HCDI Motivation Presentation

HCDI SEMINAR - 8TH DECEMBER 2009

designresearch

Towards a convergent model of motivation in the design

[A WORK IN PROGRESS]

Fergus Bisset

Hello and Welcome!


A design researcher in the School of Engineering and Design, here at Brunel.

Who am I?


What am I doing?

Working with Mark Young on the

Public Engagement Exhibitionhttp://www.realdesign.orghttp://designmuseum.org/exhibitions/2009/2009-ergonomics-real-designhttp://news.bbc.co.uk/1/hi/magazine/8363862.stm


Completing a MPhil in Design Research in the School of Engineering and Design exploring:

‘Intrinsically Motivating Design’

And in my spare time!


“to seek to make explicit the ideas and methods that are otherwise implicit in design practice, design education and design studies.”

(Carnegie Mellon University, 2007)

What is design research?


“The development of a concept map, or framework that seeks to visualise the role of motivation within the design and use of products, systems and services.”

Which in practice means...


“Motivation is the energisation and direction of human behaviour”

(Reeve, 2005)

Why motivation?

Energisation

Direction


As designers how can we better understand the energisation and direction of users?

Or encourage users to understand what energises and directs themselves?

Why motivation?


The Slide Heading

The Slide Content


What energises and directs this behaviour?


The Slide Heading

The Slide Content


Is it different from what energises & directs this behaviour?


To design more motivating and engaging products, systems and services for everyone.

But how does this relate to the aims of design research?

This insight will hopefully will enable designers...

INTRINSIC PROCESSES

INTUITIVETHINKING

EXTRINSICPROCESSES

ANALYTICTHINKING

100%VALIDITY

100%RELIABILITY

http://www.aiga.org/content.cfm/video-makethink-2009-martin

DESIGNTHINKING

‘Design Thinking - The Next Competitive Advantage’ (Martin, 2009)

100%VALIDITY

100%RELIABILITY

INTRINSIC PROCESSES

EXTRINSICPROCESSES

THEORETICAL EMPIRICAL

DESIGNTHINKING

“intrinsic motivation largely escapes the traditionally object-centred scienti�c research

methods.” (Krippendorf, 2004)

100%VALIDITY

100%RELIABILITY

DESIGNTHINKING

INTRINSIC ‘NEEDS’

EXTRINSIC‘DEMANDS’

THEORIES / IDEAS

PRODUCTS /ARTEFACTS

“design thinking is about the creation of choices”

(Brown, 2009)



INDIVIDUAL

SOCIETY

THEORIES PRODUCTS

It’s also about being able to scale your design thinking...



INDIVIDUAL

SOCIETY

THEORIES PRODUCTS

MYSTERY

HEURISTIC

ALGORITHM

Martin’s “Knowledge Funnel”

Suri-IDEO Design Synthesis Model

http://www.dubberly.com/articles/interactions-the-analysis-synthesis-bridge-model.html


the nature of the creative process and design thinking. ACAD isa leading centre for education and research, and a catalyst for creative inquiry and cultural development.

Please send comments about this model to [email protected].

Dubberly Design Office prepared this concept map as a projectof the Institute for the Creative Process at the Alberta College of Art+Design. The Institute exists to focus and organize activities, enterprises, and initiatives of ACAD with regard to the cultivationof dialogue, research, and special projects that directly address

Design and writing by Hugh Dubberly and Shelley Evenson Research by ACAD faculty Vera Gartley, Wayne Giles, Walter May, and Justin WaddellCreative direction by Jack Chung, Robin Bahr, and Paul Pangaro

Copyright © 2009Printed in Canada

The creative process is startlingly similar to the quality cycle (Shewart, 1939), popularized in business circles by the quality management movement (Deming, 1982).

The creative process plays an important role in the arts, design, science, and the professions (medicine, engineering, law, and business). It has many analogues and synonyms.

Like a self-regulating system, the creative process is a classic feedback loop. Measure an essential variable;compare it to a goal; and act to eliminate any difference.

Forming a hypothesis is a special type of creative act. Framing the creative process as “experimenting” showsthe close tie it has with the domain of science.

When physicians meet patients, they begin by taking a history and examining the patient; tests may be indicated, which contribute to a diagnosis, which indicates therapy.

The design process viewed as “problem solving” (Jones, 1976), problem seeking” (Peña, 1987) or “turning existing situations into preferred” (Simon, 1969) is a variation on the creative process.

