E concept metaphors-representations_signs_semiotics
experience design experience economy affordance theory
1. EXPERIENCE DESIGN
An extended view
on affordance theory
Media platform affordances and
the planning of a media production
(Ecological, visual perception—J. J. Gibson 1986)
The value of the experiences
The DNA of the event (Have 2004 via Lyck 2008)
The Experience Compass (Lund 2005)
Creating a flow in the experience (Csikszentmihalyi 1975)
Workshop
2. EXPERIENCE DESIGN
Affordance Theory
An extended view on the ecology of
visual 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 are
located 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.
3. EXPERIENCE DESIGN
Affordance Theory
An extended view on the ecology of
visual perception 2/4 Medium, substance, layout
(J. J. Gibson 1986)
• When this smooth process of navigating in a natural
medium takes place, the affordances
in the medium are invariant.
• Where there is an invariant environment, you accept
and use the affordances naturally and without
questioning the very nature of things.
• In any medium there are surfaces with a certain
layout or grid in which you navigate.
• Any surface and object has a characteristic shape,
illuminated in light or shade. alltogether such objects
may form an invariant, coherent layout
4. EXPERIENCE DESIGN
Affordance Theory
An extended view on the ecology of
visual perception 3/4 Medium, substance, layout
(J. J. Gibson 1986)
• Take a look at the illustration.
• There are two environments: air and water are both
a 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 be
invariant for you to navigate in.
• In general it is a meaningful environment
for you, you can take a walk and use the
forest path as a useful object of affordance.
5. EXPERIENCE DESIGN
Affordance Theory
An extended view on the ecology of
visual perception 4/4 Medium, substance, layout
(J. J. Gibson 1986)
• Take a look at the illustration and the model.
Medium
Substances
Surfaces /layout
6. EXPERIENCE DESIGN
Affordance Theory
An extended view on the ecology of
visual perception 1/3 invariant or variant objects
(J. J. Gibson 1986)
• According to Gibson concepts like planes and spaces are
geometrical terms. They are only describing numbers.
• The environment affords something more
practical for the animal and for us.
• A stone is a useful hiding spot for the mouse, who tries
not to be spotted by the cat. To me, the stone is either of no
importance (as I pass by) or I may be careful not to stumble
over 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 object
and not invariant—I take notice of its meaning to me.
7. EXPERIENCE DESIGN
Affordance Theory
An extended view on the ecology of
visual 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 pathway
to your desired destination. There are no new
perspectives as far as the eye can see, only the
invariant optical structure created by human technology.
• The layout tends to persist (with its objects).
8. EXPERIENCE DESIGN
Affordance Theory
An extended view on the ecology of
visual perception 3/3 invariant or variant objects
(J. J. Gibson 1986)
• Suddenly a road sign appears, and you take notice
of 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 this
particular sign, and then it’s invariant.
9. EXPERIENCE DESIGN
Affordance Theory
An extended view on the ecology of
visual perception 1/1 Affordances are for someone
(J. J. Gibson 1986)
• The affordances of the layout in the environment
are 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 become
a skilled graduate.
• You interact with affordances and create affordances.
10. EXPERIENCE DESIGN
Affordance Theory
An extended view on the ecology of
visual perception 1/1 Affordances of communication—exercise
(J. J. Gibson 1986)
• Gibson says that information pickup needs an awareness
of variant information in an environment.
In other words: When you’re designing for information, you must be
able 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?
11. EXPERIENCE DESIGN
The value of the experience
Affordance theory and the DNA of the event
1/4 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?
12. EXPERIENCE DESIGN
The value of the experience
Affordance theory and the DNA of the event
2/4 Designing the event
(Have 2004 via Lyck 2008)
Unique
• Have (2004) places these elements in a scale: 5
Historic
• 1: The element is not present 4
Creates an 3
• 3: The element is present
identity
to some extent 2
• 5: The element is highly present 1 Unpredictable
Media friendly 0
Predictable
Storytelling
Involves the audience Star quality
13. EXPERIENCE DESIGN
The value of the experience
Affordance theory and the DNA of the event
3/4 Designing the event—how-to-example
(Have 2004 via Lyck 2008)
Unique
• Have (2004) places these elements in a scale: 5
Historic
• 1: The element is not present 4
Creates an 3
• 3: The element is present
identity
to some extent 2
• 5: The element is highly present 1 Unpredictable
Media friendly 0
Predictable
Storytelling
Involves the audience Star quality
14. EXPERIENCE DESIGN
The value of the experience
Affordance theory and the DNA of the event
4/4 Designing the event—exercise
(Have 2004 via Lyck 2008) Unique
5
• Mapping the scale together Historic
with examples: 4
Christmas Creates an 3
identity
Oscar show 2
Event for animal rights
1 Unpredictable
Fashion show
Launching a new app Media friendly 0
• Other examples?
