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JungKyoon Yoon

Bio: JungKyoon Yoon is an academic researcher from Cornell University. The author has contributed to research in topics: User-centered design & User experience design. The author has an hindex of 8, co-authored 25 publications receiving 187 citations. Previous affiliations of JungKyoon Yoon include University of Liverpool & Delft University of Technology.

Papers
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26 Aug 2013
TL;DR: The Embodied Typology of Positive Emotions as discussed by the authors ) is a tool that has been developed to facilitate emotional granularity in design: "Embodied typology of positive emotions" supports an understanding of 25 positive emotions by providing definitions of emotion labels.
Abstract: This paper introduces a tool that has been developed to facilitate emotional granularity in design: ‘Embodied Typology of Positive Emotions’. Emotional granularity reflects individual differences in the ability to precisely represent and interpret one’s own and others’ emotional states, referring to distinct emotion words rather than merely to a general feeling of pleasantness. It can be advantageous for designers to have high emotional granularity. In design, the awareness of and ability to label nuances in emotions may facilitate to recognise users’ complex emotional responses with accuracy, and to specify design intentions in terms of emotional impact more clearly. The tool supports an understanding of 25 positive emotions by providing definitions of emotion labels, eliciting conditions, and visuals of expressive behavioural manifestations. This paper describes the tool, its development process, as well as ideas for applications in design. Implications of the tool and future research steps are discussed.

34 citations

Journal Article
TL;DR: In this paper, the authors explored the possibilities to design interactions that evoke user interest based on appraisal theory and found that interest is evoked by a combined appraisal of novelty complexity and coping potential.
Abstract: This study explored the possibilities to design interactions that evoke user interest. On the basis of appraisal theory, it was predicted that interest is evoked by a combined appraisal of novelty complexity and coping potential. Because the role of novelty-complexity is well-documented (i.e. a product must be appraised as novel and/or complex to be interesting), the study focused on the role of coping potential: the degree to which one appraises oneself to have sufficient skills, knowledge, and resources to deal with an event. Two workshops investigated how the interest appraisal manifests in the context of human-product interaction in terms of appraisal questions and related product qualities. The findings were used to develop three prototypes of interactive music players. These were identical in terms of appearance, but different in terms of coping requirements during product use. The main study measured the appraisals and emotions of people using the prototypes, using both self-report and behavioral measures. The results indicated that along with noveltycomplexity, a high level of appraised coping potential is necessary for experiencing interest. When coping potential was appraised as low, the respondents experienced negative emotions such as annoyance instead of interest.

28 citations

Journal Article
TL;DR: In this paper, the authors explored the usefulness of positive emotional granularity (PEG) in the product development process and found that the benefits of PEG are mainly associated with activities in design conceptualization and evaluation, being less relevant in the embodiment phase.
Abstract: This paper reports a study that explored the usefulness of positive emotional granularity (PEG) in the product development process. PEG reflects the ability to interpret and represent the experience of positive emotions with precision and specificity. Interviews were conducted with twenty-five design professionals to understand their needs and expectations with respect to the value of PEG in product development processes. Across all product development stages, sixteen PEG benefits were identified and grouped into seven key opportunities: getting in-depth understanding of user emotions, determining the emotional impact of a product, dealing with organizational support, keeping continuity of emotional intentions in communications, facilitating design creativity, strengthening emotional coherence and managing emotions within a product development team. The findings indicate that the benefits of PEG are mainly associated with activities in design conceptualization and evaluation, being less relevant in the embodiment phase. The article also reports on the different attitudes of professionals with different roles in product development towards the relevance of PEG for their practices. The implications for research into facilitating PEG and recommendations for developing design tools are discussed.