“Interaction (with computers or the wider world) answers three questions: What do you sense? (feel?) How do you learn + plan? (know?) How do you change things? (do?) (Verplank, 2000).

Dubberly Design Office2501 Harrison Street, #7San Francisco, CA 94110415 648 9799

Institute for the Creative Processat the Alberta College of Art+Design1407-14 Ave NWCalgary, AB CanadaT2N 4R3403 284 7670

implem

ent

iterateillum

inateincubate

prepare

analyze

evaluate

synthesize

examine

treat

diagnose

observation

experiment

hypothesis

check do

plan

measure act

compare

feel? do?

know?

through conversations w

ith experience + valuesdraw

ing on a repertoire of fram

es + metaphors

to understandwhat people wanthow culture is evolving

to integrateby seeing patternsby building consensus

boundaries + issues

characters + stories

maps + modelsou

tline

s +

prot

otyp

esth

umbn

ails

+ s

ketc

hes

min

iatu

res

+ w

irefra

mes

criteria + goals

definitions + hypotheses

insights + concepts

through conversations

with context + constituents

drawing on shared

language + experience

with at

tent

ion

actin

g with

resp

ect +

mind

fulne

ss

cont

ribut

ing pa

ssion

+ en

ergy

with op

enne

ss

liste

ning +

lear

ning

from ot

her p

eople

+ cu

lture

s

through conversations

with tools + materials

drawing on muscle memory

and “being in the flow”

to searchworking quickly + iterating

taking advantage of accidents

to envisionimagining the future and making it tangible

explaining what it might mean

the creative process

quality cycle self-regulating system scientific method clinical process design process interaction loop

Reflection begins as a conversation with oneself.

It considers experience and values.And it fram

es the situation—or selects a m

etaphor to explain it—w

hich must then be shared w

ith other people.

Observation begins as a conversation with others.

Participants who are not part of the constituents’ community must learn the culture and language.

First you’re on the outside looking in; slowly you immerse yourself; then you can step back and reflect.

Where are we? Who is here? What are they doing? (What are we doing?) W

hat’s important here? Why?

Ethnographers (and designers) have developed several frameworks to aid this conversation.

Robinson’s AEIOU framework: activity, environment, interaction, object, user

Kumar’s POEMS framework: people, objects, environments, messages, services

Rothstein’s Ax4 framework: actors, activities, artifacts, atmosphere

Making also begins as a conversation with oneself.

As it continues it in

creasingly involves others.

Generative research intersects reflecting + making.

The main task of generative research is to come up with ideas.

The goal is to build a shared understanding of the desired situation.

Exploratory research intersects observing + reflecting.

The main task of exploratory research is to “map the terrain.”

The goal is to build a shared understanding of the current situation.

At first, the current situation may be new;

as work proceeds and the process iterates,

exploratory research may also involve observing how constituents

react to newly created artifacts or “design probes.”

Eval

uativ

e re

sear

ch in

ters

ects

mak

ing

+ ob

serv

ing.

The

mai

n ta

sk o

f eva

luat

ive re

sear

ch is

to d

eter

min

e w

here

pro

toty

pes f

ail t

o liv

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to e

xpec

tatio

ns.

The

goal

is to

keep

the

proc

ess o

n co

urse

.

a m

odel

of

Sometimes the goal is not clear. Participants don’t always agree on how to define the problem. Such cases require a new frame, a new generative metaphor (Schön, 1990), or a new articulation of the essential question.

Agreeing on goals may require iteration—may involvea feedback loop. Several levels of loops may be nested:a listing of assumptions and a first approximation of a solutiona primary process for refining the solutiona process for agreeing on the goal of the primary processa process for improving the process of agreeing on the goal

This “boot-strapping” process (Engelbart, 1962) is a sign of learning systems and organizations (Argyis + Schön, 1978).

The creative process is not just iterative; it’s also recursive.It plays out “in the large” and “in the small”—in defining the broadest goals and concepts and refining the smallest details.It branches like a tree, and each choice has ramifications, which may not be known in advance. Recursion also suggestsa procedure that “calls” or includes itself. Many engineers define the design process as a recursive function:discover define design develop deploy

The creative process involves many conversations—about goals and actions to achieve them—conversations with co-creators and colleagues, conversations with oneself. The participants and their language, experience, and valuesaffect the conversations.