Predictable
Storytelling
Involves the audience Star quality
15. EXPERIENCE DESIGN
The value of the experience
The experience compass 1/
(Lund 2005)
• In a narrow sense there are two kinds of
experiences:
• 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 product
or a service: for example the customer’s experience
of 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
16. EXPERIENCE DESIGN
The value of the experience
The experience compass 2/
(Lund 2005)
• These elements can be depicted as the
one axis of the experience compass (examples):
The concept of Theater TV Mobile phones The concept of experience
experience as the as the by-product, as
core business Movies Restaurant Retail generator of extra value
17. EXPERIENCE DESIGN
The value of the experience
The experience compass 3/ The types of experiences
(Lund 2005)
• The other axis of the compass depicts whether
the experience has a high or a low value:
High value of experience
Live broadcast of a concert
The concept of Theater TV Mobile phones The concept of experience
experience as the as the by-product, as
core business Movies Restaurant Retail generator of extra value
Reruns of M*A*S*H
Low value of experience
18. EXPERIENCE DESIGN
The value of the experience
The experience compass 4/ The types of experiences
(Lund 2005)
• Examples:
times change VALUE AXIS
High value of experience
1990s: Texting (SMS)
The concept of Mobile phones The concept of experience
experience as the as the by-product, as PRODUCER
core business generator of extra value AXIS
Today: Texting (SMS)
Low value of experience
19. EXPERIENCE DESIGN
The value of the experience
The experience compass 4/ The types of experiences
(Lund 2005)
• Examples:
Value change VALUE AXIS
High value of experience
A = First time you see a play A
The concept of The concept of experience
experience as the as the by-product, as PRODUCER
core business generator of extra value AXIS
The third time you see the play
Low value of experience
20. EXPERIENCE DESIGN
The value of the experience
The experience compass 4/ The types of experiences
(Lund 2005)
• Examples:
Product change VALUE AXIS
(the telephone) High value of experience
Now you
download apps,
tjeck mails, play
games etc. on Once you could only make a
the mobile phone call from a stationary phone
A
The concept of The concept of experience
experience as the as the by-product, as PRODUCER
core business generator of extra value AXIS
Low value of experience
21. EXPERIENCE DESIGN
The value of the experience
The experience compass 4/ The types of experiences
(Lund 2005)
• Examples:
The new mix VALUE AXIS
High value of experience
Laundromat book cafe
The concept of The concept of experience
experience as the as the by-product, as PRODUCER
core business generator of extra value AXIS
Cafe Vintage books
Laundromat
Low value of experience
22. EXPERIENCE DESIGN
The value of the experience
The experience compass 4/ The types of experiences
(Lund 2005)
• Examples:
One journey, VALUE AXIS
many experiences High value of experience
Goal: Disneyland
The pool by the Hotel
The concept of The concept of experience
experience as the as the by-product, as PRODUCER
core business generator of extra value AXIS
Waiting in the airport
Low value of experience
23. EXPERIENCE DESIGN
The value of the experience
The experience compass 4/ IT and experiences
(Lund 2005)
• 1. Example: A museum uses
interactive IT solutions in a exhibition High value of experience
(touch screens, bluetooth, Twitter etc.)
1 2
• 2. Example: Robots, computergames, The primary product
The primary product
new technology etc. of the company:
of the company:
EXPERIENCE
EXPERIENCE & IT
IT is used to
• 3. Example: Ipad, enhance/support
The product itself
is an experience
Great share of
new interactive apps etc.
IT technology
IT technology
Little share of
an experience
• 4. Example: A retail store launches
4 3
a website or a microsite, a charity
The primary product The primary product
event is launched by using of the company: of the company:
laserlights and big screens etc. Neither experience IT
nor IT Experiences are
IT experiences are used to sell the
used for promotion product
Low value of experience
24. EXPERIENCE DESIGN
The value of the experience High value of experience*
The flow 1/1 Mood compass
High
(Csikszentmihalyi 1975) Anxiety Arousal FLOW
• Csikszentmihalyi’s model depicts the
different mental stages in the areas
between skills and challenges.
• Match the experience design with your
CHALLENGES
target group’s skills and expectations
of particular challenges. Worry Control
• Create affordances to maximize flow and
the value of the experience.
* Not an original part of this model
Low
Apathy Boredom Relaxation
Low SKILLS High
25. EXPERIENCE DESIGN
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)