The good enough revolution—the role of aesthetics in user experiences with digital artefacts

Engholm, Ida

doi:10.1080/14626268.2010.488809

Cited by 8 publications

(4 citation statements)

References 6 publications

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“…Starting from Oxford Dictionary definitions, all the phases related to the user journey were identified, with a focus on the most relevant in the design perspective (Table 1). These phases are characterised by different levels of user involvement (Lemon and Verhoef, 2016), often because an agent intermediates the user in action (Engholm, 2010). Therefore, the user journey is adopted to analyse the interaction between the user and the artefact, and thus to understand the specific phase in which this intermediation occurs and whether automated or service agents have a more relevant role in value creation.…”

Section: Evaluation By User Journeymentioning

confidence: 99%

The relation between service and digital transition: implications for designers

Monti,

Colombo,

Montagna

et al. 2024

Proc. Des. Soc.

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Service and digital transitions create a range of solutions by combining their features and introducing both human and automated agents as intermediaries. The paper classifies non/digital product/service and explores how these transitions change user involvement. A model is proposed to assess the user's role with human (service) and automated (digital) intermediaries. Utilizing user journey phases, the model is applied to four case studies, revealing commonalities in transition occurrences. Evidence suggest a potential adoption in design identifying the key phases per each transitions.

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Section: Evaluation By User Journeymentioning

confidence: 99%

The relation between service and digital transition: implications for designers

Monti,

Colombo,

Montagna

et al. 2024

Proc. Des. Soc.

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“…Within design research, digital objects have been examined in terms of an aesthetics of being 'good enough' (Engholm 2010) and, recently, in their potential for playing new roles in people's lives when they are 'networked, dynamic, and contextually configured' (Redström and Wiltse 2019, 2). Anthropologists have studied the 'digital materialities' in contemporary interactive experiences, activities and environments (Pink et al 2016).…”

Section: Digital Objectsmentioning

confidence: 99%

Post-Material Aesthetics: A Conceptualization of Digital Objects

Folkmann

2020

The Design Journal

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The article conceptualizes the ontology and aesthetics of digital objects. In the context of the article, digital objects are defined as designed objects that incorporate and employ digital technology. They include such products as smartphones, tablet computers and smart speakers, among others. The main point made in the article is that digital technology is changing object design. Digitization has created a new ontological constitution of objects that are simultaneously material and digital and whose function often relies on their connection to other objects via wireless technologies. Building upon this point, the article proposes a concept of post-material aesthetics which comprehends the ontological constitution of digital objects in relation to materiality, function and conceptual values. Employing the concept of post-material aesthetics, the article investigates how digital objects, in their particular constitution, impose new conditions for framing human experience.

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“…Even if it may be too bold to label this as an aesthetic turn, researchers in the field have testified to have a growing interest in aesthetic value. Attention has been directed towards the nature of aesthetic experiences in relation to HCI, such as a dynamic and contextually bound "interaction aesthetics" (Xenakis & Arnellos, 2013, p. 59) or "user interest, excitement and satisfying experiences" (Sutcliffe, 2010, p. vi; see also Engholm, 2010;Lindegaard, 2007;Silvennoinen, Rousi, & Mononen, 2017). Moreover, the focus of research has been on the role of beauty in the designed interfaces and devices (e.g., Bollini, 2017;Tractinsky, 2004;Tuch, Roth, Hornbaek, Opwis, & Bargas-Avila, 2012) or on questions of visual styles in interfaces and interactive design (e.g., Buur & Stienstra, 2007;Engholm, 2008), such as website design.…”

Section: Introductionmentioning

confidence: 99%

Untitled

2018

Human Technology

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Where there is technology, there is semiotics. Semiotics refers to the science of signs; the study of symbols, markings, and their meanings in the way people interpret them. The human and, arguably, animal worlds are literally littered in signs, both natural (Eco, 1976; Peirce, 1958, p. 172) and artificial (i.e., intentional; de Saussure, 1916/1983). How these are understood and studied depends on the context, purpose, and individual. The built and designed human world can be equated to a massive sign system, in which every form, color, quantity, material, and logic has a communicative function. Architecture, for example, is a classic realm of technology in which form, style, material, and scale have been systematically used to impose societal hierarchy and order upon those who encounter it (Crouch, 1999). Architecture, as with any form of art, design, or technological form, communicates the logic, the values, and the actions of the times. In other words, from a technological perspective, designs are only available at certain periods of time if they serve a purpose, whether functionally through operation or from the perspective of societal ideologies and systems, through style. What is more, the physical nature in which they are realized is also instrumentally linked to public, political, and historical discourses that reinforce their meaning and significance in relation to the public that receives them (Crouch, 2010). When considering contemporary consumption, and that of information technology, this is particularly evidenced in regard to brand value, for instance. That is, bountiful significance and meaning can be obtained from design form through analyzing the technological items' forms, materials, scale, style, and functions as compositions. The meaning derived from these elements, in connection to brand recognition, act in a very similar way to that of architecture over the centuries. That is, messages inherent in the technology shape people's lives through molding their behaviors and exposing them to aesthetic compositions that contribute to formulating peoples' worldviews and norms.

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The good enough revolution—the role of aesthetics in user experiences with digital artefacts

Cited by 8 publications

References 6 publications

The relation between service and digital transition: implications for designers

The relation between service and digital transition: implications for designers

Post-Material Aesthetics: A Conceptualization of Digital Objects

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