Introduction to probing

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Introduction to probing Tuuli Mattelmäki University of Art and Design Helsinki School of Design tuuli.mattelmaki@taik.fi www.designresearch.uiah.

inged: designing well-being experiences instead of heart rate monitors, designing home caring experiences instead of vacuum cleaners.

Tiger) Physio-Pleasure: senses Socio-Pleasure: relationships with others Psycho-Pleasure: cognition and emotion Ideo-Pleasure: values Towards understanding experiences: frameworks Experience as a

1 Introduction to probing Tuuli Mattelmäki University of Art and Design Helsinki School of Design Experience economy (Pine & Gilmore 1998): experiences are memorable and experienced with all senses: sight, sound, touch, taste, smell Changes the attitude towards the object of design they become inged: designing well-being experiences instead of heart rate monitors, designing home caring experiences instead of vacuum cleaners. From functionality to usability and towards pleasure (Jordan 2000, adapted from L. Tiger) Physio-Pleasure: senses Socio-Pleasure: relationships with others Psycho-Pleasure: cognition and emotion Ideo-Pleasure: values Towards understanding experiences: frameworks Experience as a momentary flash in time influenced by previous experiences and expectations concerning the future (Sanders 2001, Kankainen 2002) Dynamic and constantly changing -> From routine experiences to cognitive ones and to stories (Forlizzi & Ford 2000) CO-EXPERIENCE: The meaning of social interaction in how experiences are created and how their significances are constructed (Battarbee 2004) Meaningful product experiences Based on stories of meaningful objects. The stories were supposed to help us understand what the hooks or contacting surfaces are like that emotional ties are attached to, and map out the design opportunities offered by them (Mattelmäki & Battarbee 2000, Battarbee & Mattelmäki 2002). it offers a link or prompts a recollection of a person, experience, story, place, feeling or atmosphere. It can be a particular item of memorabilia, or memory associated with it through a meaningful experience. (cf. memorabilia, Pine & Gilmore 1999) 1

its design touches one. Its aesthetic and sensory quality evokes memories, or it ages in dignity and wears well.

it presents a challenge to its user. This challenge can evoke both positive and negative feelings, and may involve an ambivalent lovehate relationship.

Things such as a pair of shoes, a hat or a tool have been worn out, shaped and tuned with their user, and can be almost an extension of their user s body.

Owning a guitar is the first step towards a rocker image. A monthly bus ticket may be an ideological statement in favour of ecological thinking. (Cf.

2 its design touches one. Its aesthetic and sensory quality evokes memories, or it ages in dignity and wears well. A piece of metal jewellery gets a patina from touch, the elbow rest of a wooden rocking chair become silky with good wear (cf. sensuality, Pine & Gilmore 1999, and Jordan 2000). it presents a challenge to its user. This challenge can evoke both positive and negative feelings, and may involve an ambivalent lovehate relationship. The thing, such as a car, has taken money, time, work and commitment. Learning to play guitar is painful, but getting the idea of it is rewarding. (Cf. Jordan 2000, psycho pleasure) it has become a companion with time. The companionship involves loyalty, appreciation and confidence. The VW beetle is almost a living soul. A companion cannot be replaced. Things such as a pair of shoes, a hat or a tool have been worn out, shaped and tuned with their user, and can be almost an extension of their user s body. It is a symbol of what the user is or what he or she would like to be, what kind of image is desired. A wrist computer does not make a diver, but it can produce an image of one. Owning a guitar is the first step towards a rocker image. A monthly bus ticket may be an ideological statement in favour of ecological thinking. (Cf. Jordan 2000, ideo pleasure) it works as a means of achieving a goal. It works when required; it is creditable and necessary. The goal may also be social interaction, socialising and having fun. A record player collects young people to listen to music together; a phone is a means of communication between people. (Cf. Jordan 2000, socio pleasure). Luotain framework User centred concept design (see e.g. Jääskö et al 2003) action physical environment product meanigns user experience people other products 2

3 The world of people personality attitudes values motivation way of life social context The world of product meanings attachment stories, memories, history image The world of action interaction situation use The physical world context aesthetics atmosphere physical environment The world of products alternative solutions trends novelty How to approach experiences? From many perspectives with user centred design tools : * values / design solutions (Bueno&Rameckers 2003) * motivation / actions (Kankainen 2002) context, practices, ergonomics, usability, lifestyle, perception of form, domestication 3

USER in user experience sensitive experiencer, active influencer, creative actor work - leisure home-> routines, actions with goals, play, pleasures, emotions, self expression experiences -> WHAT HAS

from information 2) observing people 3) asking people to join in 4) experiencing ourselves Methods in human centred design Interpretation and analyses tens towards Traditional Adapted Innovative

