產(chǎn)品設(shè)計中英文文獻

1、中文譯文產(chǎn)品設(shè)計，語義和情緒反應(yīng) 摘要本文探討了人體工程學理論與語義和情感內(nèi)容的設(shè)計問題。其目的是要找到以下問題的答案：如何設(shè)計產(chǎn)品引發(fā)人心中的幸福；怎樣的產(chǎn)品屬性能夠幫助你們溝通積極的情緒，最后，如何通過產(chǎn)品喚起某種情緒。換言之，這是對“意義”可以成為一個產(chǎn)品，旨在與用戶在情感層面上進行“溝通”的調(diào)查。1、介紹當代生活是促進社會和技術(shù)變革的代名詞。同樣，產(chǎn)品設(shè)計通過材料技術(shù)，生產(chǎn)技術(shù)，信息處理技術(shù)等工序的發(fā)展而正在迅速轉(zhuǎn)變。在技術(shù)方面正在發(fā)生變化的速度和規(guī)模超出任何期望。數(shù)字革命的對象是逐步轉(zhuǎn)向與我們互動成更小，更聰明的黑盒子，使我們很難理解這一機制或工作方法（博爾茨2000年）。因此，在設(shè)

2、計時比以前不同的框架，參照社會變革，資源和能源節(jié)約，新出現(xiàn)的環(huán)境問題，以及客戶導向的趨勢（大平1995年，瓊斯1997年）。因此，無論是通過廣告和營銷推動戰(zhàn)略，或潮流，時尚和社會活動，從消費產(chǎn)品的用戶的期望也已改變。功能性，吸引力，易于被使用中，可負擔性，可回收性和安全性，預計所有已經(jīng)存在于一個產(chǎn)品屬性。用戶希望有更多的日常用品。最近設(shè)計的趨勢表明了用戶對激勵對象的傾向，提高他們的生活，幫助觸發(fā)情緒，甚至喚起夢想（詹森1999年，阿萊西2000年）。詹森預計，夢會快到了，下面的數(shù)據(jù)為基礎(chǔ)的社會，所謂的信息社會（1999年）。他還說，作為信息和智力正成為電腦和高科技，社會領(lǐng)域?qū)⒎旁谝粋€人的能力還

3、沒有被自動然而新的價值：情緒。功能是越來越多的產(chǎn)品中理所當然的，同時用戶也可以實現(xiàn)在尋找一個完全不同的欣賞水平。想象，神話和儀式（即情感的語言）會對我們的行為產(chǎn)生影響，從我們的購買決定，我們與他人（詹森1999年）的溝通。此外，哈立德（2001：196）指出這是決定購買，可瞬間的，因此客戶的需求可以被創(chuàng)建，速度非常快，而其他需要長期建立了。因此，情感和影響一般，都收到了最后一個（Velsquez1998）幾年越來越多的關(guān)注。 影響是指消費者的心理反應(yīng)產(chǎn)品的符號學的內(nèi)容。情緒和影響途徑，可以研究在許多不同的層次，都提供不同的見解。正如Velsquez指出，一些模型已經(jīng)被提出來的領(lǐng)域和多種環(huán)境。一

4、些例子，他給包括情緒來創(chuàng)建逼真的品質(zhì)和性格（貝茨1994年，克萊恩和布隆伯格1999年，埃利奧特1992年，賴利1996）系統(tǒng)合成劑，大約在敘事情感（艾略特等人在Velsquez1998年）。原因，在情緒處理系統(tǒng)，依靠調(diào)解社會互動（Breazeal在Velsquez1998年），該模型和體系結(jié)構(gòu)，行為和學習情緒的影響（Camero1997年，北野1994年，與自我薩爾瓦多，納塞爾等人在Velsquez1998年。）。不同的做法不同領(lǐng)域工作的最好的，并決定按照一方或另一方在很大程度上取決于具體目標和這些模型的目的。設(shè)計導演的情感內(nèi)容可以被看作是當前的設(shè)計實踐，研究和教育的核心認為。正如保羅Hek