Conversations about wicked problems especially benefit from—and may require—a variety of views. Some of these viewsform a habit of engaging (or observing, reflecting, and making)often called “design thinking.” It might be thought of moreaccurately as a set of lenses on design conversations or creative conversations. These lenses provide perspective beyond the immediate focus of the conversation or process:attentionopenness

The quality of the conversations is largely responsible forthe outcome of the process. The quality of the resulting product reflects the quality of the creative process—and the curiosityand determination of the participants.

understandingintegration

--

searchingenvisioning

----

--

The creative process is classically described (Wallas, 1926) aspreparation incubation illumination verification

Businesses often describe the process as research development execution

These models suggest a tidy, linear structurebeginning middle end

Simple sequences sound manageable, even predictable.They promise tasks we can schedule and budget. That makesthem appealing to people who run organizations and worry about minimizing uncertainty and risk. But the creative process resists planning; it’s not a recipe, script, or formula. (How could it be?) In practice, the process is messy, iterative, and recursive.

Framed as a sequence, it’s a plan for achieving a goalready aim fire

Yet a first shot doesn’t always hit the target. Achieving a goal may require a few tries; it may require iteration. Iteration is a looping process, using feedback from earlier attempts toconverge on a goal. Iteration enables participants to calibrate, correct mistakes, build on accidents, add and remove detail, and improve skills through practice.

The creative process is less like a line and more like a loop: observe reflect make observe reflect make . . .

The process need not begin with observing; it may beginwith any step. Boundaries between the steps are not rigid.Each activity continues throughout the process, e.g.,making also involves reflecting and observing.observe reflect make observe reflect makeobserve reflect make observe reflect makeobserve reflect make observe reflect make

If the goal is clear—if we have agreed on how we define aproblem, as in a math problem—then solutions may be implied.And we know when to stop. If the goal is less clear, deciding when to stop requires judgment.

But some problems are “wicked” (Rittel, 1969). Their definition depends on point of view; participants can always broadenor deepen their understanding and improve their solutions. For such problems, starting and stopping are arbitrary and external to the process. It ends only when we “run out of time, money, or patience” (energy, will, or gumption).

exploratoryresearch

eval

uativ

ere

sear

ch

generative

research

Once an idea has been hatched and refined,it must still make its way into the world.Communicating the idea to othersand building consensus for adoption are part of the innovation processbut may lie outside the core creative process.

Passing on responsibility to others—leaving a legacy—is the final step in the larger process.

Some steps essential to the creative process lie outside its core.

Accepting responsibility for the task and preparing tend to be one-time, upfront tasks.

In the middle, the process as sequence may take a detour and iterate in a loop.

Many creative people have saidthat their best ideas came (illumination)after putting aside a problem and letting it incubate.

--

observe

make

reflect

“By showing everything—the forest and the trees—in a single view,concept maps help people create mental models and clarify thoughts.”

“We create concept maps to share understanding”

http://www.dubberly.com/concept-maps

Concept Mapping...HCDI SEMINAR - 8TH DECEMBER 2009


To help visualise my background research and develop a intrinsic motivation heuristic

Indicating its relationship with established models of the design and use of products, systems and services.

Concept Mapping...


Put another way...

A framework to help illustrate and communicate the otherwise ‘intangible’ value of intrinsic motivation.

Concept Mapping...

“Explaining human behavior in

all its complexity is a di�cult task. It can be approached at many

levels,from concern with

physiological processes at one extreme to

concentrationon social institutions at

the other.”(Ajzen, 1991)

SOCIETY

INDIVIDUAL



PHYSICAL

SOCIETY

SENSATIONAUTONOMY

ORGANISATION

COGNITION

“Social and personality psychologistshave tended to focus on...the fully

functioning individual whose processing of available information

mediates the e�ects of biological and environmental factors on behavior.”

(Ajzen, 1991)RELATEDNESS

COMPETENCE

PHYSICAL

SOCIETY

SENSATION

ORGANISATION

COGNITION

Indeed designers too have tended to focus on these same fully functioning

individuals “whose processing of available information mediates the

e ects of biological and environmental factors on behavior.”



AUTONOMY

RELATEDNESS

COMPETENCE

PHYSICAL

SOCIETY

SENSATION

ORGANISATION

COGNITIONINTRINSIC ‘NEEDS’


AUTONOMY

RELATEDNESS

COMPETENCE

ProductDesign

InteractionDesign

Social / Service /Participatory

Design

ORGANISATIONAL

COGNITIVE

SENSATION

SOCIETY

Ergonomists, long proponents of ‘human centred design’ and who seek to “understand and support the role of the human in complex socio-technical systems” have also adopted this model:



AUTONOMY

RELATEDNESS

COMPETENCE

(IEA, 2009)

PHYSICAL

PHYSICAL

SOCIETY

SENSORY

ORGANISATION

COGNITIVE

And even design disciplines that have specialised in or grown up in support of more ‘universal’ approaches such as

Inclusive Design, have also adopted this ‘extrinsic perspective’.



