产品设计中英文文献

中文译文产品设计，语义和情绪反应 摘要本文探讨了人体工程学理论与语义和情感内容的设计问题。其目的是要找到以下问题的答案：如何设计产品引发人心中的幸福；怎样的产品属性能够帮助你们沟通积极的情绪，最后，如何通过产品唤起某种情绪。换言之，这是对“意义”可以成为一个产品，旨在与用户在情感层面上进行“沟通”的调查。1、介绍当代生活是促进社会和技术变革的代名词。同样，产品设计通过材料技术，生产技术，信息处理技术等工序的发展而正在迅速转变。在技术方面正在发生变化的速度和规模超出任何期望。数字革命的对象是逐步转向与我们互动成更小，更聪明的黑盒子，使我们很难理解这一机制或工作方法（博尔茨2000年）。因此，在设计时比以前不同的框架，参照社会变革，资源和能源节约，新出现的环境问题，以及客户导向的趋势（大平1995年，琼斯1997年）。因此，无论是通过广告和营销推动战略，或潮流，时尚和社会活动，从消费产品的用户的期望也已改变。功能性，吸引力，易于被使用中，可负担性，可回收性和安全性，预计所有已经存在于一个产品属性。用户希望有更多的日常用品。最近设计的趋势表明了用户对激励对象的倾向，提高他们的生活，帮助触发情绪，甚至唤起梦想（詹森1999年，阿莱西2000年）。詹森预计，梦会快到了，下面的数据为基础的社会，所谓的信息社会（1999年）。他还说，作为信息和智力正成为电脑和高科技，社会领域将放在一个人的能力还没有被自动然而新的价值：情绪。功能是越来越多的产品中理所当然的，同时用户也可以实现在寻找一个完全不同的欣赏水平。想象，神话和仪式（即情感的语言）会对我们的行为产生影响，从我们的购买决定，我们与他人（詹森1999年）的沟通。此外，哈立德（2001：196）指出这是决定购买，可瞬间的，因此客户的需求可以被创建，速度非常快，而其他需要长期建立了。因此，情感和影响一般，都收到了最后一个（Velsquez1998）几年越来越多的关注。 影响是指消费者的心理反应产品的符号学的内容。情绪和影响途径，可以研究在许多不同的层次，都提供不同的见解。正如Velsquez指出，一些模型已经被提出来的领域和多种环境。一些例子，他给包括情绪来创建逼真的品质和性格（贝茨1994年，克莱恩和布隆伯格1999年，埃利奥特1992年，赖利1996）系统合成剂，大约在叙事情感（艾略特等人在Velsquez1998年）。原因，在情绪处理系统，依靠调解社会互动（Breazeal在Velsquez1998年），该模型和体系结构，行为和学习情绪的影响（Camero1997年，北野1994年，与自我萨尔瓦多，纳塞尔等人在Velsquez1998年。）。不同的做法不同领域工作的最好的，并决定按照一方或另一方在很大程度上取决于具体目标和这些模型的目的。设计导演的情感内容可以被看作是当前的设计实践，研究和教育的核心认为。正如保罗Hekkert（2002年），在设计与情感协会主席说：“它不再是足够的，设计良好的产品或服务，我们都希望设计经验，并产生愉悦或兴奋的感觉。“.但什么我们能真正了解这些经验和产品的能力，唤起的情绪？可以情感互动设计，如何设计和工业处理这个新的设计模式？“这项研究的目的是揭示在设计产品符号学性质的情绪反应，以及有关的方案，探讨影响产品设计之间的关系和人类的经验。2、在物理和认知水平的产品语意 产品语意的开发和引进了Krippendorff和奶油（1984年：在莱利2001年），被看作是人为的形状象征性的特质研究其使用认知和社会背景，定义。因此，根据这个定义，产品语意关注的是用户与产品的一方面，而且对象的重要性，另一方面对业务和承担社会环境的关系。有意或无意，使所有出厂产品通过形状，形态，颜色，纹理等，他们与用户沟通，从来没有中立的声明内容相关。人们普遍认识到，可视化是重要的，当涉及到评估的外观，功能，生产的可行性，产品语意，人体工程学和（约翰森2000年）社会因素方面的一个产品的可行性。不管设计师如何使用颜色，形状，形式，并在设计产品的质地，邮件是通过发送通过一个产品结构的一部分，语言与意义，所谓的语义处理。这意味着，设计师和ergonomists不仅要知道什么样的信息（），他们希望传递和反应排序（县），可以预期从正在接收用户，而且形成的符号和属性的语言。一个产品告诉我们，一些本身和在某些情况下，还对人类生命，谁拥有它。通过它的设计和功能，产品表现值，其重要性和价值的个人然后解释有一定的关系在接受或拒绝等方面的社会背景下，喜欢或不喜欢。然而，该产品可以通过加强其语意内容和表达，这其中一个或削弱创造积极或消极的看法，情感，价值观以及在个人（Wikstrm 1996）协会的方式这个角色。 我们遇到的产品有不同的功能，例如技术，实用和语义。莫诺（在Wikstrm 1996）定义了四种产品的语义功能：来形容 - 产品形态描述的事实（例如它的目的=定义的任务），使用方式，处理。 为了表达 - 产品形态，表达了产品的价值和品质。 要信号 - 产品形态敦促用户在一个特定的方式作出反应，例如要小心，要在他/她的工作精度。确定 - 确定产品的形态（如目的=建立的相似性），来源，性质和产品领域（与系统，家庭，产品种类等，以及各部分的功能和位置连接）。语义功能提供了可能性与沟通，通过一个明确的信息产品的设计师。这意味着设计师必须明确向他/她什么，什么应该不应该通过产品（Wikstrm 1996）沟通。黄油（Krippendorff和黄油1984:4），谁第一个提出了短语产品语义学，声称设计师和ergonomists一个对如何使用设计功能可以神秘化复杂的技术，提高工件之间的相互作用的认识和他们的用户和自我表达，提高的机会。据Wikstrm（1996年），语义功能应该使产品的理解。无论是整个产品的各个部分，并应传达预期的信息，让用户知道产品应如何处理看它而已。例如，一个滚花旋钮说把我;一个按钮的设计可以说按我，就像是杰克平面的形式，邀请特定的手柄;茶壶或瓷壶，上面写着抱着我这里，我会为你倒，一个椅子轻轻欢迎您轻松的姿势;形状或形式，表示我朝这个方向或我进入那你身体的一部分适合。用户的反应是什么东西，以及如何处理这事应该是一种有效和直接的（语义）的程度，产品的设计是自我指导的迹象。复杂的产品需要一本手册，但简单的产品应该是自我指导。在那些图片，标签或说明适用于简单的事情，需要的时候，箭头或标签，以区别于推拉;设计师都未能通过沟通的对象（诺曼1988年）的形式。然而，可理解性的要求是不相同的背景。在某些情况下，如Wikstrm（1996）提到，该产品甚至是不可理解应该有一定的用户群，例如医药瓶，医药柜，儿童，以防止他们访问这些。在公共让人误解，但是，信息产品应进行自我指导。用户组集中在这里应该能够识别产品的用途，能使用它，并积极地使用，而无需额外的信息（如手册，文字）需要它。正在设计，在美国最重要的趋势之一，产品语意是一种方法，开发一个产品的视觉语汇，以便使它们成为主要的视觉线索（有时触觉和听觉），这成为可立即识别工具集设计人员沟通，通过他们的产品，帮助反映功能及相关文化协会（Zaccai1990年）。换句话说，产品语意是试图找出适当的视觉，触觉和听觉信息，并将其纳入产品设计中。了解人们如何融入陌生的产品是至关重要的语义在工业设计（格里芬1999年）的应用。它结合了诸如艺术，人体工程学，符号学，通讯，逻辑，哲学和心理学的各种学科。当产品语义应用得当，产品可以更情感和精神上的用户，雄辩和形状或细节表现让他们作出与客观对象的情感联系，否则，舒适。这些成为直观的产品，用户都知道它是如何工作以及它没有说明一样。两个诺曼（1988年）的基本原则，以协助建设一个心理模型的产品用户第一，提供了一个很好的概念模型，二，取得重要特征明显作为传播者。3、Products和反射的意义格林里芬（1999年），解释和解码，不熟悉产品的语义内容的过程涉及到两个不同的反应。第一个基于知识和对社会和文化背景有关，而第二个反应是情绪化。意义被解释的基础上，从以往的经验得出的关联。此外，情绪是密切相关的人的心理。如果我们看一个简单的这些因素，激活情感心理的定义，我们可以看到，情绪不受情况或事件，而是由我们的思想，信念，价值观和有关的情况或事件的态度引起的。的情绪反应是不是自动响应一个对象，事情，或一种情况。这是一个自动回复（在我们的大脑深处）到我们的情况或对象关联的想法。4、幸福和乐在产品使用为了消遣，快乐和快乐的一些一般定义可以给予如下： 快感：在愉快的情绪伴随着期望，收购或管有或需要的好东西。相关词幸福，幸福，快乐和激情。幸福：一个幸福美满的状态。乐趣：一个愉快或满足的经验;的福祉，成功引起的情感，或由一个藏有什么愿望的前景。四个不同的类别，产品的使用乐趣，约旦给予（1997）：1、生理愉悦 - 与接触，手持产品。2、社会的乐趣 - 与社会关系和通讯产品启用。3、心理愉悦 - 产品时获得帮助用户建立一个任务。4、IDEO公司，快乐 - 相关的值，一个代表产品，其使用或支持。满意是一个属性的可用性尼尔森的定义（1993年），是多么惬意的相关产品使用。可用性和功能性是无可否认的产品非常重要的属性，但不是他们自己的快乐和传达足够的幸福给用户。事实证明，积极的情绪有重要作用，例如在决策，激励和社会互动（DeCatanzaro 1999年，艾辛河1993年，马卡拉1999）基于任务的活动所需。