Details

From UXD to LivXD

Living eXperience Design
1. Aufl.

von: Sylvie Leleu-Merviel, Daniel Schmitt, Philippe Useille
139,99 €
Verlag:	Wiley
Format:	EPUB
Veröffentl.:	10.04.2019
ISBN/EAN:	9781119612247
Sprache:	englisch
Anzahl Seiten:	288

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Beschreibungen

Titelbeschreibung

Living eXperience Design – the design of life experiences – is an extension of user experience design (UXD). The context comprises usage and practice in real contexts in which spatial, urban, social, temporal, historical and legal dimensions are considered. Reflecting upon LivXD is to examine the whole experience of a target audience in a variety of situations – and not only in those involving digital technology. This book begins with the definition of LivXD and its associated epistemology, and proceeds to detail field experiments in certain privileged areas: the relation to creation and works, mediation and adult education.

Inhaltsverzeichnis

Introduction xi Sylvie LELEU-MERVIEL, Daniel SCHMITT and Philippe USEILLE Part 1. Epistemology and Concepts 1 Chapter 1. From UXD (User eXperience Design) to LivXD (Living eXperience Design): Towards the Concept of Experiences of Life and their Design 3 Patrizia LAUDATI and Sylvie LELEU-MERVIEL 1.1. Introduction 3 1.2. The source of UXD 4 1.2.1. From design to user-centered design (UCD) 4 1.2.2. What is UXD? 5 1.2.3. The UXD approach in practice 7 1.2.4. Assessment 9 1.3. Beyond digital devices: from experience design to life experience design 10 1.3.1. The framework of the experience: spaces and living spaces 10 1.3.2. The practices of the places: living experience and visit experience 11 1.4. Views on experience 12 1.4.1. Experience according to Dewey 13 1.4.2. The conditions of experience according to Dewey 14 1.4.3. The meaning of experience according to Dewey 16 1.4.4. When Dewey anticipates Varéla 17 1.4.5. Theureau’s course of experience applied to the case of the visit experience 18 1.4.6. Françoise Héritier’s identity perspective 19 1.5. How can we design experience? 20 1.5.1. Is it possible to design experience? 20 1.5.2. How can we design the spatial framework of experience? 21 1.5.3. Criteria for the spatial preconfiguration of life experience: LivXD 21 1.6. Conclusion and perspectives 23 1.7. References 24 1.8. Webography 26 Chapter 2. Thinking and Living “Experience”: Pragmatist Contributions from John Dewey 27 Françoise BERNARD 2.1. Introduction 27 2.2. Reading experiences: paths to experience in John Dewey’s work 28 2.3. John Dewey: a broad, constructed and argued pragmatism 31 2.4. A social philosophy open to multiple themes and practices 33 2.5. Conclusion 36 2.6. References 37 2.7 Webography 40 Chapter 3. Paths Created by an Enactive-relativized Approach to Experience: the Case of Viewing Experience 41 Charles-Alexandre DELESTAGE 3.1. Introduction 41 3.2. Method of relativized conceptualization and enaction 42 3.2.1. On the subject of embodied cognition 42 3.2.2. Method of relativized conceptualization 45 3.2.3. Enaction 51 3.2.4. First theoretical contributions 53 3.3. From percept to concept 55 3.3.1. The body, a unit of consciousness 56 3.3.2. Communication perspective 63 3.3.3. Communicability of the lived experience 70 3.4. The horizon of relevance 72 3.4.1. Specific individual expectations and relevance: the case of viewing experience 73 3.4.2. Towards a horizon of relevance 77 3.5. Conclusion 81 3.6. Appendix: MRC summary 82 3.7. References 91 Chapter 4. The Lived Experience as an Alternative to Digital Uses 93 Philippe BONFILS, Laurent COLLET and Michel DURAMPART 4.1. Introduction 93 4.2. A partial review of a scientific production linked to the questions of experience 94 4.2.1. Two references: enactivism and narrative semiotics 94 4.2.2. The prism of the relationship with the device 95 4.2.3. Shifting gaze, from interaction to the subject’s transformations 96 4.2.4. The literacy current 96 4.3. The lived experience in i3M Toulon research programs (IMSIC) questioning digital technology at school 97 4.3.1. Prerequisites: a context of paradoxical injunctions 98 4.3.2. An example of “diligence” 98 4.3.3. The bottom line: rigidities, immobilization and fears 101 4.4. The lived experience in i3M Toulon research programs (IMSIC) questioning immersive environments and industry training 102 4.4.1. The observation of a shift from uses to experiences to be lived 102 4.4.2. From experience stories to testing 104 4.5. Assessment: the lived experience and its methodological consequences in research 106 4.6. Conclusion 107 4.7. References 108 Part 2. Experiences of Creation and/or Work 111 Chapter 5. Sources of Video Mapping: a “Proto-narrativity” of a Musical Nature? 113 Pascal BOUCHEZ and Philippe USEILLE 5.1 Introduction 113 5.2. Video mapping and narrativity: a musical chord? 