AUTONOMY

RELATEDNESS

COMPETENCE

(Coleman, 2007)

PHYSICAL

SOCIETY

SENSORY

ORGANISATION

COGNITIVE

The exception to this might well be the Scandinavian Participatory Perspective



AUTONOMY

RELATEDNESS

COMPETENCE

Scandinavian Participatory Approaches (Ehn, 1988 in Holmlid, 2009)

3

unions in several Scandinavian countries in the 1960s and 1970s [2]. Participatory design attempts to involve those who will become the “users” throughout the design development process to the extent that this is possible. A key characteristic of the participatory design zone is the use of physical artifacts as thinking tools throughout the process, common among the methods emanating from the research-led Scandinavian tradition.

The design and emotion bubble emerged in 1999 with the fi rst Design and Emotion Conference in Delft, the Netherlands. It represents the coming together of research-led and design-led approaches to design research. Today it is a global phenomenon, with practitioners as well as academics from all over the world contributing to its development. Interested readers can learn more about it at the website of the Design and Emotion Society (www.designandemotion.org).

The critical design bubble (in the top left corner) is design-led, with the designer playing the role of the expert. The emergence of this bubble came about as a reaction against the large user-centered zone, with its overwhelming focus on usability and utility. Critical design evaluates the status quo and relies on design experts to make things that provoke our understanding of the current values

Figure 2Map of design research—research types

people hold. Critical design “makes us think”[3]. Cultural probes is a methodology in the critical design bubble [4]. Probes are ambiguous stimuli that designers send to people who then respond to them, providing insights for the design process. Probes are intended to be a method for providing design inspiration rather than a tool to be used for understanding the experiences of others.

The generative design bubble (in the top right corner) is design-led and fueled by a participatory mind-set. Generative design empowers everyday people to generate and promote alternatives to the current situation. Generative tools is a methodology in the generative design research bubble. The name “generative tools” refers to the creation of a shared design language that designers/researchers and the stakeholders use to communicate visually and directly with each other. The design language is generative in the sense that with it, people can express an infi nite number of ideas through a limited set of stimulus items. Thus, the generative tools approach is a way to fi ll the fuzzy front end with the ideas, dreams and insights of the people who will be served through design [5].

ParticipatoryDesign

Human Factors+ Ergonomics

UsabilityTesting

AppliedEthnography

User-CenteredDesign

Design + Emotion

Critical Design

Lead-UserInnovation

ContexualInquiry

Cultural Probes

GenerativeDesign Research

GenerativeTools

“Scandinavian”Methods

Design-Led

Research-Led

Expert Mindsetusers” seen as subjects(reactive informers)

“

Participatory Mindsetusers” seen as partners(active co-creators)

“

An Evolving Map of Design Practice and Research (Sanders, 2008)http://www.dubberly.com/articles/an-evolving-map-of-design-practice-and-design-research.html

PHYSICAL

SOCIETY

SENSORY

ORGANISATION

COGNITIVE

In my research I’m interested in building an integrated framework that incorporates these ways of thinking.

As the old saying goes if you want to increase participation and cooperation,

build bridges, not more islands.INTRINSIC ‘NEEDS’


AUTONOMY

RELATEDNESS

COMPETENCE

Esteem Needs

Belonging

Safety

Physiological Needs

Maslow’s Hierarchy of Needs(Maslow, 1943)

Self Actualisation


“the study of crippled, stunted, immature, and unhealthy specimens can yield only a cripple psychology and a cripple philosophy.”

(Maslow, 1954)

Perhaps its little wonder...