4 USER in user experience sensitive experiencer, active influencer, creative actor work - leisure home-> routines, actions with goals, play, pleasures, emotions, self expression experiences -> WHAT HAS MEANING TO THE FUTURE USER Methods traditional applied innovative methods (Hanington 2003) SAY DO MAKE (Sanders & Dandavate 1999) objective < > subjective approaches (Fulton Suri 2003) 1) learning from information 2) observing people 3) asking people to join in 4) experiencing ourselves Methods in human centred design Interpretation and analyses tens towards Traditional Adapted Innovative Traditional Adapted Innovative Market research Focus groups Surveys Questionnaires Interviews Observational methods Etnographic methods Video ethnography Beeper studies HCI Heuristic evaluation Cognitive walkthrough Creative/participatory Design workshops Collage Card sorting Cognitive mapping Velcro modeling Visual diaries Camera studies Market research Focus groups SurveysCounts Questionnaires Statistics Interviews Spreadsheets Graphing Verbal + numerical information Observational methods Etnographic methods Video ethnography Beeper studies HCI Heuristic evaluation Cognitive walkthrough Creative/participatory Design workshops Collage Content analyses Card sorting Categories Cognitive mapping Patterns, themes Velcro modeling Affinities, clusters Visual diaries Visual + verbal Camera studies information Hanington (2003) Methods in Making: A Perspective on The State of Human Research in Design. Design Issues 19/4 Hanington (2003) Methods in Making: A Perspective on The State of Human Research in Design. Design Issues 19/4 ISO (human centred design process) Understand & specify the context of use Cultural probes rebelled from established user study traditions Evaluate designs against requirements System meets specified functional user & organisational requirements Specify the user & organisational requirements Gaver et al 1999 Gaver et al 2004 Produce design solutions 4

We need user data from places and situations where researchers or

How to document experiences which take place in private contexts?

and needs? 1) Probes are based on selfdocumenting.

them analyze, document and express their experiences and ideas.

5 We need user data from places and situations where researchers or designers presence would be disturbing. How to document experiences which take place in private contexts? We need to understand emotional and subjective perspectives, attitudes and meanings. How to support people to document their everyday experiences, values and needs? 1) Probes are based on selfdocumenting. The probes are collections of tasks, which are given to people to make them analyze, document and express their experiences and ideas. 2) Probes are interested in individuals, in (potential) users subjective world. 3) Probes are design oriented and have an exploratory goal. They are descriptive and predictive. They empower both users and designers interpretations and creativity. Empathy probes Mattelmäki & Battarbee 2002 Mattelmäki 2003 Mattelmäki 2005 were done in company collaboration. The main interest has been in gathering versatile subjective user data with an open brief for concept design. 5

Reasons for applying probes based on a review of experiences about the feasibility of the approach from design practitioners, companies and users point of view.

data with broad focus leave space for personal interpretations and insights in early design phase information In early concept design, where the goal is not clear, the challenge is to find the right

participation Probes allows participants to create and express their needs and design ideas There were individual differences in how the probes were considered by the participants.

dialogues Probes process and data support the user-centered dialogue on three levels: 1) the interpretative dialogue within the design team for sharing the interpretations and associations 2) the

6 Reasons for applying probes based on a review of experiences about the feasibility of the approach from design practitioners, companies and users point of view. inspiration Designing the kits is designerly activity Probes enables personal visual tangible expressions Probes approach allows early guesses about framing the design space Fragmented subjective data with broad focus leave space for personal interpretations and insights in early design phase information In early concept design, where the goal is not clear, the challenge is to find the right questions to ask. Probes can be used as an introduction to the design theme and the users. For information probes should be used with other approaches. participation Probes allows participants to create and express their needs and design ideas There were individual differences in how the probes were considered by the participants. The design orientation, ambiguity and openness also created uncertain feelings and confusion. Visual aesthetics, reflecting and expressing were pleasurable and interesting. dialogues Probes process and data support the user-centered dialogue on three levels: 1) the interpretative dialogue within the design team for sharing the interpretations and associations 2) the direct dialogue between the users and the designers 3) an inner dialogue, which links designers own experiences and users points of view, which is about design empathy Challenges in corporate context Custom design of probes is pleasurable, but requires resources Effectivity is needed for collecting, sorting out and sharing the data The broad and subjective results do not necessarily help in solving acute product development problems but can be applied in various project. 6

7 Reasons for using probes Empathy probes process vs. Cultural probes process Task: start planning your probing * Objective - inspiration, information, participation, dialogue * contribution to your understanding of the topic - what do think you know already list - apply the elements of experiences 7

APPLIED PROBES. Tuuli Mattelmäki 15/12/2003. Tuuli Mattelmäki/ 15/12/2003

APPLIED PROBES. Tuuli Mattelmäki 15/12/2003. Tuuli Mattelmäki/ 15/12/2003 APPLIED Tuuli Mattelmäki 15/12/2003 PROBES APPLIED PROBES Instead of method, probes should be named as an approach Because it draws from a range of research methods, ethnography is more an approach than