越来越多的功能是在产品批准（商品）采取和用户的东西多看。5、情绪反应或影响系统方案在情感反应系统，在固有的心理结构，价值观念和程序，承担相似的，其中神经系统之间的相互作用涉及杏仁核，海马，前额叶皮质和被认为有调解情绪，比如分配方面的一些基础情绪价不同的刺激，活化的情绪行为和情感学习（达马西奥1994年，勒社1996年，Panksepp 1995年，在Velsquez，1998）。工作从不同的理论家（埃克曼1992年，约翰逊莱尔德和奥特利1992年，Panksepp 1998年）和随后的设计标准上的一个以前的研究基础，以良好的设计与评估获奖产品（Demirbilek和公园2001年），六个不同类型的影响方案涉及快乐的感受，喜悦，或唤起梦想已经确定了这样如下：感官，乐趣，可爱，熟悉，转喻和颜色。6、结论和未来计划情感内容的设计得到了越来越多的人体工程学设计科学的重要性。到目前为止，有预测，评价和衡量这一人类产品的现象没有直接的方法。本文表明，更多的知识是在分析了三人之间关系的基本需要：情感，用户和产品设计。人们对产品的情绪反应，似乎不同世代之间变化，社会团体，民族和文化。ergonomists的属性和设计师可以用它来提高产品的感受和期望很可能是在童年时代的社会，当他们的主要信仰，价值观和思想正在形成隐藏的情绪。这个复杂的课题需要研究在一个跨学科的方式，涉及认知工效学，心理学，产品语意，和设计研究。还需要进一步研究，以确定看法的幸福，快乐，幸福，放松，以及相关的日常生活环境中的感受和情绪。这项研究应该包括来自不同背景的实际用户和专注于自己的自动思维和梦想与快乐，更确切地说，愉悦的感受/经验。这样的研究将提供在产品的设计师和设计方面，ergonomists这种情绪反应属性有益的指导。据设想，该研究将采取的一个调查相结合，是对被采访的形式与用户完成。英文原文:Product design, semantics and emotional responseAbstractThis paper explores theoretical issues in ergonomics related to semantics and the emotional content of design. The aim is to find answers to the following questions: how to design products triggering happiness in ones mind; which product attributes help in the communication of positive emotions; and finally, how to evoke such emotions through a product. In other words, this is an investigation of the meaning that could be designed into a product in order to communicate with the user at an emotional level. 1. Introduction Contemporary life is synonymous with accelerating social and technological change. Similarly, product design is being rapidly transformed through materials technology, production technology, information-processing technology and other processes. The changes in technology are occurring at a speed and scale beyond any expectation. The digital revolution is progressively turning the objects with which we interact into smaller and more intelligent black boxes, making it difficult for us to understand the mechanism or the working method (Bolz 2000). Design therefore occurs in a different framework than before, with reference to social change, the conservation of resources and energy, emerging environmental problems, and customer-oriented trends (Ohira 1995, Jones 1997). Accordingly, whether driven by advertisement and marketing strategies, or by trends, fashion, and social events, users expectations from consumer products have been also changing. Functionality, attractiveness, ease-in-use, affordability, recyclability, and safety are all attributes that are expected to already exist in a product. Users are expecting more from everyday products. Recent design trends show an inclination towards objects that inspire users, enhance their lives, help in triggering emotions or even in evoking dreams (Jensen 1999, Alessi 2000). Jensen predicts that the Dream Society is coming soon, following a society based on data, called the Information Society (1999). He adds that, as information and brainpower are becoming the realm of computers and high-tech, society will place new value on a human ability that has not been automated yet: emotion. Functionality is more and more taken for granted in products, and users are looking for fulfillment at an altogether different level of appreciation. Imagination, myths, and rituals (being the language of emotion) will have an effect on our behaviors, ranging from our buying decisions to our communication with others (Jensen 1999). Furthermore, Khalid (2001: 196) points out that the decision to buy can be momentary, so customer needs can then be created very quickly, while other needs are long established. Consequently, emotions and affect in general, have received increasing attention over the last few years (Velsquez 1998). Affect being defined as the consumers psychological response to the semiotic content of the product. Approaches to emotions and affect can be studied at many different levels and all offer different insights. As Velsquez