1. An Experience-Centered Design approach to learning
in Museums through Emotional experiences, and
Thematic Digital Navigation for mobile technologies
(working title)
Chloe Walker
96090131
M. Design
Candidature Assessment
UTS

2. .

3. OUTLINE
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
.

4. 1. The Museum

5. 1.1. The dialogical Museum

6. Visitors
Students
Teachers
Scholars
Museum staff
63% wished to search a collection.
Museum Audience Segments (Krachunya & Hastings 2002)

7. 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)

8. 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)

9. 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)

10. 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
A B
Encyclopedists
(Hierarchy)
Prefer facts and figures organized in a
hierarchical structure
Topology of Museum User Attitudes (Janet H. Murray 2000)

11. 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)

12. 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
A
B Encyclopedists
C (Hierarchy)
Prefer facts and figures organized in a
D hierarchical structure
Topology of Museum User Attitudes (Janet H. Murray 2000)

13. 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)

14. 1.2. Museums & Learning

15. Skills Application
Ability to perform actions
Information Exchange
Facts and constructs that can potentially be integrated into a context
Self Expression
Including beliefs and creativity
Knowledge Construction
Integration of previous learning with new knowledge
Social Interaction
Communication, localization, orientation, mutual observation -
reciprocal action in exchanging or challenging ideas
These Processes help construct meaning between the individual and the objects within Museums
Museum Learning Activities

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

17. but the boundaries are shifting between the real and the virtual

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

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

20. Continuous Engagement/Sense making
Appropriating Anticipating
Recounting Connecting
Reflecting Interpreting
Processes of a Aesthetic Experience

21. A Dialogical Ontology for an Aesthetic Experience
Centers of Value
with multiple perspectives and voices
Self Technology Setting Others Objects
{ { Actions
Designed
Utterances Things
...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

22. and no experience is ever the same...

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

24. 2. Emotion

25. Self
2.1. Emotion

26. Happy
http://www.flickr.com/photos/ladymissmarquise/3758224705/sizes/l/in/photostream/

27. Angry
http://www.flickr.com/photos/dave_apple/342355899/

28. Sad
http://www.flickr.com/photos/petithiboux/88243577/sizes/l/in/photostream/

29. Relaxed
http://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

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

31. Emotions Arousal
Activated
Upset Happy
Stressed Elated
Nervous Excited
Tense Alert
Valence Valence
Unpleasant Pleasant
Fatigued Calm
Bored Relaxed
Depressed Serene
Sad Contented
Arousal
Deactivated
Valence + Arousal

32. Arousal
Activated
measurement of felt arousal (low/high)
Bio Mapping by Christian Nold 2006

33. Valence
Unpleasant
measurement of felt valence (positive/negative)
Key Table by Bill Gaver

34. Emotion & Cognition Arousal
Activated
Negative
Affect
Tense Body
Detail Oriented Thinking
Valence Valence
Unpleasant Pleasant
Positive
Affect
Relaxed Body
Open Creative thinking
Arousal
Deactivated
Valence + Arousal

35. Positive Affect Neutral Affect Negative Affect
Calm & Pleasant Interested Unpleasant & Stressful
Low level of presence mid level of presence high level of presence
Each room evoked a different emotional response
measurement of Felt Presence (day dreaming/anxiety)
SF Exploratorium - Paradiso & Pergatory by Waterworth, Waterworth, Riva 2001

36. 2.2. Emotion as a meta-experience.

37. “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
Emotional meta-experience

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

39. AAAAAAHHHHH!!!!!!!!!!

40. felt arousal felt valence sensation of running sound of the bear etc...
low level experiences
Emotional meta-experience (Russell 2003)

41. Emotion = fear
{ meta-experience
felt arousal felt valence sensation of running
low level experiences
sound of the bear etc...
Emotional meta-experience (Russell 2003)

42. running away from a bear
motivated action
Emotion = fear
{ meta-experience
felt arousal felt valence sensation of running
low level experiences
sound of the bear etc...
Emotional meta-experience (Russell 2003)

43. felt arousal felt valence sensation of running smell of Bacon etc...
low level experiences
Emotional meta-experience (Russell 2003)

44. Emotion = joy
{ meta-experience
felt arousal felt valence sensation of running
low level experiences
smell of Bacon
Emotional meta-experience (Russell 2003)
etc...

