notas leitura: Emotional Design 5

capitulo 4 – Fun and Games
pag. 101
“why must information be presented in a dull, dreary fashin, such as in a tble of numbers? Most of the time we don’t need actual numbers, just some indication of wether the trend is up or down, fast or slow, or some rough estimate of the value. so why not display the information in a colorful manner, continually available in the periphery of attention, but in a way that delights rather than distracts”
pag. 112
“Khaslavsky and Shedroff suggest that the tree basic steps are enticement, relationship, and fulfillment: make an emotional promise, continually fulfill the promise, and end the experience in a memorable way.”
pag. 116
“Music impacts all three levels of processing. The initial pleasure of the rhythm, tunes and sounds is visceral, the enjoyment of playing and mastering the parts behavioral, and the pleasure of analyzing the intertwined, repeated, inverted, transformed melodic lines reflective.”
pag. 125
“To be fully engrossed within a movie is to feel the world fade away, time seem to stop, and the body enter the transformed state that the social scientist Mihaly Csikszentmihalyi has labeled “flow”. Csikszentmihalyi’, flow state is a special, detached state of consciousness, in which you are aware only of the moment, of the activity and of the sheer enjoyment.”

capitulo 5 – People, Places and Things
pag. 136
“B. J. Fogg shows how people think of “computers as social actors”, in his chapter of that title in his Persuasive Technology. Fogg proposes five primary social cues that people use to infer sociability with the person, or device, with whom, or which, they are interacting:
– Physical: faces, eyes, body, movement
– Psychological: preferences, humor, personality, feelings, empathy, “I’m sorry”
– Language: interactive language use, spoken language, language recognition
– Social Dynamics: turn taking, cooperation, praise for good work, answering questions, reciprocity
– Social Roles: doctor, teammate, opponent, teacher, pet, guide
(…) with computers, we often fall for the social dynamics (or, as is more often the case, the inept social dynamics). Basically, if something interacts with us, we interpret that interaction; the more responsive to it is to us through its body actions, its language, its taking of turns, and its general responsiveness, the more we treat it like a social actor. This list applies to everything, human or animal, animate or in-animate.”
pag. 149
“But, on the whole, the point of frequent messages is not information sharing; it is emotional connecting. (…) People need to communicate continually, for comfort, for reassurance.”
pag. 150
“But the real problems of modern communication come from the limitations of human attention. The limits on conscious attention are severe. When you are on a telephone call, you are doing a very special sort of activity, for you are part of two different spaces, one where you are located physically, the other a mental space, the private location within your mind where you interact with the person on the other end of the conversation. This mental partitioning of space is a very special facility and it makes the telephone conversation, unlike other joint activities, demand a special kind of mental concentration. The result is that you are partially away from the real, physical space, even as you inhabit it. This division into multiple spaces has important consequences for the human ability to function.”
pag. 156
“… we can and do take part in multiple instant- and text-messaging conversations “simultaneously”, but the quote marks around “simultaneously” reflect that we don’t really do the operations at the same instant, but rather interweave the two. Conscious, reflective attention is only necessary for reading and for formulation of new messages, but once formulated, the automatic behavioral level mechanism can guide the actual keystrokes, while reflection switches over to the other conversation”

capitulo 6 – Emotional Machines
pag. 188
“Machines that induce emotion in people
(…) perhaps the earliest such experience was the Eliza a computer program developed by the MIT computer scientist Joseph Weizenbaum…”

epilogo – We are all designers
pag. 221

“The trick is to make objects that degrade gracefully, growing old along with their owners in a personal and pleasurable manner. This kind of personalization carries huge emotional significance, enriching our lives. This is a far cry from the mass customization that allows a consumer to choose one of a fixed set of alternatives, but has little or no real personal relevance, little or no emotional value. Emotional value – now that is a worthy goal of design.”

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