5、kert（2002年），在設(shè)計與情感協(xié)會主席說：“它不再是足夠的，設(shè)計良好的產(chǎn)品或服務(wù)，我們都希望設(shè)計經(jīng)驗，并產(chǎn)生愉悅或興奮的感覺?！?但什么我們能真正了解這些經(jīng)驗和產(chǎn)品的能力，喚起的情緒？可以情感互動設(shè)計，如何設(shè)計和工業(yè)處理這個新的設(shè)計模式？“這項研究的目的是揭示在設(shè)計產(chǎn)品符號學性質(zhì)的情緒反應(yīng)，以及有關(guān)的方案，探討影響產(chǎn)品設(shè)計之間的關(guān)系和人類的經(jīng)驗。2、在物理和認知水平的產(chǎn)品語意 產(chǎn)品語意的開發(fā)和引進了Krippendorff和奶油（1984年：在萊利2001年），被看作是人為的形狀象征性的特質(zhì)研究其使用認知和社會背景，定義。因此，根據(jù)這個定義，產(chǎn)品語意關(guān)注的是用戶與產(chǎn)品的一方面，而且對象的

6、重要性，另一方面對業(yè)務(wù)和承擔社會環(huán)境的關(guān)系。有意或無意，使所有出廠產(chǎn)品通過形狀，形態(tài)，顏色，紋理等，他們與用戶溝通，從來沒有中立的聲明內(nèi)容相關(guān)。人們普遍認識到，可視化是重要的，當涉及到評估的外觀，功能，生產(chǎn)的可行性，產(chǎn)品語意，人體工程學和（約翰森2000年）社會因素方面的一個產(chǎn)品的可行性。不管設(shè)計師如何使用顏色，形狀，形式，并在設(shè)計產(chǎn)品的質(zhì)地，郵件是通過發(fā)送通過一個產(chǎn)品結(jié)構(gòu)的一部分，語言與意義，所謂的語義處理。這意味著，設(shè)計師和ergonomists不僅要知道什么樣的信息（），他們希望傳遞和反應(yīng)排序（縣），可以預期從正在接收用戶，而且形成的符號和屬性的語言。一個產(chǎn)品告訴我們，一些本身和在某些情

7、況下，還對人類生命，誰擁有它。通過它的設(shè)計和功能，產(chǎn)品表現(xiàn)值，其重要性和價值的個人然后解釋有一定的關(guān)系在接受或拒絕等方面的社會背景下，喜歡或不喜歡。然而，該產(chǎn)品可以通過加強其語意內(nèi)容和表達，這其中一個或削弱創(chuàng)造積極或消極的看法，情感，價值觀以及在個人（Wikstrm 1996）協(xié)會的方式這個角色。 我們遇到的產(chǎn)品有不同的功能，例如技術(shù)，實用和語義。莫諾（在Wikstrm 1996）定義了四種產(chǎn)品的語義功能：來形容 - 產(chǎn)品形態(tài)描述的事實（例如它的目的=定義的任務(wù)），使用方式，處理。 為了表達 - 產(chǎn)品形態(tài)，表達了產(chǎn)品的價值和品質(zhì)。 要信號 - 產(chǎn)品形態(tài)敦促用戶在一個特定的方式作出反應(yīng)，例如要小

8、心，要在他/她的工作精度。確定 - 確定產(chǎn)品的形態(tài)（如目的=建立的相似性），來源，性質(zhì)和產(chǎn)品領(lǐng)域（與系統(tǒng)，家庭，產(chǎn)品種類等，以及各部分的功能和位置連接）。語義功能提供了可能性與溝通，通過一個明確的信息產(chǎn)品的設(shè)計師。這意味著設(shè)計師必須明確向他/她什么，什么應(yīng)該不應(yīng)該通過產(chǎn)品（Wikstrm 1996）溝通。黃油（Krippendorff和黃油1984:4），誰第一個提出了短語產(chǎn)品語義學，聲稱設(shè)計師和ergonomists一個對如何使用設(shè)計功能可以神秘化復雜的技術(shù)，提高工件之間的相互作用的認識和他們的用戶和自我表達，提高的機會。據(jù)Wikstrm（1996年），語義功能應(yīng)該使產(chǎn)品的理解。無論是整個產(chǎn)