27 citations

Journal ArticleDOI
TL;DR: A bottom-up approach was presented in which designers’ needs and their own techniques to use the cards are reflected in formulating new card usage guidelines that assist and inspire designers in the three design activities.
Abstract: Background Card-based design tools have gained popularity as a means to communicate research insights and to make them usable in a design process. There are various examples of card tools and guidelines for developing a card set itself, yet there has been little research into how the usage of card tools can be systematically formulated. Although the existing literature on card tools often presents certain usages, it rarely explicates how the usage was structured, and provides few references to the underlying decisions. Methods Through a case study of the positive emotional granularity cards, this paper presents a bottom-up approach in which designers’ needs and their own techniques to use the cards are reflected in formulating new card usage guidelines. Three design workshops were conducted, each of which explored how designers made use of the cards in the three design activities respectively: (1) assimilating nuances of positive emotions; (2) specifying emotional intentions; and (3) generating product ideas. In a creative session with design researchers, the workshop findings were translated into usage guidelines. Results There were individual differences in designers’ ability to make use of the PEG cards. At one end of the spectrum was the designer who immediately started to play and explore the cards, creating his or her own usage rules. At the other end of the spectrum was the designer who needed instructions to get started. Most designers explored usage, but at the same time they felt insecure about getting value without having some guidance. The workshops allowed us to spot the benefits and drawbacks of the techniques the designers used, and to identify their needs in using the PEG cards. The creative session resulted in the PEG card guidelines that assist and inspire designers in the three design activities. Conclusions Provisional usage guidelines can considerably contribute to a card tool’s usefulness, even if the card usage is envisioned to be open-ended and versatile. The bottom-up approach proved valuable to generate new insights into how a card set can best be used and how designers can be guided when using the card set.

18 citations

Journal ArticleDOI
TL;DR: In this article, the question of how designers can be supported to deliberately facilitate positive emotional experiences is addressed, and the authors provide an overview of the role of designers in this process.
Abstract: Central to the present paper is the question of how designers can be supported to deliberately facilitate positive emotional experiences. Related to this, the paper provides an overview of the rese...

17 citations


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3,628 citations

Journal ArticleDOI
TL;DR: Simulations show that for most study designs and settings, it is more likely for a research claim to be false than true.
Abstract: There is increasing concern that most current published research findings are false. The probability that a research claim is true may depend on study power and bias, the number of other studies on the same question, and, importantly, the ratio of true to no relationships among the relationships probed in each scientific field. In this framework, a research finding is less likely to be true when the studies conducted in a field are smaller; when effect sizes are smaller; when there is a greater number and lesser preselection of tested relationships; where there is greater flexibility in designs, definitions, outcomes, and analytical modes; when there is greater financial and other interest and prejudice; and when more teams are involved in a scientific field in chase of statistical significance. Simulations show that for most study designs and settings, it is more likely for a research claim to be false than true. Moreover, for many current scientific fields, claimed research findings may often be simply accurate measures of the prevailing bias. In this essay, I discuss the implications of these problems for the conduct and interpretation of research.

1,289 citations

Journal ArticleDOI
TL;DR: The search for the right components, and the right way to build the form up from these components, is the greatest challenge faced by the modern, selfconscious designer.
Abstract: Every design problem begins with an effort to achieve fitness between two entities: the form in question and its context. The form is the solution to the problem; the context defines the problem. We want to put the context and the form into effortless contact or frictionless coexistence, i.e., we want to find a good fit. For a good fit to occur in practice, one vital condition must be satisfied. It must have time to happen. In slow-changing, traditional, unselfconscious cultures, a form is adjusted soon after each slight misfit occurs. If there was good fit at some stage in the past, no matter how removed, it will have persisted, because there is an active stability at work. Tradition and taboo dampen and control the rate of change in an unselfconscious culture's designs. It is important to understand that the individual person in an unselfconscious culture needs no creative strength. He does not need to be able to improve the form, only to make some sort of change when he notices a failure. The changes may not always be for the better; but it is not necessary that they should be, since the operation of the process allows only the improvements to persist. Unselfconscious design is a process of slow adaptation and error reduction. In the unselfconscious process there is no possibility of misconstruing the situation. Nobody makes a picture of the context, so the picture cannot be wrong. But the modern, selfconscious designer works entirely from a picture in his mind - a conceptualization of the forces at work and their interrelationships - and this picture is almost always wrong. To achieve in a few hours at the drawing board what once took centuries of adaptation and development, to invent a form suddenly which clearly fits its context - the extent of invention necessary is beyond the individual designer. A designer who sets out to achieve an adaptive good fit in a single leap is not unlike the child who shakes his glass-topped puzzle fretfully, expecting at one shake to arrange the bits inside correctly. The designer's attempt is hardly as random as the child's is; but the difficulties are the same. His chances of success are small because the number of factors which must fall simultaneously into place is so enormous. The process of design, even when it has become selfconscious, remains a process of error-reduction. No complex system will succeed in adapting in a reasonable amount of time or effort unless the adaptation can proceed component by component, each component relatively independent of the others. The search for the right components, and the right way to build the form up from these components, is the greatest challenge faced by the modern, selfconscious designer. The culmination of the modern designer's task is to make every unit of design both a component and a system. As a component it will fit into the hierarchy of larger components that are above it; as a system it will specify the hierarchy of smaller components of which it itself is made.

183 citations