Memory Challenge

Emotional Design

The  Japanese Masaki Kurosu and Kuori Kashimura was found that the attractive things were perceived to be easier to use .In the books publish in 1900’s by Herbert Read,he find that the connection between beauty and function and how the aesthetic affected .He also started  a research project examining the interaction  of affect ,behavior and cognition .Emotion change the way of human mind and the system changes how the cognitive operates.Emotion play critical role in daily life and aid in decision making.Attractive things makes people fee good which in turn makes them think more creatively.Herbert Read thought that he would need a mystical theory to connect beauty and function.Human attributes result from three different levels of the brain which is visceral,behavioral and reflective that each level requires a different style of design.Everything you do has both a cognitive and a affective  component –cognitive to assign meaning meanwhile affective is to assign value.Design and for that matter ,most problem solving requires creative thinking followed by a considerable period of concentrated,focused effort and creatively is good for the designer to be related in good mood.Although the  human have basically the same form of body and brain,they also have huge invidual differences.Emotions,moods traits and personality are all aspects of the different ways in which people’s mind work,especially along the affective,emotional domain.This phenomenon can bedevil the designer who wants to know how to design something that wii appeal to everyone.

Conflict among  different levels of emotion is common in design.A succseful design has to excel at all levels .The requirement for each level differ widely .The behavior level is about to use  and about experience with a product.But experienced itself has many facets: functions,performance and usability.It is only at the reflective level that consciousness and the highest level of feeling,emotions and cognition reside.Of the three levels,the reflective one is the most vulnerable to variability through culture,experience,education and invidual differences.Sophistication  often bring  with a peculiar disdain for popular appeal,where they very aspects of a design that make it appeal to many people distress some intellectuals. Reflective design, therefore is about long term relation, about the feeling of satisfaction. A person’s self-idnetity is located within the reflective level, and here is where the enteraction between the product and identity is important. There are no single product can hope to satisfy everyone. The designer must know the audience for whom the product is intended. Although all people have roughly the same body shape, the same number limbs and the same mental apparatus, in detail, the differ considerably. To designer, this means that no single design will satisfy everyone. The distinction between the term needs and wants is a traditional way of describing the difference between what is truly necessary for a person’s activities (needs) versus what a person ask for wants. Products designer and marketing executives know that wants can be often be more powerful then needs in determaining the success of product. Satisfying people’s true needs, including the requirements of different cultures, age groups social and national requirements is difficult. Now add the necessity to cater to the many wants-whims, opinions and biases design appropriate to the audience, the location and the purpose. In  the world of design we tend to associate emotion with beauty. Emotion reflect our personal experience associations and memories special objects turned out to be those with special memories or association, those that helped evoke a special feeling in their owner. Special item all evoked stories. We became attached to thinks if they have a significant personal association if they bring to mine pleasant and comforting moments. Photograph for example more than almost anything else, have a special emotional appeal which is personal and tell stories. Memories reflect our life experiences. They remind us of experiences and accomplishment. Meanwhile, the concept of self appears to be a fundamental human attribute. It is difficult to imagine how it could be otherwise, given what we know of the mechanisms of mine and the roles that consciousness and emotion play the concept is deeply rooted in the reflective level of the brain and highly dependent upon cultural norms.It is therefore,difficult to deal with in design.In fact,on the whole,people behave very similarity,given the same situation.It is culture that present us eith different situation.Self-image is reflected by the products we buy and our lifestyle as well as the image others have of you.

As we have seen,a product can have a personality.The product also would look and behave differrently in the different setting appropriate to use and target audience.But like human personality,once established,all aspects of a design must support the intended personality,once established,all aspects of a design must support the intended personality structure.A simplified of thinking of product personality is that it reflects the many decisions about how a prduct looks,behaves,and is positioned troughout its marketing and advertisements.Thus all of three level of design play a role.The personalities of products,companies,and brands needs as much tending to as the product itself.It must strive balanced among the three level of design.The tasks dicates the design,make the design fit the task,and yhe product works more smoothly and is bound to be more effective across a wide range of users and uses.Brands are all about emotions.And emotions are all about judgement.Brands are signifiers of our emotional responses.

The reflectives side of emotion is involved as well,for the saved bottles can serve as reminders of the occasion.Then it would be a memories that can trigger the powerfull and long-lasting emotion.Visceral design is what nature does.We are exquisitely tuned to receive powerful emotional signal from the environment that get interpreted automatically at the viscerel level.When we perceive something as “preety” that judgement comes directly from the viscerel level.The principles underying visceral are wired in,consistent across people and cultures.Great design,like great art and literature,can break the rules and survive forever,but only a few are gifted enough to be great.At the visceral level,physical features-look,feel,and sound are dominate.Because visceral design is about initial reaction it can be studied quite simply by putting people in front of a design and waiting for reactions.