45. running to breakfast
motivated action
Emotion = joy
{ meta-experience
felt arousal felt valence sensation of running
low level experiences
smell of Bacon
Emotional meta-experience (Russell 2003)
etc...

46. 2.3. How can Emotion help Learning?

47. 2.3.1. Emotional Goals Motivate

48. Motivation
SOCIAL
Int
A L
UR
r in
T INDI
C UL Valu VIDU
es, Em
otion
A L
sic
s, Fe
elings
CO
Ex NT
EX
T
HIS
tr
TOR
Y
i ns
ic
Intrinsic motivation is self-initiated. Extrinsic motivation comes after external pressure

49. {
be autonomous
be competent
be related
be self-actualization
be secure
Why? be goals
be wealthy
be influential
be physically thriving
be self-esteemed
be pleasured
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

50. Emotion is closely linked to action and motivation
How? What? Why?
motor goals do goals be goals
Experience
Product
World Self
a 3 level hierarchy of goals. (Activity Theory)
Relates the actor’s self to the world through activity. (Kaptelinin and Nardi 2006)

51. 2.3.2. think holistically

52. Holistic
Sensual
Emotional
Spatio-Temporal
Compositional
4 threads of experience (McCarthy & Wright 2010 - based on Dewey 1938)

53. “...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
“Train” - Brenda Braithwaite 2010
Teaches difficult subjects (e.g. The Holocaust) through Gameplay

54. 3. Flow

55. 3.1. Flow: the Psychology of “Optimal experience”
when we choose an experience for it’s own sake

56. The Flow State

57. Optimal Experience is a state of Deep Enjoyment

58. Attributes

59. Antecedents

60. Challenge/Skill Balance

61. A mid level of stress produces Optimal Performance

62. Arousal
Neutral Anxiety
Valence Valence
Unpleasant Pleasant
Average Average
Arousal
Neutral Boredom
the narrative progression from Nervous, to Curious, to Excited to Pleasantly Surpised

63. Continuous Engagement/Sense making
Appropriating Anticipating
Recounting Connecting
Reflecting Interpreting
Processes of a Aesthetic Experience

64. Continuous Engagement/Sense making
Contented
Appropriating Anticipating
Nervous
Alert
Recounting Connecting
Excited
Sad Reflecting Interpreting
Surprised
Processes of a Aesthetic Experience

65. Model For Transformational Experience

66. Model: Learning through Experience
Holistic threads
Reflection-in-action
transformation (value shift)
Spatio-Temporal
Compositional
sharing and learning
Conscious of self
in relation to the world
{
Emotional
appropriation - reflective
sense making judgements to pre-identification
reflection { interpret, compare to find
similarities with past experience
Conscious (of here and now)
Mostly Unconscious
Tacit knowledge
flow state
Sensual
pre-reflection
Unconscious
Model based on Wright & McCarthy, Csikszentmihalyi, Waterworth and Schön.

67. Model: Learning through Experience
Holistic threads
Reflection-in-action
transformation (value shift)
Spatio-Temporal
Compositional
sharing and learning
Conscious of self
in relation to the world
{
Emotional
appropriation - reflective
sense making judgements to pre-identification
reflection { interpret, compare to find
similarities with past experience
Conscious (of here and now)
Mostly Unconscious
Tacit knowledge
flow state
Sensual
pre-reflection
Unconscious
Model based on Wright & McCarthy, Csikszentmihalyi, Waterworth and Schön.

68. Model: Learning through Experience
Holistic threads
Reflection-in-action
transformation (value shift)
Spatio-Temporal
Compositional
sharing and learning
Conscious of self
in relation to the world
{
Emotional
appropriation - reflective
sense making judgements to pre-identification
reflection { interpret, compare to find
similarities with past experience
Conscious (of here and now)
Mostly Unconscious
Tacit knowledge
flow state
Sensual
pre-reflection
Unconscious
Model based on Wright & McCarthy, Csikszentmihalyi, Waterworth and Schön.