9、品的各個部分，并應(yīng)傳達預期的信息，讓用戶知道產(chǎn)品應(yīng)如何處理看它而已。例如，一個滾花旋鈕說把我;一個按鈕的設(shè)計可以說按我，就像是杰克平面的形式，邀請?zhí)囟ǖ氖直?茶壺或瓷壺，上面寫著抱著我這里，我會為你倒，一個椅子輕輕歡迎您輕松的姿勢;形狀或形式，表示我朝這個方向或我進入那你身體的一部分適合。用戶的反應(yīng)是什么東西，以及如何處理這事應(yīng)該是一種有效和直接的（語義）的程度，產(chǎn)品的設(shè)計是自我指導的跡象。復雜的產(chǎn)品需要一本手冊，但簡單的產(chǎn)品應(yīng)該是自我指導。在那些圖片，標簽或說明適用于簡單的事情，需要的時候，箭頭或標簽，以區(qū)別于推拉;設(shè)計師都未能通過溝通的對象（諾曼1988年）的形式。然而，可理解性的要求是不

10、相同的背景。在某些情況下，如Wikstrm（1996）提到，該產(chǎn)品甚至是不可理解應(yīng)該有一定的用戶群，例如醫(yī)藥瓶，醫(yī)藥柜，兒童，以防止他們訪問這些。在公共讓人誤解，但是，信息產(chǎn)品應(yīng)進行自我指導。用戶組集中在這里應(yīng)該能夠識別產(chǎn)品的用途，能使用它，并積極地使用，而無需額外的信息（如手冊，文字）需要它。正在設(shè)計，在美國最重要的趨勢之一，產(chǎn)品語意是一種方法，開發(fā)一個產(chǎn)品的視覺語匯，以便使它們成為主要的視覺線索（有時觸覺和聽覺），這成為可立即識別工具集設(shè)計人員溝通，通過他們的產(chǎn)品，幫助反映功能及相關(guān)文化協(xié)會（Zaccai1990年）。換句話說，產(chǎn)品語意是試圖找出適當?shù)囊曈X，觸覺和聽覺信息，并將其納入產(chǎn)品設(shè)

11、計中。了解人們?nèi)绾稳谌肽吧漠a(chǎn)品是至關(guān)重要的語義在工業(yè)設(shè)計（格里芬1999年）的應(yīng)用。它結(jié)合了諸如藝術(shù)，人體工程學，符號學，通訊，邏輯，哲學和心理學的各種學科。當產(chǎn)品語義應(yīng)用得當，產(chǎn)品可以更情感和精神上的用戶，雄辯和形狀或細節(jié)表現(xiàn)讓他們作出與客觀對象的情感聯(lián)系，否則，舒適。這些成為直觀的產(chǎn)品，用戶都知道它是如何工作以及它沒有說明一樣。兩個諾曼（1988年）的基本原則，以協(xié)助建設(shè)一個心理模型的產(chǎn)品用戶第一，提供了一個很好的概念模型，二，取得重要特征明顯作為傳播者。3、Products和反射的意義格林里芬（1999年），解釋和解碼，不熟悉產(chǎn)品的語義內(nèi)容的過程涉及到兩個不同的反應(yīng)。第一個基于知識和對

12、社會和文化背景有關(guān)，而第二個反應(yīng)是情緒化。意義被解釋的基礎(chǔ)上，從以往的經(jīng)驗得出的關(guān)聯(lián)。此外，情緒是密切相關(guān)的人的心理。如果我們看一個簡單的這些因素，激活情感心理的定義，我們可以看到，情緒不受情況或事件，而是由我們的思想，信念，價值觀和有關(guān)的情況或事件的態(tài)度引起的。的情緒反應(yīng)是不是自動響應(yīng)一個對象，事情，或一種情況。這是一個自動回復（在我們的大腦深處）到我們的情況或?qū)ο箨P(guān)聯(lián)的想法。4、幸福和樂在產(chǎn)品使用為了消遣，快樂和快樂的一些一般定義可以給予如下： 快感：在愉快的情緒伴隨著期望，收購或管有或需要的好東西。相關(guān)詞幸福，幸福，快樂和激情。幸福：一個幸福美滿的狀態(tài)。樂趣：一個愉快或滿足的經(jīng)驗;的福祉

