The term “design” today encompasses attributes of artifacts that go beyond their intended functions, imbuing them with new meanings. Those meanings are deeply related to the emotions perceived by the users. This book investigates the findings deriving from the neurosciences that are relevant to design. Drawing upon up-to-date neuroscientific knowledge, the authors define what an emotion is, examine the relationship between perceptions and emotions and discuss the role of metaphoric communication. Particular attention is paid to those elements of perception and metaphoric interpretation that cause the emotions to rise. Consequences for the design process are then considered and a design process is proposed that takes into account emotional impacts as one of the goals. A solid scientific approach to the subject is maintained throughout and understanding is facilitated by the inclusion of a rich collection of successful design artifacts, the emotional aspects of which are analyzed.
Neuroscience research has exploded, with more than fifty thousand neuroscientists applying increasingly advanced methods. A mountain of new facts and mechanisms has emerged. And yet a principled framework to organize this knowledge has been missing. In this book, Peter Sterling and Simon Laughlin, two leading neuroscientists, strive to fill this gap, outlining a set of organizing principles to explain the whys of neural design that allow the brain to compute so efficiently. Setting out to "reverse engineer" the brain -- disassembling it to understand it -- Sterling and Laughlin first consider why an animal should need a brain, tracing computational abilities from bacterium to protozoan to worm. They examine bigger brains and the advantages of "anticipatory regulation"; identify constraints on neural design and the need to "nanofy"; and demonstrate the routes to efficiency in an integrated molecular system, phototransduction. They show that the principles of neural design at finer scales and lower levels apply at larger scales and higher levels; describe neural wiring efficiency; and discuss learning as a principle of biological design that includes "save only what is needed." Sterling and Laughlin avoid speculation about how the brain might work and endeavor to make sense of what is already known. Their distinctive contribution is to gather a coherent set of basic rules and exemplify them across spatial and functional scales.
This book summarizes the results of Design Thinking Research carried out at Stanford University in Palo Alto, California, USA and Hasso Plattner Institute in Potsdam, Germany. The authors offer readers a closer look at Design Thinking with its processes of innovations and methods. The contents of the articles range from how to design ideas, methods and technologies via creativity experiments and wicked problem solutions, to creative collaboration in the real world and the connectivity of designers and engineers. But the topics go beyond this in their detailed exploration of design thinking and its use in IT systems engineering fields and even from a management perspective. The authors show how these methods and strategies work in companies, introduce new technologies and their functions and demonstrate how Design Thinking can influence as diverse a topic area as marriage. Furthermore, we see how special design thinking use functions in solving wicked problems in complex fields. Thinking and creating innovations are basically and inherently human – so is Design Thinking. Due to this, Design Thinking is not only a factual matter or a result of special courses nor of being gifted or trained: it’s a way of dealing with our environment and improving techniques, technologies and life.
Making a successful video game is hard. Even games that are successful at launch may fail to engage and retain players in the long term due to issues with the user experience (UX) that they are delivering. The game user experience accounts for the whole experience players have with a video game, from first hearing about it to navigating menus and progressing in the game. UX as a discipline offers guidelines to assist developers in creating the experience they want to deliver, shipping higher quality games (whether it is an indie game, AAA game, or "serious game"), and meeting their business goals while staying true to their design and artistic intent. In a nutshell, UX is about understanding the gamer’s brain: understanding human capabilities and limitations to anticipate how a game will be perceived, the emotions it will elicit, how players will interact with it, and how engaging the experience will be. This book is designed to equip readers of all levels, from student to professional, with neuroscience knowledge and user experience guidelines and methodologies. These insights will help readers identify the ingredients for successful and engaging video games, empowering them to develop their own unique game recipe more efficiently, while providing a better experience for their audience. Key Features Provides an overview of how the brain learns and processes information by distilling research findings from cognitive science and psychology research in a very accessible way. Topics covered include: "neuromyths", perception, memory, attention, motivation, emotion, and learning. Includes numerous examples from released games of how scientific knowledge translates into game design, and how to use a UX framework in game development. Describes how UX can guide developers to improve the usability and the level of engagement a game provides to its target audience by using cognitive psychology knowledge, implementing human-computer interaction principles, and applying the scientific method (user research). Provides a practical definition of UX specifically applied to games, with a unique framework. Defines the most relevant pillars for good usability (ease of use) and good "engage-ability" (the ability of the game to be fun and engaging), translated into a practical checklist. Covers design thinking, game user research, game analytics, and UX strategy at both a project and studio level. Offers unique insights from a UX expert and PhD in psychology who has been working in the entertainment industry for over 10 years. This book is a practical tool that any professional game developer or student can use right away and includes the most complete overview of UX in games existing today.
