An Experience-Centered Design approach to learning in Museums through Emotional experiences, and

Thematic Digital Navigation for mobile technologies(working title)

Chloe Walker96090131M. DesignCandidature AssessmentUTS

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1. The Museum 1.1. The Dialogical Museum 1.2. Museums & Learning 2. Emotion 2.1. Emotion as a meta-Experience 2.2. Emotion as a meta-Experience 2.3. Emotional Experiences motivate 2.3.1. Emotional Goals Motivate 2.3.2. Think Holistically 3. Flow - the Psychology of Optimal Experience

Model for Transformational Experience

4. Process-Led Research 4.1. Mapping the Field 4.2. Example: “Power” 4.3. Experience-centered Methodology

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OUTLINE

1. The Museum

1.1. The dialogical Museum

Museum Audience Segments (Krachunya & Hastings 2002)

Visitors

Students

Teachers

Scholars

Museum staff

63% wished to search a collection.

Topology of Museum User Attitudes (Janet H. Murray 2000)

Interested Observer (Stroller)Prefers a networked structure which can be navigated by association

Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction

Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure

Topology of Museum User Attitudes (Janet H. Murray 2000)

Interested Observer (Stroller)Prefers a networked structure which can be navigated by association

Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction

Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure

Topology of Museum User Attitudes (Janet H. Murray 2000)

Interested Observer (Stroller)Prefers a networked structure which can be navigated by association

Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction

Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure

Topology of Museum User Attitudes (Janet H. Murray 2000)

Interested Observer (Stroller)Prefers a networked structure which can be navigated by association

Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction

Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure

A B

Topology of Museum User Attitudes (Janet H. Murray 2000)

Interested Observer (Stroller)Prefers a networked structure which can be navigated by association

Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction

Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure

Topology of Museum User Attitudes (Janet H. Murray 2000)

Interested Observer (Stroller)Prefers a networked structure which can be navigated by association

Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction

Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure

A

B

CD

Topology of Museum User Attitudes (Janet H. Murray 2000)

Interested Observer (Stroller)Prefers a networked structure which can be navigated by association

Playful Discoverer (Stories & Games)Mainly wants a narrative that’s linear, with a little interaction

Encyclopedists (Hierarchy)Prefer facts and figures organized in a hierarchical structure

1.2. Museums & Learning

These Processes help construct meaning between the individual and the objects within Museums

Museum Learning Activities

Skills ApplicationAbility to perform actions

Information ExchangeFacts and constructs that can potentially be integrated into a context

Self ExpressionIncluding beliefs and creativity

Knowledge ConstructionIntegration of previous learning with new knowledge

Social InteractionCommunication, localization, orientation, mutual observation - reciprocal action in exchanging or challenging ideas

Traditionally the museum is differentiated in it’s relationships between the Visitor and the Object

but the boundaries are shifting between the real and the virtual

we AR in MoMA by Sander Veenhof & Mark Skwarek (Oct 2010)

Aesthetic Experience

An experience that occurs between a subject and an object is largely an Aesthetic experience

Processes of a Aesthetic Experience

Continuous Engagement/Sense making

Reflecting

Connecting

Interpreting

Anticipating

Recounting

Appropriating

...are never finite because they are in constant dialogue with the centers of value

{ {Diagram based on

Wright & McCarthy (2010) Experience-centered Design: Designers, Users, and Communities in Dialogue. Morgan and Claypool Publishers

A Dialogical Ontology for an Aesthetic Experience

Actions

Technology

Utterances

SettingSelf ObjectsOthers

Things

Centers of Value

Designed

with multiple perspectives and voices

and no experience is ever the same...

“uniqueness and irreducibility of experience” McCarthy & Wright (2004) Technology as Experience, Cambridge, USA, MIT Press

2. Emotion

2.1. Emotion

Self

Happyhttp://www.flickr.com/photos/ladymissmarquise/3758224705/sizes/l/in/photostream/

Angryhttp://www.flickr.com/photos/dave_apple/342355899/

Sadhttp://www.flickr.com/photos/petithiboux/88243577/sizes/l/in/photostream/

Relaxedhttp://publicphoto.org/view-image.php?u=http://publicphoto.org/pics/2010/02/man-relaxing-in-the-grass_8954-1024x766.jpg&i=1024%20x%20766&t=Man%20Relaxing-1024%20x%20766

Dissatisfiedhttp://www.flickr.com/photos/hoosadork/5257219177/sizes/l/in/photostream/

Valence + Arousal

Valence

Arousal

Unpleasant Pleasant

Deactivated

Activated

Alert

Excited

Elated

Happy

Contented

Serene

Relaxed

Calm

Tense

Nervous

Stressed

Upset

Sad

Depressed

Fatigued

Bored

Emotions

Valence

Arousal

Bio Mapping by Christian Nold 2006

measurement of felt arousal (low/high)

ArousalActivated

Key Table by Bill Gaver

measurement of felt valence (positive/negative)