The Slide Heading

The Slide Content

Types of Systems

http://www.dubberly.com/articles/what-is-interaction.html


PHYSICAL

SOCIETY

SENSORY

ORGANISATION

COGNITIVEINTRINSIC ‘NEEDS’


AUTONOMY

RELATEDNESS

COMPETENCE

Closed Loop Model of Human Needs (Trendbüro, 2007)http://www.slideshare.net/TrendBuero/identity-management-manifesto-presentation

PHYSIOLOGY

SAFETY

SOCIALRECOGNITION

SOCIAL RELATIONS

SELFACTUALISATION

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

Closed Loop Model of Human Needs (Trendbüro, 2007)http://www.slideshare.net/TrendBuero/identity-management-manifesto-presentation

PHYSIOLOGY

SAFETY

SOCIALRECOGNITION

SOCIAL RELATIONS

SELFACTUALISATION/

CREATIVITY

Types of Systems



PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

Motivation as Self Interest - (Thrasymachus, 4BC)

Hedonism“Approach and Avoidance”

“Pinball User”

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

(Socrates, 4BC)

Motivation as a Judgement“people will do the right thing as

long as they could agree what it is”

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

Leviathan - (Hobbes, 1647)

Types of Systems



Concept of Causality

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

Kant - (Kant, 1647)

Types of Systems



PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

Self Determination Theory (Deci and Ryan, 1985, 2000, 2004)

(Self Re�ection, Independence, Empowerment)

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE


(Socialisation, Care and Concern for and from others)

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE


(Feelings of e�cacy, self control and accomplishment)


The Slide Heading

The Slide Content


What energises and directs this behaviour?


The Slide Heading

The Slide Content


Is it different from what energises & directs this behaviour?

PHYSICAL

SOCIETY

SENSORY

ORGANISATION

COGNITIVE

In my research I’m interested in building an integrated framework that

incorporates established ways of thinking and exposes the intrinsic facets of human behaviour within

them.

As the old saying goes if you want to increase understanding, build bridges,

not more islands.INTRINSIC ‘NEEDS’


AUTONOMY

RELATEDNESS

COMPETENCE


“If you want new ideas, read old books.”Ivan Pavlov

Proof if that...

PHYSICAL

SOCIETY

SENSORY

ORGANISATION

COGNITIVEEXTRINSIC‘DEMANDS’

ERG Theory (Aldefer, 1972)

Existential Needs

Relatedness Needs

Growth Needs


AUTONOMY

RELATEDNESS

COMPETENCE

Physical

Social

Cultural

PHYSICAL

SOCIETY

SENSORY

ORGANISATION


Situated Cognition (Seely-Brown, 1989)


AUTONOMY

RELATEDNESS

COMPETENCE

SRK Framework, (Rasmussen, 1990)

SKILL

RULE

KNOWLEDGE

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

PHYSICAL

SOCIETY

SENSORY

ORGANISATION


Hierarchical Model of Intrinsic Motivation (Valerand, 2001)

A�ective

Cognitive

Behavioural


AUTONOMY

RELATEDNESS

COMPETENCE

PHYSICAL

SOCIETY

SENSORY

ORGANISATION


Hierarchy of Complexity (Moggeridge, 2007)

Sociology

Psychology

Physiology

Anthropometry

Ecology

Anthropology


AUTONOMY

RELATEDNESS

COMPETENCE

ProductDesign

InteractionDesign

Social / Participatory

Design

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

Useful?

Usable?

Sociable?

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE


To make things more:- useful?- usable?- sociable?

by consequence...- more sustainable?- more intrinsically motivating - possess more ‘intrinsic’ value

So how have I been using this?


In the same way athlete’s monitor their physiology to sustain their performance -

I’ve been exploring how this understanding of physiology could be integrated into to the design of public services...

Physiological Blueprinting


Can this sort of data then be embedded in service blueprints and customer journey maps to indicate not only the actions and (extrinsic) system processes

but also the user (intrinsic) regulatory and affective responses throughout the customer journey.

The data...

http://www.flickr.com/photos/brandonschauer/3363169836/sizes/o/


An example of a service blueprint...

http://www.flickr.com/photos/brandonschauer/3363169836/sizes/o/


An example of a service blueprint...

Useful?

Usable?

Sociable?

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

Blueprint+ v4.3

Customer

Media-Touchpoint

Time Indicator

Rol

e 1

Rol

e 2

Rol

e 3

Rol

e 4

Waitress

Cook

Manager

+

–

+

–

+

–

+

–

Fail Line

Emotions

Costs

Variable 1

Media-Touchpoint

Media-Touchpoint

Media-Touchpoint

Tabl

e R

eser

vati

on O

nlin

e

00:0

0

15:0

0

00:0

0

02:3

0

03:3

0

07:0

0

08:0

0

09:0

0

15:0

0

35:0

0

35:3

0

37:0

0

38:3

0

41:0

0

50:0

0

50:3

0

01:1

5:00

01:1

7:00

Con

firm

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SM

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Tei

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hnun

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Che

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Com

mun

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failu

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kit

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Cor

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sid

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repa

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Analysis/tracking variable lines


http://www.service-design-network.org/sites/default/files/media/Andy%20Polaine.pdf

Great work on this by Andy Polaine at Luzern...


