented on the occasion were the Central Pacific and the Union Pacific (T). The chief conductors passed around a golden spike (tent stake painted gold) for all to see (T M)

“Chug-chug, choo-choo” train sounds were played. Chief Conductor Lacanienta warned us that we were starting our journey at and it was time for the night train to Engagement land, so we placed our sleep masks over our eyes. Chief conductor Lacanienta guided our dreams and invited us to imagine what engagement land might look like. Then after a “long night’s rest” we removed our masks and noticed that posters depicting famous stories (e.g., “Gone with the Wind,” “To Kill a

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Mockingbird”, etc.) were hung on the walls. Chief Conductor Lacanienta explained that the train had reached the first stop on our journey: Engagement Land. Engagement Land is filled with stories (Engagement).

It is customary for visitors to Engagement Land to tell stories, so we were asked to take turns sharing with other passengers the stories representing the projects we had created. That is, we shared our lists of responses to the “who am I” question, and told stories about our stick figure drawings.

I enjoyed talking about my project with fellow passengers around me (P), and learning about key roles and events in the lives of other passengers (Engagement).

Then, the train whistle sounded again. Chief conductor Lacanienta indicated we had a 45 minutes stretch of time to nap on the train before arriving at Immersion land. We again slipped on our sleeping masks for a brief nap while the train rumbled along (X). During which we designed our own dreams of what immersion land might look like. With our eyes covered we listened to lullaby music (T). We noticed through subtle sounds and cues that something around us was changing (X).

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While we were asleep and dreaming Chief Conductor Lacanienta took us on a mental time travel (absorption) journey. He had me imagine an art studio. I thought of the smells, paintings, colors, and emotions related to an art studio. I completely built the world in my imagination.

Then the train whistle sounded again, and Chief Conductor Lacanienta informed us we had arrived in Immersion land; we removed our sleeping masks (T M).

The world I had built in my mind had come to life. We noticed that tables had been placed in front of us. A canvas was in front of each passenger, along with a set of paints. The room was completely different, including new art, smells, and décor.

Chief Conductor Lacanienta welcomed us to the land of immersion. He explained that immersion is an experience of performance or creation. The local custom in Immersion Land is for visitors to produce a work of art showing a “peak moment” in their lives. A peak moment is a specific time, place, and set of circumstances that is particularly memorable or impactful. It is a snapshot of an instant that is the origin of a very special treasured memory. A special moment is a fleeting instant that time seems to stand still. Life seems perfect: “all the characters are present and all of the pieces of life are in place.”

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Chief Conductor Lacanienta asked us to close our eyes, relax, and, in our mind’s eye, re-live one of our peak moments.

He then invited us to follow the local custom of producing a work of art depicting that peak moment (immersion). He reminded us that our art could be very realistic and precise in depicting details, or it could be modern, symbolic, and impressionistic, perhaps, for example, using only colors to represent emotions we experienced (challenge=skill). We were invited to converse with other passengers while we worked (engagement).

After a few minutes, the train whistle sounded again and train motion sounds began playing (“choo-choo, chuga-chuga). Chief Conductor Lacanienta explained that we had departed “Immersion Land” and were headed on our way to “Absorption Land.” Soft lullabies played as we put on our sleeping masks and rode through the night towards our next stop (T).

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While we were sleeping and dreaming, Chief Conductor Lacanienta again invited us to engage in mental time travel (absorption). This time we imagined a café that served all of our favorite childhood treats. It was nostalgic to think about all of my favorite things. In the café we imagined a number of beautiful stimuli including scenic panoramas, delicious aromas, and amazing flavors – all in our imagination

The train whistle sounded again (T, M), and Chief Conductor Lacanienta informed us we were about to arrive; we removed our sleep masks and stepped right into the world we had imagined (T M).

Chief Conductor Lacanienta explained absorption is about enjoyment of immediate sensory experiences, such as looking at things that are beautiful, smelling wonderful aromas, tasting delicious foods and drink, and enjoying the warmth of a welcomed embrace (absorption experience).

The tables in front of us were now filled with items that invited absorption. Included were items with wonderful aromas, photographs of beautiful people and beautiful places, recordings of songs representing eras corresponding to the ages of the passengers in each section. The table also included selections of candies representative of the ages of passengers at the respective table.

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According to local custom, Chief Conductor Lacanienta explained, visitors to absorption land quietly savor sensory items like those on the table briefly (absorption) and then they talk about those with others, if they choose to do so. Absorption Land residents use three techniques to get the most enjoyment out of an item (savoring techniques):

● They engage in “mental time travel” by

imagining a time in the future that they might actually engage with the item. For an image of a destination, they might imagine a future visit. For a piece of candy, they might imagine its texture or taste only a few seconds in the future, when they actually place the item between their lips.