ValenceUnpleasant

Valence + Arousal

Valence

Arousal

Unpleasant Pleasant

Deactivated

Activated

Negative AffectTense Body

Detail Oriented Thinking

Emotion & Cognition

Valence

Arousal

Positive Affect

Relaxed BodyOpen Creative thinking

SF Exploratorium - Paradiso & Pergatory by Waterworth, Waterworth, Riva 2001

Each room evoked a different emotional response

measurement of Felt Presence (day dreaming/anxiety)

Positive AffectCalm & Pleasant

Low level of presence

Neutral AffectInterested

mid level of presence

Negative AffectUnpleasant & Stressful

high level of presence

2.2. Emotion as a meta-experience.

Emotional meta-experience

“Emotional meta-experience is the construction of a coherent narrative, interpreting, packaging, and labeling the episode

—thereby integrating this episode with general knowledge”Russell, J, A, (2003) Core Effect and the Psychological construction of Emotion. Psychological review, 110, 145-172

Aaah...http://www.flickr.com/photos/hoosadork/5257219177/sizes/l/in/photostream/

AAAAAAHHHHH!!!!!!!!!!

Emotional meta-experience (Russell 2003)

low level experiences

felt arousal felt valence sensation of running sound of the bear etc...

{Emotional meta-experience (Russell 2003)

Emotion = fearmeta-experience

low level experiences

felt arousal felt valence sensation of running sound of the bear etc...

{Emotional meta-experience (Russell 2003)

Emotion = fearmeta-experience

running away from a bearmotivated action

low level experiences

felt arousal felt valence sensation of running sound of the bear etc...

Emotional meta-experience (Russell 2003)

low level experiences

felt arousal felt valence sensation of running smell of Bacon etc...

{Emotional meta-experience (Russell 2003)

Emotion = joymeta-experience

low level experiences

felt arousal felt valence sensation of running smell of Bacon etc...

{Emotional meta-experience (Russell 2003)

Emotion = joymeta-experience

running to breakfastmotivated action

low level experiences

felt arousal felt valence sensation of running smell of Bacon etc...

2.3. How can Emotion help Learning?

2.3.1. Emotional Goals Motivate

Intrinsic motivation is self-initiated. Extrinsic motivation comes after external pressure

Motivation

Intrinsic

Extrinsic

INDIVIDUALValues, Emotions, Feelings

SOCIAL

CONTEXT

CULTURAL

HISTORY

Top-ten psychological needs Sheldon, K. M. et al (2001)What is satisfying about satisfying events? Testing 10 candidate psychological needs. Journal of Personality & Social Psychology

be autonomous

be competent

be related

be self-actualization

be secure

be wealthy

be influential

be physically thriving

be self-esteemed

be pleasured

Why? be goals{

a 3 level hierarchy of goals. (Activity Theory) Relates the actor’s self to the world through activity. (Kaptelinin and Nardi 2006)

SelfWorld

Experience

Product

Emotion is closely linked to action and motivation

Why?be goals

What?do goals

How?motor goals

2.3.2. think holistically

4 threads of experience (McCarthy & Wright 2010 - based on Dewey 1938)

Holistic

Compositional

EmotionalSpatio-Temporal

Sensual

“Train” - Brenda Braithwaite 2010Teaches difficult subjects (e.g. The Holocaust) through Gameplay

“...its emotional power shifts from the epiphany of its ending to the individual gestures that construct its play session -- gestures (pushing, shaking, that must necessarily be enacted in order to reach that finale.” Ian Bogost

3. Flow

3.1. Flow: the Psychology of “Optimal experience” when we choose an experience for it’s own sake

The Flow State

Optimal Experience is a state of Deep Enjoyment

Attributes

Antecedents

Challenge/Skill Balance

A mid level of stress produces Optimal Performance

the narrative progression from Nervous, to Curious, to Excited to Pleasantly Surpised

Valence

Arousal

UnpleasantAverage

PleasantAverage

Neutral Boredom

Neutral Anxiety

Valence

Arousal

Processes of a Aesthetic Experience

Continuous Engagement/Sense making

Reflecting

Connecting

Interpreting

Anticipating

Recounting

Appropriating

Processes of a Aesthetic Experience

Continuous Engagement/Sense making

Reflecting

Connecting

Interpreting

Anticipating

Recounting

Appropriating

Excited

Surprised

Contented

Nervous

Sad

Alert

Model For Transformational Experience

Model based on Wright & McCarthy, Csikszentmihalyi, Waterworth and Schön.

Mostly Unconscious

Conscious (of here and now)

pre-reflection

flow state

Tac

it k

no

wle

dge

reflection

sense making

sharing and learning

Re

fle

ctio

n-i

n-a

ctio

nappropriation - reflective judgements to pre-identification

interpret, compare to find similarities with past experience

transformation (value shift)

{{

Model: Learning through Experience

Com

posi

tiona

l

Emot

iona

l

Spat

io-T

empo

ral

Sens

ual

Conscious of self in relation to the world

Unconscious

Holistic threads

Model based on Wright & McCarthy, Csikszentmihalyi, Waterworth and Schön.