points out, several models have been proposed for a variety of domains and environments. Some examples that he gives include the use of emotions to create synthetic agents with lifelike qualities and personalities (Bates 1994, Kline and Blumberg 1999, Elliott 1992, Reilly 1996) systems that reason about emotions in narrative (Elliott et al. in Velsquez 1998), systems that rely on emotional processing to mediate social interactions (Breazeal in Velsquez 1998), and architectures that model the influences of emotions in behavior and learning (Camero 1997, Kitano 1994, and Seif El-Naser et al. in Velsquez 1998). Different approaches work best in different domains, and the decision to follow one or the other depends greatly on the specific goals and purposes of these models. Design directed by emotional content can be regarded as the heart of current design practices, research, and education. As Paul Hekkert (2002), the chairman of the Design & Emotions Society, says: “It is no longer sufficient to design good products or services; we all want to design experiences and generate pleasurable or exciting sensations.” “But what do we really know about these experiences and products ability to evoke emotions? Can affective interactions be designed and how do designers and industries deal with this new design paradigm?” The goal of this study is to reveal the semiotic nature of emotional responses in design products, as well as to explore affect programs concerning the relationship between product design and human experience. 2. Product semantics at the physical and cognitive level Product semantics was developed and introduced by Krippendorff and Butter (1984: in Riley 2001) and is defined as the study of symbolic qualities of man-made shapes, in the cognitive and social context of their use. Thus, according to this definition, product semantics is concerned with the relationship between the user and the product on one hand, and the importance that objects assume in an operational and social context on the other hand. Intentionally or not, all manufactured products make a statement through shape, form, color, texture, etc. They communicate with users and can never be contextually neutral. It is widely recognized that visualization is important when it comes to assessing the feasibility of a product in terms of appearance, functionality, production feasibility, product semantics, ergonomics and social factors (Johanson 2000). Regardless of how designer use color, shape, form, and texture in designing the product, messages are being sent through products via a part of language structures that deal with meaning, called semantics. This implies that designers and ergonomists should not only know what message(s) they wish to transmit and the sort of response(s) that can be expected from the user being the receiver, but also the symbols and attributes forming that language. A product tells us something, about itself and in certain cases also about the human being who owns it. Through its design and function, the product expresses values, whose importance individuals then interpret and value in relation to a certain social context in terms of acceptance or rejection, liking or disliking. However, the product can, through its semantic content and expression, either strengthen or weaken this role, in this way creating positive or negative perceptions, emotions, values and associations within the individual person (Wikstrm 1996). The products that we encounter have different functions, e.g. technical, practical and semantic. Mon (in Wikstrm 1996) defines four semantic functions of products: To describe - The product gestalt describes facts (e.g. its purpose = define the task), way of use, handling. To express - The product gestalt expresses the products values and qualities. To signal - The product gestalt urges the user to react in a specific way, for