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Chapter Table of Contents

Scope, Application, and Limitations | Applicability to HCI | Competitor analysis | Alternative Methods | Typography and text | Maps and graphs | Schematic drawings | Node-and-link diagrams | Icons and symbols | Visual metaphor |


Читайте также:
  1. A countable noun has a singular and a plural form.
  2. A) Look at the table below and match the problem with its effect.
  3. A) Pronunciation drill. Pronounce the words, then look at the given map and fill in the table below.
  4. A) Summarize the information about the experiment in the table below.
  5. A) While Reading activities (p. 47, chapters 5, 6)
  6. A. Read the semi-formal sentences below and match them to the informal ones in the table, as in the example.
  7. A. Translate the terms in the table below paying attention to their contextual meaning.

19Visual Aesthetics

19.1 Introduction

19.1.1 The importance of visual aesthetics in HCI

19.1.2 The Design Perspective

19.1.2.1 The Vitruvian design principles

19.1.2.2 Aesthetics and other design principles overlap

19.1.3 The Psychological Perspective

19.1.3.1 Aesthetics satisfies basic human needs and is a source of pleasure

19.1.3.2 Aesthetics as an extension of the Self

19.1.3.3 Aesthetic impressions are fast, enduring and consequential

19.1.4 The Practical Perspective

19.1.4.1 Aesthetics as a differentiating factor

19.1.4.2 Aesthetics is pervasive

19.1.4.3 A note on the moral aspect of practical considerations

19.2 Research on visual aesthetics in HCI

19.2.1 Antecedents of visual aesthetics

19.2.2 Perceiving and evaluating visual aesthetics

19.2.3 Outcome Variables

19.2.4 Moderating Variables

19.3 Future Directions

19.3.1 Methodological Issues

19.3.2 Future Research

19.4 Conclusion

19.5 Commentary by Jeffrey Bardzell

19.5.1 An anti-theory theory and its consequences

19.5.2 Tractinsky's extra-ordinary language definition of aesthetics

19.5.3 The aesthetic processing theory and its discontents

19.5.4 What do we want from visual aesthetics in HCI?

19.5.5 Critically assessing the aesthetic processing theory in HCI

19.5.5.1 Strengths of the aesthetic processing theory for HCI

19.5.5.2 Weaknesses of the aesthetic processing theory for HCI

19.5.5.3 Critical evaluation summary

19.5.6 Aesthetics, according to the rest of the world

19.5.6.1 The aesthetic disciplines

19.5.6.2 Cultural aesthetics and the human quality of life agenda

19.5.6.3 Cultural aesthetics in HCI

19.5.7 A constructive conclusion

19.5.8 Acknowledgements

19.5.9 References

19.6 Commentary by Gitte Lindgaard

19.6.1 Context, processes, and measurements of visual aesthetics in HCI: A commentary to Tractinsky's chapter on visual aesthetics