13、，成功引起的情感，或由一個藏有什么愿望的前景。四個不同的類別，產(chǎn)品的使用樂趣，約旦給予（1997）：1、生理愉悅 - 與接觸，手持產(chǎn)品。2、社會的樂趣 - 與社會關(guān)系和通訊產(chǎn)品啟用。3、心理愉悅 - 產(chǎn)品時獲得幫助用戶建立一個任務(wù)。4、IDEO公司，快樂 - 相關(guān)的值，一個代表產(chǎn)品，其使用或支持。滿意是一個屬性的可用性尼爾森的定義（1993年），是多么愜意的相關(guān)產(chǎn)品使用?？捎眯院凸δ苄允菬o可否認的產(chǎn)品非常重要的屬性，但不是他們自己的快樂和傳達足夠的幸福給用戶。事實證明，積極的情緒有重要作用，例如在決策，激勵和社會互動（DeCatanzaro 1999年，艾辛河1993年，馬卡拉1999）基于任

14、務(wù)的活動所需。越來越多的功能是在產(chǎn)品批準（商品）采取和用戶的東西多看。5、情緒反應(yīng)或影響系統(tǒng)方案在情感反應(yīng)系統(tǒng)，在固有的心理結(jié)構(gòu)，價值觀念和程序，承擔相似的，其中神經(jīng)系統(tǒng)之間的相互作用涉及杏仁核，海馬，前額葉皮質(zhì)和被認為有調(diào)解情緒，比如分配方面的一些基礎(chǔ)情緒價不同的刺激，活化的情緒行為和情感學習（達馬西奧1994年，勒社1996年，Panksepp 1995年，在Velsquez，1998）。工作從不同的理論家（?？寺?992年，約翰遜萊爾德和奧特利1992年，Panksepp 1998年）和隨后的設(shè)計標準上的一個以前的研究基礎(chǔ)，以良好的設(shè)計與評估獲獎產(chǎn)品（Demirbilek和公園2001年

15、），六個不同類型的影響方案涉及快樂的感受，喜悅，或喚起夢想已經(jīng)確定了這樣如下：感官，樂趣，可愛，熟悉，轉(zhuǎn)喻和顏色。6、結(jié)論和未來計劃情感內(nèi)容的設(shè)計得到了越來越多的人體工程學設(shè)計科學的重要性。到目前為止，有預測，評價和衡量這一人類產(chǎn)品的現(xiàn)象沒有直接的方法。本文表明，更多的知識是在分析了三人之間關(guān)系的基本需要：情感，用戶和產(chǎn)品設(shè)計。人們對產(chǎn)品的情緒反應(yīng)，似乎不同世代之間變化，社會團體，民族和文化。ergonomists的屬性和設(shè)計師可以用它來提高產(chǎn)品的感受和期望很可能是在童年時代的社會，當他們的主要信仰，價值觀和思想正在形成隱藏的情緒。這個復雜的課題需要研究在一個跨學科的方式，涉及認知工效學，心理

16、學，產(chǎn)品語意，和設(shè)計研究。還需要進一步研究，以確定看法的幸福，快樂，幸福，放松，以及相關(guān)的日常生活環(huán)境中的感受和情緒。這項研究應(yīng)該包括來自不同背景的實際用戶和專注于自己的自動思維和夢想與快樂，更確切地說，愉悅的感受/經(jīng)驗。這樣的研究將提供在產(chǎn)品的設(shè)計師和設(shè)計方面，ergonomists這種情緒反應(yīng)屬性有益的指導。據(jù)設(shè)想，該研究將采取的一個調(diào)查相結(jié)合，是對被采訪的形式與用戶完成。英文原文:Product design, semantics and emotional responseAbstractThis paper explores theoretical issues in ergonom

17、ics 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 pr

18、oduct. 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 rapi

19、dly 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 sma

20、ller 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, a

21、nd 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, recycla

22、bility, 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

23、, 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

24、 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 b

25、uying 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 receive

26、d 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, sev

27、eral 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 i

28、n 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).

29、 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 Hekker

30、t (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 emotio

31、ns? 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 des

32、ign 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. T

33、hus, 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 throug

34、h 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, erg

35、onomics 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

36、 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. T

37、hrough 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 strength

38、en 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 f

39、unctions 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

40、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

41、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 t

42、he 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 semant

43、ic 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

44、 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 wh

45、at 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 ins

46、tructions 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

47、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

48、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 t

49、o 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 i

50、s 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, e

51、rgonomics, 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 otherwi

52、se 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, maki

53、ng 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

54、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

55、 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 thoug

56、hts 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 desira

57、ble. 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

58、 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