example to be careful and to be precise in his/her work. To identify - The product gestalt identifies (e.g. the purpose = establish similarity), origin, nature and product area (connection with system, family, product range etc as well as the function and placement of individual parts). The semantic functions provide the designer with the possibility to communicate a clear message through the product. This means that the designer has to make clear to him/herself what should and what should not be communicated through the product (Wikstrm 1996). Butter (Krippendorff and Butter 1984:4), who first made up the phrase product semantics, claims that designers and ergonomists with an awareness of the how to use function of design can demystify complex technology, improve the interaction between artifacts and their users and enhance opportunities for self-expression. According to Wikstrm (1996), the semantic functions should make the product comprehensible. Both the whole products and its individual parts should communicate the intended message, so that the user knows how the product should be handled merely by looking at it. For example, a knurled knob says turn me; a button so designed to say press me; a form that invites a particular handgrip, like a jack-plane; a teapot or kettle that says hold me here and Ill pour for you; a chair that softly welcomes your relaxed posture; a shape or form that indicates I move in this direction or I fit into that part of your body. The users reaction to what something is and how this something should be handled is an effective and immediate (semantic) indication of the extent to which a products design is self-instructing. Complicated products require a manual, but simpler products ought to be self-instructing. In cases where pictures, labels, or instructions are needed for simple things, arrows or labels to differentiate push from pull; designers have failed to communicate through the form of the object (Norman 1988). However, the requirement for comprehensibility varies with the context. In some cases, as Wikstrm (1996) mentions, the product should even be incomprehensible to a certain user group, for example medicine bottles and medicine cabinets to children, in order to prevent them from accessing to these. In public milieus, however, information-carrying products should be self-instructing. The user group focused upon here should be able to identify the products purpose, be able to use it, and be motivated to use it without the need for additional information (e.g. manuals, text). Being one of the most important trends in design in the US, product semantics is an approach to developing a visual vocabulary in products in order to give them an immediately identifiable set of mainly visual clues (sometimes tactile and auditory), which become tools available to the designer to communicate through their products, helping to reflect function and underlying cultural associations (Zaccai 1990). In other words, product semantics is an attempt to identify appropriate visual, tactile and auditory messages and incorporate them into product design. Understanding how people assimilate unfamiliar products is crucial to the application of semantics in Industrial Design (Griffin 1999). It combines various disciplines, such as art, ergonomics, semiotics, communication, logic, philosophy, and psychology. When product semantics is properly applied, products can become more emotionally and psychologically comfortable for users, with eloquent and expressive shapes or details, allowing them to make emotional connections with otherwise impersonal objects. These become intuitive products where the user knows how it works and what it does without instructions. The two fundamental principles of Norman (1988) to assist users in constructing a mental model of the product are first, providing a good conceptual model, and second, making important features visible. 