19.6.2 The importance of context, expectations, and appropriateness of visual aesthetics

19.6.3 Cognitive and affective processes

19.6.4 Measurements of visual aesthetics

19.6.5 Conclusion

19.6.6 References

19.7 Commentary by Marc Hassenzahl

19.7.1 Everything can be beautiful

19.7.2 References

19.8 Commentary by Antonella De Angeli

19.9 Commentary by Dianne Cyr

19.9.1 Developing Theoretical Models for Design Aesthetics

19.9.2 Methodologies through which to Interpret Visual Design

19.9.3 New Directions for Research

19.9.4 References

19.10 Commentary by Alistair G. Sutcliffe

19.10.1 References

19.11 Commentary by Jinwoo Kim

19.11.1 References

19.12 Commentary by Masaaki Kurosu

19.12.1 Aesthetics and Beauty

19.12.2 Beauty and Art

19.12.3 Beauty and Design

19.12.4 Beauty, Quality Characteristics and Meaning in Design

19.12.5 References

19.13 User-contributed notes

19.14 References

Introduction

To scholars and practitioners in the field of HCI at the early 1990’s, the idea that aesthetics matter in information technology sounded heretic. Two decades later, in the early 2010s, this thought has conquered a solid place in both academia and industry. While experimentation with computers’ ability to generate visual art dates back to the 1960’s (Nake, 2005), systematic research on visual aesthetics of interactive systems can only be traced to the mid-1990’s (Kurosu & Kashimura, 1995; Tractinsky, 1997). Since then, a steady stream of studies has explored various aspects of this area. The timeline of this research has roughly corresponded to even more dramatic developments in the information technology industry. Since the later 1990’s, a strong shift towards visual aesthetics has swarmed the industry. The increased interest in aesthetics among the industrial and academic communities reflects the maturation of the HCI field and the overcoming of many of its growing pains as a discipline that struggles with unreliable technology on the one hand and with the need to satisfy users’ basic requirements on the other hand. Additionally, broader societal processes emphasizing design and style emerged at about the same time (Gibney and Luscombe, 2000; Postrel, 2002), further reinforcing shifts towards aesthetics of products in general (Bloch, 2011) and specifically of interactive systems. A more detailed account of this process is provided in Tractinsky (2004)and Tractinsky (2006).

Udsen & J�rgensen (2005) identified several approaches to the study of aesthetics in HCI.� “Visual aesthetics”, as described in this chapter, correspond roughly to the approach which Udsen and J�rgensen identified as “Functionalist”. To be specific, and to distinguish the subject of this chapter from other similar terms, I use the term “aesthetics” in its fairly ordinary and common sense as reflected in dictionary definitions such as “an artistically beautiful or pleasing appearance” (The American Heritage Dictionary of the English Language), or as “a pleasing appearance or effect: Beauty” (Merriam-Webster’s Collegiate Dictionary). The term “visual” indicates concentration on the visual sense, which is the central human sense, occupying “almost half the brain” (Ware, 2008, ix). Thus, this chapter is not about various other phenomena studied under the “aesthetics” heading, such as literary aesthetics, abstract forms of aesthetic experiences or criteria (e.g., the elegance of mathematical proofs), or reactions to object qualities that do not immediately and primarily stem from its visual attributes.

In addition, a few other characteristics that describe research in the field can be listed. These characteristics describe how researchers in the field approach their subject matter. First, the approach of researchers in visual aesthetics reveals a bias towards positive effects of visual design, an issue to which I will return later in this chapter. Hence, research in this area commonly studies the beautiful and pleasing appearance of artifacts, or designed objects that are based on computing technology, rather than the effects of their ugly and displeasing counterparts. Second, at a Dagstuhl workshop on visual aesthetics in HCI, held in 2008, a majority of the participants adopted an interactionist approach to the study of visual aesthetics, noting that the aesthetic experience consists of people’s reactions to objects as opposed to aesthetics that are inherent in the object per se (Hassenzahl et al., 2008). These reactions include both individual idiosyncrasies and tastes, but also considerable agreement between individuals and experts, to a point where they may be considered “quasi-objective” (Hoyer & Stokburger-Sauer, 2011). Third, while the Dagstuhl workshop mentioned above failed to reach a consensus over the time frame that appears relevant to visual aesthetic reactions, my own position is that it can encompass the entire range from very quick, visceral reactions to very long, contemplative evaluations. Fourth, the processes involved in designing and evaluating visual aesthetics are both affective and cognitive. �Finally, research in the field of visual aesthetics is primarily empirical and is characteristically descriptive (i.e., “what is considered beautiful”) rather than normative (i.e., what should be considered “beautiful”) (Hassenzahl, 2004b). This important distinction stresses its roots in applied research and differentiates the field from artistic or philosophical writing on the subject.

The objective of this chapter is to survey the field of visual aesthetics in HCI. We start by delineating the importance of visual aesthetics to HCI from three perspectives. We then present a research framework that serves us in reviewing key findings in the field. These aspects include issues such as what makes systems look aesthetic, what are the effects of visually aesthetic systems, and what mechanisms are involved in people’s judgment of aesthetics in the context of interactive systems. �We also discuss methodological aspects and challenges for further research. ��


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