My trip to Sainsburys supermarket

Backstage

/ Invisible

Actions

Support

Processes

Physical or

Temporal

Process of

Engagement

Customer

Actions

/Interactivity

Onstage

/Visible

Artefacts

LINE OF INTERACTION

LINE OF INTERNAL INTERACTION

LINE OF VISIBILITY


Can also be mapped like this:

Service Blueprints


Looking at a user’s physiological response...

And in the case of this research...


Autonomous Nervous Regulation....

And in the case of this research...

HFLF

HF

LF HF

LF


This is definitely at the ‘intuitive’ end of of the design research spectrum at the moment...

And it is an attempt to map the underlying (regulatory) motivational processes of the user as they interact with services.

But the framework can also act as a lens to analyse more established products and services...

Underlying physiological basis of motivation...

Useful?

Usable?

Sociable?

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE


The Slide Heading

The Slide Content


How could the exhibition be made more motivating and engaging?

Useful?

Usable?

Sociable?

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE


How about an Ergonomics app?

“foursquare for Ergonomics engagement?”

- a mobile app that alerted you to everyday examples of Ergonomics?

Is an exhibition the best way to engage people with Ergonomics?


The Slide Heading

The Slide Content


Adding game theory (and social connectedness) to everyday life

http://www.mobilemonday.nl/talks/dennis-crowley-foursquare/

If you want to find out more about...


The Slide Heading

http://www.horsepowergame.com/hpc2/#gamehttp://www.tellart.com/#horsepower-challenge

Useful?

Usable?

Sociable?

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE


The Slide Heading

The Slide Content

Useful?

Usable?

Sociable?

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE


The Slide Heading

http://service.engagement.ac

http://service.engagement.ac

Useful?

Usable?

Sociable?

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

https://uservoice.com/

Useful?

Usable?

Sociable?

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE


The Slide Heading

The Slide Content

350 million members (3rd biggest global population)


Motivation is a dynamic (reciprocal) process that is at the root of all human behaviour.

Thus as designers if we seek to change behaviour we are dealing with motivation, whether we embrace it or not.

So to summarise...

“Doing this is a really important

to me...”

“I think it’s important to do this because...”

“I’d feel guilty if I didn’t do this properly...”

“I’m only doing this because I

have to...”

“I don’t know and I don’t care...”

“I love doing this and being

immersed in the process...”

SystematicStakeholders View of the Service

Stakeholders Engagement Within the Service

Motivational Design Personas with Internally Regulated and Empowered States v0.1 by Fergus Bisset (2009), based on work by Ryan and Deci (2000)

This diagram is intended as a tool to help visualise the role of motivation in determining stakeholders attitudes towards and

empowerment within a product or service environment.

Extrinsic Motivation

Empathetic

Analytic Synthetic

Amotivation

Why?

How?

Intrinsic Motivation

“Helping people is really important...”

“I’ll help you even though it’s a problem with the

system...”

“I can go ask the person who makes the decisions...”

“Someone else makes the

decisions...”

“Decisions are nothing to do with

me...”

“I really like helping people to

enjoy the experience as

much as I do...”


Everyone is motivated to some extent...


Motivation research (and the world) has moved on a lot since Maslow.

And the opportunities for integrating elements of motivational design are increasing exponentially with new technologies and sensors...

So to summarise...


ProductDesign

InteractionDesign

Social / Participatory

Design

PHYSICAL

SOCIETY

SENSORY

ORGANISATION



AUTONOMY

RELATEDNESS

COMPETENCE

But it is a work in progress...


designresearch

What do you think?

email: [email protected]

blog: http://www.fergusbisset.com/blogtwitter: http://twitter.com/fergusbissetfriendfeed: http://friendfeed.com/ferg

Thank you very much!HCDI SEMINAR - 8TH DECEMBER 2009


My Bloghttp://www.fergusbisset.com/blog

Motivational Design - From an Italian Research Grouphttp://www.slideshare.net/Gian/mode-motivational-design-motivational-hooks-2290190

Social Usability - From an Italian Research Grouphttp://www.slideshare.net/Gian/social-usability-mode

Further Relevant Links...

HCDI Motivation Presentation

Design

Transcript of HCDI Motivation Presentation