Behavioral design is all about use.Appearance doesn’t really matter.Rationale doesn’t matter.Performance does.Function,understandability,usability,and physical feel are four components of good behavioral design.The first step in good behavioral design is to understand just how people will use a product.There are two kinds of product developement which is enchancement that are take some existing product or service and make it better.Innovation as well provides a completely new way of doing something.Of the two,enchancement are much easier.The new designhad numerous major enchancement to the product in both appearance and behavior-visceral and behavioral design-and has proven to be a market succsess.Designers can communicate with the eventual users only through the system image of a product.Thus,a good designer will make sure that the system image of the final design conveys the proper user model.Bad design is a frequent cause of error,often unfairly blamed on users rather than on designers.Moreover,everyday things  have to be used by a wide variety of people.The failed of design is mainly because designer and engineers are often self-centered.Engineers tend to focus putting into a product whatever special features they themselves prefer.Good behavioral design has to be a fundamental part of design process from the very start;it cannot be adopted once the product has been completed.

Reflective  design covers a lot of territory.It is message about culture,and about the meaning of a about the meaning of a product or its use.The reflective value outweights the behavioral difficulties.Attractiveness is a visceral-level phenomenon-the respons is entirely to the surface look of an object.Beauty comes from reflective level.Beauty comes from conscious reflection and experience.It is influenced by a knowledge,learning and culture.Reflective –level operations often determine a persons’s overall impression of a product.The overall impact of a product comes through reflection-in retrospective memory and reassessment.Reflective design really about long-term customer experience.It is about services,about providing a personal touch and a warm interaction.The visceral system is operating at full force,the reflective system is calming influence design had to have visceral appeal;and yes it had to meet the behavioral objectives.

In the exalted realm of literature,art and professional critism,it would appear that when something is impenetrable,it must of necessity to be good.There is a fundamental conflict between the preferences of the popular audience and the desires of the intellectual and artistic community.

Letters Upon The Aesthetic Education of Man, 1794

Friedrich Schiller’s On the Aesthetic Education of Man, in a Series of Letters is a philosophical piece of the source of art and beauty. The Letters seeks to articulate how aesthetic education is a way to which political freedom can be achieved when a person can be a fully man and a fully citizen.
For the first enquiry of the five letters to the reader was describing of how art and beauty are related to human freedom. Aesthetic allows the individual to exist beyond the inner and outer constraint. It enables the individual to experience physical and spiritual freedom.
In his opinion, the nature of moral instinct has given to man in order to serve as a guide and teacher until his enlightened intelligence gives him maturity. It can be concluded as a human’s being emotions have been educated by reason.
In Schiller's aesthetic philosophy, the human’s nature is divided into two. The human self (or Person) is that which persists, and its determining condition is that which changes. While the human self and its condition are distinct in finite being, but are united as an absolute being.
He also stated that time is determined by the unchanging self. Every human being is a Person who is situated in a particular situation. The original Intelligence within the Person is endless, but the Condition in which the Person finds himself or herself is determined by time. Thus, the succession of a Person’s perceptions in time leads to a consciousness of the phenomenon which is a self awareness.
Schiller asserts that human beings, as finite beings, must thus confront not only the task of trying to bring the necessity within themselves to reality, but the task of trying to subject the reality outside of themselves to the law of necessity. These two important and a challenging tasks  are determined by opposing forces in human nature: the sensual drive, and the rational drive. While the sensual drive is toward physical reality, the rational drive is toward formal reality.
Schiller also asserts that Person and Condition are reciprocally related realms of being, in that the more autonomy or self-determining activity is transferred to the Person, the less that the Person is subject to changing forces in the world. The more a Person is determine to change the forces in the world, the less autonomy or self-determining activity is transferred to the Person. Aesthetic activity is derived from a unity of Person and Condition, in that there must be a reality belonging to the Person if he or she has self-determining activity, and there must also be a reality belonging to the world if the Person must be situated in a Condition.
According to Schiller, aesthetic education can produce not only an increased level of awareness or receptivity to the world but can also produce an increased intensity in the determining activity of the intellect. The aesthetic impulse, or "play drive," can thus combine passive and active forces, which can produce a unity of feeling and reason.
If intensity is transferred from the active function of the intellect to the passive function of sensation, then the receptive faculty of sensation may predominate over the determining activity of the intellect. If intensity is transferred from the passive function of sensation to the active function of the intellect, then the determining activity of the intellect may predominate over the receptive faculty of sensation. Thus, the aesthetic ideal is achieved by an interaction of passive and active forces, producing a balance between feeling and reason.
While the sensual drive exerts a physical constraint, the rational drive exerts a moral constraint. While the exclusion of freedom from the function of the sensual drive implies physical necessity, the passivity from the function of the rational drive implies moral necessity.
The goal of the sensual drive is physical reality, while the goal of the rational drive is formal reality. The aesthetic ideal of beauty is thus defined by a unity of physical and formal reality.
Schiller asserts that beauty is an aesthetic unity of thought and feeling, of contemplation and sensation, of reason and intuition, of activity and passivity, of form and matter. The attainment of this unity enables human nature to be realized and fulfilled. Beauty (or aesthetic unity) may lead to truth (or logical unity). However, when truth is perceived, feeling may follow thought, or thought may follow feeling.When beauty is perceived, thought is unified with feeling.
According to Schiller, freedom is attained when the sensual drive and rational drive are fully integrated, and when the individual can allow both drives to be fully expressed, without being constrained by them. Thus, the state of true aesthetic freedom is achieved by a process of mediation between a passive state of feeling and an active state of thinking.