● They tell other people how well they like the

item.

● They smile, show a “thumbs up,” open their eyes

wide, or use their bodies in some way to show how much they like the item.

We were encouraged to use these techniques as we explored items on the table.

After a few minutes of absorption, the train whistle blew again and the train sounds started. We were reminded that it was now evening, and we could sleep (by putting on our masks). “When you wake up,” we were told, “you will be back at the train station in Provo.” We

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covered our eyes with our sleep masks and snuggled. Quiet lullabies lulled the passengers to sleep.

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A minute or so passed, and we were informed that the sun was up and we were back at the station. We noticed that the tables were no longer in front of us (X).

Chief Conductor Lacanienta thanked us for riding on the Texas A&M Railway and asked us to exit the train and join him for a debriefing in the adjacent train station (reception room).

He noted that, as a sign of appreciation, the Texas A&M Railway System had a gift for every passenger (V). That gift was this experience design plan.

Smiling young men and women handed one copy of this document to each passenger as she or he exited the train.

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Act 8: Debriefing Experience

We assembled in the reception area. A train whistle sounded, and train sounds were briefly projected into the reception area. Chief Conductors Lacanienta and Ellis thanked passengers for their participation, talked briefly about highlights and organization of this experience design plan, and responded to questions about the entire experience and their research.

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Appendix ADiagram of Rooms Set-Up

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Appendix BEquipment and Supplies Check List

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Costumes

• Conductor Suits for Lacanienta and Ellis

• Railroad Hats for all other assistants

• Large Train Whistle


• Train ticket for each passenger

• Train whistle for each passenger

• Luggage bag for each passenger

• Sleep mask for each passenger

• Railroad whistle for Lacanienta and/or Ellis

• Train Lollipop


• Computer and projector system

• Video of the Jupiter, set to play repeatedly

• Sound system

• Audio clips of train sounds

• Train music (e.g., Johnny Cash, I hear the train

a-coming’”)

• Tables and Chairs in reception area

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• Large Paper to complete tasks

• Writing and Drawing Instruments

• Small “boarding platforms”

• Miniature Trains leading out of the reception

area

• Example of completed task, i.e., who am I and

associated drawing

• Blank sheets of paper on tables for passengers

to complete their “who am I” tasks


• Computer and projector System

• Video of the Jupiter, playing repeatedly

• Sound system


• Train music (e.g., Johnny Cash, I hear the train

a-coming’”

• Chairs arranged as train seating; work (dining)

tables between sets of facing chairs. Carpet runner between rows

• Water available

• Butcher paper to make train tracks

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• Fans

• Scentsy forest aroma

• Train station posters/pictures

• Paper punch to punch tickets


• Train whistle (listed earlier)

• Images of names of experience types for

projection, slides

• Slide illustrating different types of experience

• Slide listing techniques for possible use

• Slide or video showing Jupiter locomotive

• A “Golden Spike” (plastic tent stake painted

gold?)


• Sound system

• Bandanas (listed earlier)

• Train music

• Engagement items from different eras

o Movie posters

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o News clippingso Book coverso Other “stories”


• Sleep mask (listed earlier)

• Canvas for each participant

• Paint

• Paint brushes

• Bowls with water

• Paper towels for cleaning

• Train whistle (listed earlier)


• Bandanas (listed earlier)

• Sets of items for savoring: aromas,

photographs of beautiful places and people, snacks, fruit, drinks, music, scented items, candies

• Blankets and pillows

• Lullaby music


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• Bandanas

• A copies of this document for each participant

Act 8: Our Debriefing Experience

• Train Whistle (Listed earlier)

• Train Sound Audio Clips (listed earlier)

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Appendix CPersonnel and Roles

Planning and Implementation Teams:

1) Chief Conductors (Lacanienta and Ellis)2) Stage Manager (sounds, videos, organize the

work-force3) Planning and Implementation Teams for each of

the following:

● Act 1: Our Invitation Experience

● Act 2: Our Reception Experience

● Act 3: Our Boarding Experience

● Act 4: Our Visit to Engagement Land

● Act 5: Our Visit to Immersion Land

● Act 6: Our Visit to Absorption Land

● Act 7: Our Departure Experience

● Act 8: Our Debriefing Experience

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byedl.tamu.edu · web viewas a memento of your tour, we thought you might enjoy this “narrative...

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