“While you’re reading Neuro Web Design, you’ll probably find yourself thinking ‘I already knew that…’ a lot. But when you’re finished, you’ll discover that your ability to create effective web sites has mysteriously improved. A brilliant idea for a book, and very nicely done.” – Steve Krug, author of Don’t Make Me Think! A Common Sense Approach to Web Usability Why do people decide to buy a product online? Register at your Web site? Trust the information you provide? Neuro Web Design applies the research on motivation, decision making, and neuroscience to the design of Web sites. You will learn the unconscious reasons for people’s actions, how emotions affect decisions, and how to apply the principles of persuasion to design Web sites that encourage users to click. Neuro Web Design employs “neuro-marketing” concepts, which are at the intersection of psychology and user experience. It’s scientific, yet you’ll find it accessible, easy to read, and easy to understand. By applying the concepts and examples in this book, you’ll be able to dramatically increase the effectiveness and conversion rates of your own Web site.
How can educators leverage neuroscience research about how the human brain learns? How can we use this information to improve curriculum, instruction, and assessment so our students achieve deep learning and understanding in all subject areas? Upgrade Your Teaching: Understanding by Design Meets Neuroscience answers these questions by merging insights from neuroscience with Understanding by Design (UbD), the framework used by thousands of educators to craft units of instruction and authentic assessments that emphasize understanding rather than recall. Readers will learn - How the brain processes incoming information and determines what is (or is not) retained as long-term memory; - How brain science reveals factors that influence student motivation and willingness to put forth effort; - How to fully engage all students through relevance and achievable challenge; - How key components of UbD, including backward design, essential questions, and transfer tasks, are supported by research in neuroscience; - Why specific kinds of teaching and assessment strategies are effective in helping students gain the knowledge, skills, and deep understanding they need to succeed in school and beyond; and - How to create a brain-friendly classroom climate that supports lasting learning. Authors Jay McTighe and Judy Willis translate research findings into practical information for everyday use in schools, at all grade levels and in all subject areas. With their guidance, educators at all levels can learn how to design and implement units that empower teachers and students alike to capitalize on the brain's tremendous capacity for learning.
We are no longer used to critically examining the meaning of “design”, which maintains an unexplored dimension in terms of the Power that can be exercised through the cyclic act of creation, preservation and disruption. This assumption induce us focus on the contrast between the “visible” side of the act that involves all its conceptual and practical manifestations, and a hidden or “dark” side that deals with politics and power play, but that however has an major influence in the process and its hierarchical dynamics. This implies an order on the surface seems to be naturally stirred by the so-called “perceptions” that reflect the preferences of overall public opinions: however, looking deeper, all the production acts involves a carefully controlled disequillibrium influenced by social, ecological, economical and political interests. The power fl ow in the act of “design” takes into consideration the paradoxical contradiction between its potentiality and its preservation of power.
For all of the tremendous advances in medicine and treatment the world has seen in the modern era, the human body’s ability to heal itself remains a (literally) vital and often overlooked facet of healthcare. Through the use of emotional design, aimed at transforming healthcare environments, such as waiting rooms, in such a way as to boost the emotional wellbeing of patients, and thus their general attitudes, including in regard to their own healing processes, medical institutions can improve outcomes for the people they treat while simultaneously lowering overall costs. Design, as an inherently transdisciplinary, problem-solving activity, is well-suited to this task. And when combined with a field of study such as neuroscience, which can literally map out the perceptions that lead to the experience of particular emotions, healthcare environments can be transformed into spaces (through such innovations as Kansei engineering) that then subsequently transform the people who rely on them the most, leading to more efficiency and less red ink.
Why attractive things work better and other crucial insights into human-centered design Emotions are inseparable from how we humans think, choose, and act. In Emotional Design, cognitive scientist Don Norman shows how the principles of human psychology apply to the invention and design of new technologies and products. In The Design of Everyday Things, Norman made the definitive case for human-centered design, showing that good design demanded that the user's must take precedence over a designer's aesthetic if anything, from light switches to airplanes, was going to work as the user needed. In this book, he takes his thinking several steps farther, showing that successful design must incorporate not just what users need, but must address our minds by attending to our visceral reactions, to our behavioral choices, and to the stories we want the things in our lives to tell others about ourselves. Good human-centered design isn't just about making effective tools that are straightforward to use; it's about making affective tools that mesh well with our emotions and help us express our identities and support our social lives. From roller coasters to robots, sports cars to smart phones, attractive things work better. Whether designer or consumer, user or inventor, this book is the definitive guide to making Norman's insights work for you.
