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

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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

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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

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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