69. lets take a break...

70. 4. Process-led Research

71. 4.1. Mapping the field

72. Reflection-in-action

73. Example.
4.2.
“Power”

74. “Po
wer
”
“Ha
rmo
ny”
“the
Min
d”
Sele
ct a
Them
Compositional e reflection
{
Emotional interpret, compare to
find similarities with
Spatio-Temporal past experience
Sensual
Aesthetically Evocative Interface
(Shake to select red, stroke to select blue, blow to select yellow, or simply press a color)

75. “Po
Sele wer
ct
an e ”
leme
Compositional nt reflection
{
Emotional interpret, compare to
find similarities with
Spatio-Temporal past experience
Sensual
Aesthetically Evocative Interface
(Shake to select red, stroke to select blue, blow to select yellow, or simply press a color)

76. Compositional reflection
{
Emotional interpret, compare to
find similarities with
Spatio-Temporal past experience
Sensual
Red journey selected

77. sense making
{
appropriation -
reflective judgements
to pre-identification
I us
ed t
ow
ond
er wh
Compositional y th reflection
ere
we
{
Emotional interpret, compare to
find similarities with
Spatio-Temporal past experience
Sensual
Narrative - Scene 1

78. Compositional
Emotional sharing and learning
Spatio-Temporal
Sensual
compare with friends

79. Compositional reflection
{
Emotional interpret, compare to
find similarities with
Spatio-Temporal past experience
Sensual
follow the path

80. Compositional
Emotional sense making
{
appropriation -
Spatio-Temporal reflective judgements
to pre-identification
Sensual
suggested narrative path through art (maybe most popular, related content, personal preference)

81. Compositional
Emotional sense making
{
appropriation -
Spatio-Temporal reflective judgements
to pre-identification
Sensual
suggested narrative path through art (maybe most popular, related content, personal preference)

82. Compositional
Emotional sharing and learning
Spatio-Temporal
Sensual
Playing Audio (could be video, slideshow, music, quiz, survey)

83. Compositional
Emotional sharing and learning
Spatio-Temporal
Sensual
Layers turned on

84. Compositional
Emotional sharing and learning
Spatio-Temporal
Sensual
Music Selected (timer running out, share button available)

85. Compositional
Emotional sharing and learning
Spatio-Temporal
Sensual
Shared (Duration Extended, other shared items available to you)

86. pre
senc
eo
f8
lay
ers
Compositional
Emotional sharing and learning
Spatio-Temporal
Sensual
Sharing has given you deeper content, more access

87. Compositional
Emotional sense making
{
appropriation -
Spatio-Temporal reflective judgements
to pre-identification
Sensual
you could view them on the Map View

88. I lef
t ho
me
and
I tra
vele
d arou
Narrative - Scene 2

89. Compositional
Emotional sense making
{
appropriation -
Spatio-Temporal reflective judgements
to pre-identification
Sensual
continue on your journey, then when at a node, change paths.

90. Compositional
Emotional sense making
{
appropriation -
Spatio-Temporal reflective judgements
to pre-identification
Sensual
to access the alternate, gentler path, stroke the screen.

91. Compositional
Emotional sense making
{
appropriation -
Spatio-Temporal reflective judgements
to pre-identification
Sensual
To go back to the red, more intense path, shake the phone.
(blowing on it would take you to the yellow gentle path)

92. Compositional
Emotional sense making
{
appropriation -
Spatio-Temporal reflective judgements
to pre-identification
Sensual
To go back to the red, more intense path, shake the phone.
(blowing on it would take you to the yellow gentle path)

93. ...
and so on.

94. 4.3. Experience-Centered Methodology

95. Design for an individual
“Empathy”
Focus

96. Blossom by Jayne Wallace (for Ana)

97. Participant
Cultural probes Stories Immersion Design Individual System
Designer
My Proposed Process

98. 4.4. Declaration of New Knowledge

99. Research through design
Research into design
Research for design

100. Holistic focus (Emotion, Sensation, Spatio-temporal, Compositional) + Memory = Meaning
Meaning + Learning = Transformation
Transformational experience + design = Transformational design

101. Thank you