3.Products as communicators and reflectors of meaning According to Griffin (1999), the process of interpreting and decoding the unfamiliar products semantic content involves two different reactions. The first one based on knowledge and dependent on social and cultural background, and the second reaction being emotional. Meaning is then interpreted based on associations drawn from prior experience. Furthermore, emotions are closely related to human psychology. If we were to look at a simple psychological definition of these factors that activate emotions, we would see that emotions are not triggered by situations or events, but by our thoughts, beliefs, values and attitudes about the situations or events. The emotional response is not an automatic response to an object, a thing, or a situation. It is an automatic response (deep inside our brain) to the thoughts that we have associated with the situation or the object.4. Happiness and pleasure in product use Some general definitions for pleasure, happiness and joy may be given as follows: Pleasure: the agreeable emotion accompanying the expectation, acquisition, or possession of something good or desirable. Related Word bliss, felicity, happiness, and thrill. Happiness: a state of well-being and contentment. Joy: a pleasurable or satisfying experiences; the emotion evoked by well-being, success, or by the prospect of possessing what one desires. The four different categories of pleasure in product use given by Jordan (1997) are: 1. Physio-pleasure -related to touching and holding a product. 2. Social-pleasure -related to social relationships and communication that a product enables. 3. Psycho-pleasure -gained when a product helps the user to establish a task. 4. Ideo-pleasure -related to values that a product and its use represent or support. Satisfaction is one of the usability attributes in Nielsens definition (1993) and is related to how pleasant the product is to use. Usability and functionality are undeniably very important attributes of products but are not sufficient on their own to convey pleasure and happiness to users. Positive emotions have proved to have important role e.g. in decision-making, motivation, and social interaction (DeCatanzaro 1999, Isen 1993, Mkel 1999) needed for task-based activities. Functionality is more and more taken for granted in products (commodities), and users are looking for something more. 5. Emotional response systems or affect programs The emotional response systems, based on inherent psychological structures, values and processes, bear resemblance to some of the aspects in which the interactions between neural systems involving the amygdale, the hippocampus, and the prefrontal cortices have been considered to mediate emotions, such as assigning an emotional valence to different stimuli, activation of emotional behaviors, and emotional learning (Damasio 1994, LeDoux 1996, Panksepp 1995, in Velsquez, 1998). Based on work from different theorists (Ekman 1992, Johnson-Laird and Oatley 1992, Panksepp 1998) and subsequent to a previous study on design criteria to assess good design related to award winning products (Demirbilek and Park 2001), six different types of affect programs involving happy feelings, joy, or evoking dreams have been identified such as follows: senses, fun, cuteness, familiarity, metonymy and color.6. Conclusion and future plans The emotional content of design is gaining more and more importance for Ergonomics and Design Science. So far, there are no direct methods for predicting, evaluating and measuring this human-product phenomenon. This paper shows that more knowledge is needed in analyzing the relationship between the basic trio: emotion, user, and product design. Peoples emotional responses to products seem to vary between different generations, social groups, nationalitie