Affective use or emotional use/design both mean the same thing, and in reality were going to be using both terms interchangeably. However, you should be thinking of emotional use in more specific terms; the more specialized term of affective use. This is because the concept of emotional design is much broader than we need to address at the interface / interactive level.

1. Affective Experience Aesthetics Break! Collated Affective Concepts and Touch-points Remember Wrapping Up
The User Experience
from 30,000ft
#comp33512
Week 10 – Lectures 19 /20
Simon Harper
University of Manchester
Semester 2 – 2013/14
last update: April 1, 2014
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Exams
COMP33512E User Experience Simon LT Room 3A 04 Jun 0945
1:53
COMP33512T User Experience Armitage Centre (Main Hall) 04
Jun 0945 1:30
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UX Pop Quiz
1. You are suffering from the ‘Too–Little–Time’ constraint and
need to get a formative evaluation with 20 people
(employees of the factory commissioning your new
production line software) underway very quickly. At this
stage you only need qualitative results – how would you go
about getting this information in the fastest time possible,
and why would you be cautious?
2. What are commissioning constraints?
3. What is real world work limited by?
4. Why is optimism often a bad mindset to have when it comes
to planning UX work?
5. Describe the ‘Second System Effect’?
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4. Affective Experience Aesthetics Break! Collated Affective Concepts and Touch-points Remember Wrapping Up
Affective Experience
Affective, adj.
“Of or relating to the affections or emotions, esp. as contrasted
with the intellect or rational faculty; emotional.” c1443 R.
Pecock Reule of Crysten Religioun (Morgan M 519) 386.
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Why Do Different People Love or Hate the Same Thing?
Figure: ‘Metro UI’
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Visceral, Behavioural, and Reflective
Visceral: is equated with appearance, and ties into how we
have evolved within our environment, which drives our
perceptions of aesthetic and pleasure at an internal and
unconscious level
Behavioural: relates to the pleasure and effectiveness of use,
we have seen this previously, however, Norman contends that
there is pleasure in efficiency
Reflective: is more complicated and coupled with self-image,
personal satisfaction, and memories, it is about message,
culture, and meaning
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Beauty
Vitaly Komar and Alex Melamaid conducted surveys asking people
questions like, what’s your favourite colour? Then they produced
exhibitions of perfectly ‘user centred art.’ The results were
profoundly disturbing.
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Beauty
The works were completely lacking in innovation or finesse of
craftsmanship, disliked even by the very same survey respondents.
Good art is not an optimal point in a multi dimensional space;
that was, of course, their point. Perfectly ‘user centred design’
would be disturbing as well precisely because it would like that
artistry.
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Beauty
“If you want a golden rule that will fit everybody,
this is it: have nothing in your house that you do not
know to be useful, or believe to be beautiful.”
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Visual Aesthetics and Design
Figure: ‘Jacobsen’s Framework for Psychology of Aesthetics’
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11. Affective Experience Aesthetics Break! Collated Affective Concepts and Touch-points Remember Wrapping Up
Visual Aesthetics and Design
1. Diachronia: Aesthetic preferences may change with time;
2. Ipsichronia: Social/cultural processes may shape a person’s
aesthetic opinions;
3. Mind: An individual’s mental model of the visual stimulus or
emotions could influence aesthetic judgements;
4. Body: Brain activities could affect aesthetic evaluation
processes;
5. Content: The stimulus being evaluated could influence
aesthetic processing;
6. Person: The evaluator’s background may play a role in
aesthetic preference; and
7. Situation: The surrounding circumstances (this includes time
and place) could influence aesthetic choices.
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12. Affective Experience Aesthetics Break! Collated Affective Concepts and Touch-points Remember Wrapping Up
Visual Attention
Bottom-up models of visual attention suggest that low-level
salient features, such as contrast, size, shape, colour, and
brightness correlate well with visual interest. For example, a red
apple (a source of nutrition) is more visually salient, and therefore
attractive, than the green leaves surrounding it.
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Visual Attention
Top-down models, on the other hand, explain visual search driven
by semantics, or knowledge about the environment: when asked
to describe the emotion of a person in a picture, for instance,
people will automatically look to the person’s face.
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On Affective Computing
The detection of emotion, the ability for computers to express
emotion, and in some cases the ability of computers to actually
have emotions (in some form).
You can see that this kind of emotional computation is very
different from that of the emotional user experience we are
studying.
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Visual Aesthetics and Trust
Many empirical studies found that users’ perceived information
obtained from a Website with good visual aesthetics to be more
credible than that obtained from a Website with poor visual
aesthetics, even if the two Websites in question had the same
content.
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Let’s Have a Break!
Back in 10 Minutes!
Come see me now if you have
Questions Regarding this Lecture!
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Collated Affective Concepts and Touch-points
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Collated Affective Concepts and Touch-points
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Collated Affective Concepts and Touch-points
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Potted Principles of Affective User Experience
‘Quality’ Does the artefact feel like Quality?
‘Aesthetics’ Is it aesthetically pleasing?
‘Flow’ Do you encourage flow?
‘Pleasantness’ Is it interactively pleasing?
‘Satisfaction’ Will users feel satisfied with their interactions?
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Facilitate Quality
Questions to think about as you design your prototype:
Do you feel that the interface exhibits current best practice?
Is the interface design fit-for-purpose for each stakeholder?
Did the best people for each job work on the interface and
it’s interactions?
Is the underlaying code cleanly built?
Has quality been maintained at every level?
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Facilitate Aesthetics
Questions to think about as you design your prototype:
Is the design beautiful?
Does the design maximise enticement?
Does the visual design reduce complexity and is the design
minimalist?
Will the user perceive aesthetic quality?
Is the design current and does it convey the desired ‘image’?
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Facilitate Flow
Questions to think about as you design your prototype:
Does the visual flow support the interactive flow?
Do real world and virtual world touch-points drive the flow?
Is there a defined beginning and end?
Is there a narrative flow (people remember narratives better
than instructions)?
Is there an absence of cyclic or repetitious flow?
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Facilitate Personality
Questions to think about as you design your prototype:
Do you expect this design to fulfil and please the user?
Will the expected emotions support positive anticipation?
Will they be satisfied as they progress through the
interactivity?
Do you dovetail into their perceived satisfaction?
If nothing else will the emotional responses here be positive?
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Facilitate Satisfaction
Questions to think about as you design your prototype:
Will the user find the interactions rewarding?
Will the expected emotions support positive remembrances?
Will the user remember a pleasing experience, if the the
system is work based?
Are there any tangible rewards?
Have you allowed them to register satisfaction (or not) buy
using, say, a ‘star’ rating?
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Facilitate Personality –Ling’s Cars:
Figure: ‘Lings Cars’
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Remember
Figure: ‘Yerkes Dodson Curve’
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Remember
Figure: ‘Csikszentmihalyi’s Flow Diagram’
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Pop Quiz for After Easter...
1. Why is it difficult to know if the affective principles have
been captured in software correctly?
2. Why is affective computing different to affective experiences?
3. How do Aesthetics and Visual Complexity relate to each
other?
4. How does narrative art relate to the principle of Flow?
5. Why is Emotion difficult to quantify? What is one possible
solution?
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Any Questions?
Simon Harper 2.44 Kilburn Building
0161 275 0599 (OR x50599)
simon.harper@manchester.ac.uk
Office Hours: Friday 14:00–18:00
Figure: ‘Nearly the End!’
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