114 5.3 Parent-child interactions and proto-narrativity 118 5.4. Proto-narrativity and configuration of the temporal experience 120 5.5. Conclusion 123 5.6. References 125 Chapter 6. In the Minds of Artists? Study of the Situated Artistic Creation Experience 127 Marine THÉBAULT and Daniel SCHMITT 6.1. Creation: between myth and mystery 127 6.2. Video mapping: a form of support for the study of creative experiences 128 6.3. REMIND: a method for analyzing the artistic creation experience 129 6.3.1. Summary of artists’ different courses of experience 132 6.3.2. Discussion 138 6.4. Conclusion 139 6.5. Acknowledgments 139 6.6. References 139 Chapter 7. Participants’ Experience in an Optical Illusion Installation 143 Khaldoun ZREIK and Ahmad ALI 7.1. Preamble 143 7.2. Visual perception and the art of optical illusion 144 7.2.1. Visual perception in an optical illusion 144 7.2.2. Geometrical-optical illusion 146 7.3. Receiving visual data 152 7.3.1. The spectator’s culture 153 7.3.2. The spectator’s age 154 7.3.3. The spectator’s gender 154 7.4. Mediation in the search for perspective 155 7.4.1. Anamorphosis 155 7.4.2. Digital anamorphosis 158 7.4.3. Lenticular printing 159 7.5. The art of optical illusion 161 7.5.1. Op Art: main features 163 7.5.2. The art of optical illusion from a unique viewpoint 165 7.5.3. The interactive optical illusion 171 7.6. Design examples 175 7.6.1. Unique perspective in the media 176 7.6.2. Experiment at Le Chêne 177 7.6.3. Spectator reactions to the installation 179 7.6.4. Experiment in an open public space: description 181 7.6.5. Spectator reactions 183 7.7. Conclusion 184 7.8. References 186 Part 3. Experiences in Mediation and Training 187 Chapter 8. The Concept of Experience in John Dewey’s Aesthetic Pragmatism: What are the Consequences for Cultural Mediation in the Museum? 189 Jérôme HENNEBERT 8.1. Introduction 189 8.2. Aesthetic theory before John Dewey 191 8.3. John Dewey’s aesthetic pragmatism: the continuity of art and existence 195 8.4. Towards a descriptive redefinition of cultural mediation in museums 198 8.5. Conclusion 203 8.6. References 203 Chapter 9. A Step Towards Experience Design in Museums 205 Daniel SCHMITT and Virginie BLONDEAU 9.1. Visitor experience and experience design 205 9.2. Reducing the concept of experience 206 9.3. REMIND, a method of accessing experience 207 9.4. Objectifying visitor experience: the Iguane marin 209 9.4.1. Analysis of the installation 211 9.5. Objectifying your own experience: the Louise de Bettignies project 212 9.6. A step closer to experience design? 214 9.7. References 215 Chapter 10. Towards Teaching Focused on the “Bridging Experience”: the Case of Urban Learning through Site Visits 217 Smaïl KHAINNAR 10.1. Introduction 217 10.2. Theoretical part: experience, and bridging experience in pedagogy 219 10.2.1. Experience: some conceptual milestones 219 10.2.2. What place is there for the bridging experience in pedagogy? 220 10.3. Application part: two site visits as experiential situations 222 10.3.1. Research methodology and experimental protocol 222 10.3.2. Results and discussion 224 10.4. Conclusion and possibilities 226 10.5. References 227 Chapter 11. Design Games and Game Design: Relations Between Design, Codesign and Serious Games in Adult Education 229 Julian ALVAREZ, Olivier IRRMANN, Damien DJAOUTI, Antoine TALY, Olivier RAMPNOUX and Louise SAUVÉ 11.1. Introduction 229 11.2. Definitions 230 11.2.1. Design and codesign 230 11.2.2. Design games 231 11.2.3. Games 232 11.2.4. Serious games 232 11.2.5. Game design 233 11.2.6. Gamification 234 11.3. Exploring the links between design and serious games 235 11.3.1. Design games and serious games 235 11.3.2. Design games and game design 235 11.4. The main approaches to designing a serious game 239 11.4.1. Identification of different approaches 239 11.4.2. Serious game design 241 11.4.3. Gamification 242 11.4.4. Degamification 243 11.4.5. Serious gaming 245 11.4.6. Review and discussion 249 11.5. Conclusion 250 11.6. References 251 List of Authors 255 Index 257

Autorenportrait

Sylvie Leleu-Merviel, Professor in Information and Communication Sciences at Université Polytechnique Hauts-de-France, is also head of the DeVisu laboratory in visual and urban design and the DREAM school of audiovisual and digital media. She also co-manages the e-laboratory UNESCO Human Trace. Daniel Schmitt is Maître de conférences in Information and Communication Sciences at Université Polytechnique Hauts-de-France. His research focuses on lived experience and instrumented mediations of tangible and intangible heritages. Philippe Useille is Maître de conférences in Information and Communication Sciences at Université Polytechnique Hauts-de-France. His research is devoted to emerging forms and writings of information.