Mostly Unconscious

Conscious (of here and now)

pre-reflection

flow state

Tac

it k

no

wle

dge

reflection

sense making

sharing and learning

Re

fle

ctio

n-i

n-a

ctio

nappropriation - reflective judgements to pre-identification

interpret, compare to find similarities with past experience

transformation (value shift)

{{

Model: Learning through Experience

Com

posi

tiona

l

Emot

iona

l

Spat

io-T

empo

ral

Sens

ual

Conscious of self in relation to the world

Unconscious

Holistic threads

Model based on Wright & McCarthy, Csikszentmihalyi, Waterworth and Schön.

Mostly Unconscious

Conscious (of here and now)

pre-reflection

flow state

Tac

it k

no

wle

dge

reflection

sense making

sharing and learning

Re

fle

ctio

n-i

n-a

ctio

nappropriation - reflective judgements to pre-identification

interpret, compare to find similarities with past experience

transformation (value shift)

{{

Model: Learning through Experience

Com

posi

tiona

l

Emot

iona

l

Spat

io-T

empo

ral

Sens

ual

Conscious of self in relation to the world

Unconscious

Holistic threads

lets take a break...

4. Process-led Research

4.1. Mapping the field

Reflection-in-action

4.2. Example.“Power”

Aesthetically Evocative Interface(Shake to select red, stroke to select blue, blow to select yellow, or simply press a color)

Compositional

Emotional

Spatio-Temporal

Sensual

reflection

interpret, compare to find similarities with past experience

{

“Power”“Harmony”

“the Mind”

Select a Theme

Aesthetically Evocative Interface(Shake to select red, stroke to select blue, blow to select yellow, or simply press a color)

Compositional

Emotional

Spatio-Temporal

Sensual

reflection

interpret, compare to find similarities with past experience

{

“Power”Select an element

Red journey selected

Compositional

Emotional

Spatio-Temporal

Sensual

reflection

interpret, compare to find similarities with past experience

{

Narrative - Scene 1

Compositional

Emotional

Spatio-Temporal

Sensual

reflection

interpret, compare to find similarities with past experience

{

sense making

appropriation - reflective judgements to pre-identification

{

I used to wonder why there we

compare with friends

Compositional

Emotional

Spatio-Temporal

Sensual

sharing and learning

follow the path

Compositional

Emotional

Spatio-Temporal

Sensual

reflection

interpret, compare to find similarities with past experience

{

suggested narrative path through art (maybe most popular, related content, personal preference)

sense making

appropriation - reflective judgements to pre-identification

{

Compositional

Emotional

Spatio-Temporal

Sensual

suggested narrative path through art (maybe most popular, related content, personal preference)

sense making

appropriation - reflective judgements to pre-identification

{

Compositional

Emotional

Spatio-Temporal

Sensual

Playing Audio (could be video, slideshow, music, quiz, survey)

Compositional

Emotional

Spatio-Temporal

Sensual

sharing and learning

Layers turned on

Compositional

Emotional

Spatio-Temporal

Sensual

sharing and learning

Music Selected (timer running out, share button available)

Compositional

Emotional

Spatio-Temporal

Sensual

sharing and learning

Shared (Duration Extended, other shared items available to you)

Compositional

Emotional

Spatio-Temporal

Sensual

sharing and learning

Sharing has given you deeper content, more access

Compositional

Emotional

Spatio-Temporal

Sensual

sharing and learning

presence of 8 layers

you could view them on the Map View

sense making

appropriation - reflective judgements to pre-identification

{

Compositional

Emotional

Spatio-Temporal

Sensual

Narrative - Scene 2

I left home and I traveled arou

continue on your journey, then when at a node, change paths.

sense making

appropriation - reflective judgements to pre-identification

{

Compositional

Emotional

Spatio-Temporal

Sensual

to access the alternate, gentler path, stroke the screen.

sense making

appropriation - reflective judgements to pre-identification

{

Compositional

Emotional

Spatio-Temporal

Sensual

To go back to the red, more intense path, shake the phone. (blowing on it would take you to the yellow gentle path)

sense making

appropriation - reflective judgements to pre-identification

{

Compositional

Emotional

Spatio-Temporal

Sensual

To go back to the red, more intense path, shake the phone. (blowing on it would take you to the yellow gentle path)

sense making

appropriation - reflective judgements to pre-identification

{

Compositional

Emotional

Spatio-Temporal

Sensual

and so on.

...

4.3. Experience-Centered Methodology

Focus

Design for an individual

“Empathy”

Blossom by Jayne Wallace (for Ana)

My Proposed Process

Cultural probes Stories Immersion Design Individual System

Participant

Designer

4.4. Declaration of New Knowledge

Research through design

Research into design

Research for design

Holistic focus (Emotion, Sensation, Spatio-temporal, Compositional) + Memory = Meaning

Meaning + Learning = Transformation

Transformational experience + design = Transformational design

Thank you