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001471922 001__ 1471922
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001471922 019__ $$a1390914878
001471922 020__ $$a9783031324543$$q(electronic bk.)
001471922 020__ $$a3031324544$$q(electronic bk.)
001471922 020__ $$z3031324536
001471922 020__ $$z9783031324536
001471922 0247_ $$a10.1007/978-3-031-32454-3$$2doi
001471922 035__ $$aSP(OCoLC)1390918396
001471922 040__ $$aEBLCP$$beng$$cEBLCP$$dGW5XE$$dYDX$$dEBLCP$$dOCLCQ
001471922 049__ $$aISEA
001471922 050_4 $$aQA76.9.U83
001471922 08204 $$a005.437019$$223/eng/20230726
001471922 1001_ $$aTurner, Phil,$$d1957-
001471922 24512 $$aA psychology of user experience :$$binvolvement, affect and aesthetics /$$cPhil Turner.
001471922 250__ $$a2nd ed.
001471922 260__ $$aCham :$$bSpringer,$$c2023.
001471922 300__ $$a1 online resource (156 p.).
001471922 4901_ $$aHuman-computer interaction series
001471922 500__ $$a5.7.1 In a Mood
001471922 504__ $$aIncludes bibliographical references.
001471922 5050_ $$aIntro -- Contents -- 1 The Everyday Use of Digital Technology -- 1.1 Introduction -- 1.2 Varieties of Coping -- 1.2.1 Everyday Coping -- 1.3 A "Disorder" of HCI -- 1.4 How We Experience the Digital World -- 1.4.1 Our Technological Horizon Defines Our "Generation" -- 1.5 The World According to Heidegger -- 1.6 A Thousand Useful Acts -- 1.7 Affordance -- 1.8 Familiarity with the World -- 1.9 Automaticity -- 1.10 Flow -- 1.10.1 Creating Flow -- 1.10.2 The Characteristics of Flow -- 1.11 The Promise of Mirror Neurons -- 1.12 The Changes to the Second Edition of this Book -- References
001471922 5058_ $$a2 Creating a Good Experience -- 2.1 Introduction -- 2.2 The Turn to Experience -- 2.2.1 Heidegger -- 2.3 The Move to UXD -- 2.4 Definitions of UX -- 2.4.1 A New Millennial Usability -- 2.5 A Formal Definition of UX -- 2.5.1 Living with UX -- 2.5.2 An Expert Opinion -- 2.6 Norman Gets Emotional -- 2.7 The Pragmatic-Hedonic Dynamic -- 2.7.1 Investigating Hedonic Properties Further -- 2.8 Designing for User Engagement -- 2.9 UX = Involvement + Aesthetics + Affect -- 2.9.1 Ad Hoc Categories -- References -- 3 Involvement (With Technology) -- 3.1 Introduction -- 3.2 Irreversible Steps
001471922 5058_ $$a3.2.1 Computers as Social Actors -- 3.2.2 Effective "Mindreading" -- 3.2.3 Our Relationships with Technology -- 3.3 Digital Assistants and Chatbots -- 3.3.1 Digital Assistants -- 3.4 Mind Your Language -- 3.5 Appropriation -- 3.6 Our Tendency to Make Everything Human-Like -- 3.6.1 Mind and Personality -- 3.7 Why Do We Anthropomorphise? -- 3.7.1 Three Factors in Anthropomorphism -- 3.7.2 Detecting Invisible Agents: HADD -- 3.8 A Fleet of Robots -- 3.8.1 Social Robotics for Fun -- 3.8.2 AIBO and Other Robot Dogs -- 3.9 PARO and Keepon -- 3.9.1 ASIMO, Nao and Pepper -- 3.9.2 Androids
001471922 5058_ $$a3.9.3 Dogs and Robots -- 3.9.4 Creating Relational Artefacts -- 3.9.5 Friends or Fantasy? -- 3.10 How Technology Has Changed Us -- 3.10.1 Digital Natives and Generation Me? -- References -- 4 Aesthetics -- 4.1 Introduction -- 4.2 The Aesthetic Turn -- 4.3 The Origin of Aesthetics -- 4.3.1 The Savannah Hypothesis -- 4.3.2 Elegant but Useless -- 4.4 The Experience of Aesthetics -- 4.4.1 An Aesthetic Experience -- 4.5 Mirror Neurons and Aesthetics -- 4.6 Gestalt, Neuroaesthetics, and Rasa -- 4.6.1 Neuroaesthetics -- 4.6.2 Rasa -- 4.7 Virtual Experiences -- 4.7.1 Smell -- 4.7.2 Touch -- 4.7.3 Gesture
001471922 5058_ $$a4.7.4 Presence -- 4.7.5 AR -- 4.7.6 Abba -- References -- 5 Affect -- 5.1 Introduction -- 5.2 Affect in HCI -- 5.2.1 The Scientific Treatment of Affect -- 5.2.2 The Range of Affective States -- 5.3 First Impressions -- 5.3.1 What We Make of Each Other -- 5.4 Feelings -- 5.4.1 Damasio on Feelings -- 5.5 (Odd Feelings) -- 5.5.1 The Uncanny Valley -- 5.5.2 What Our Feelings Tell Us -- 5.5.3 Presence and Self-presence -- 5.6 Emotion -- 5.6.1 Emotions Are the Result of Appraisals -- 5.6.2 The Nature of an Appraisal -- 5.6.3 Emotions Are for Action -- 5.6.4 Positive (and Negative) Emotions -- 5.7 Mood
001471922 506__ $$aAccess limited to authorized users.
001471922 520__ $$aAs mainstream psychology was never intended for the HCI practitioner, this second edition of A Psychology of User Experience takes the opportunity to create a new chapter specifically written for practitioners, that is, UX-oriented psychology rather than the all-too familiar everyday variety. For example, we discuss our two modes of cognition (fast / slow or controlled / automatic); we underline the importance of familiarity; and how and why we check our phones every few seconds day or night. We also establish the context for user experience noting that just about everyone uses a cell phone and very many own a smartphone too and have done so for years (so, how did they learn to use them?). User experience reflects the current vogue for designing for experience within HCI which we recognise as something we feel rather than have reasoned about. In the real world, our feelings tell us how we are doing but with UX, they tell us how we feel about using digital technology. Topics are introduced to UX which maybe unfamiliar such as virtual experiences and virtual emotions and the affect associated with the uncontrolled use of digital technology. A Psychology of User Experience stands as a companion text to the authors HCI Redux text which discusses the contemporary treatment of cognition in human-computer interaction. .
001471922 588__ $$aOnline resource; title from PDF title page (SpringerLink, viewed July 26, 2023).
001471922 650_0 $$aHuman-computer interaction$$xPsychological aspects.
001471922 655_0 $$aElectronic books.
001471922 77608 $$iPrint version:$$aTurner, Phil$$tA Psychology of User Experience$$dCham : Springer International Publishing AG,c2023$$z9783031324536
001471922 830_0 $$aHuman-computer interaction series.
001471922 852__ $$bebk
001471922 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-031-32454-3$$zOnline Access$$91397441.1
001471922 909CO $$ooai:library.usi.edu:1471922$$pGLOBAL_SET
001471922 980__ $$aBIB
001471922 980__ $$aEBOOK
001471922 982__ $$aEbook
001471922 983__ $$aOnline
001471922 994__ $$a92$$bISE