=Paper=
{{Paper
|id=Vol-2091/paper3
|storemode=property
|title="Ora sì ch'io son contenta: sembra fatto inver per me" Identifying User Requirements for Wearable Augmented Reality at Opera
|pdfUrl=https://ceur-ws.org/Vol-2091/paper3.pdf
|volume=Vol-2091
|authors=Barbara Balbi,Alessandra Marasco
|dblpUrl=https://dblp.org/rec/conf/avi/BalbiM18
}}
=="Ora sì ch'io son contenta: sembra fatto inver per me" Identifying User Requirements for Wearable Augmented Reality at Opera==
https://ceur-ws.org/Vol-2091/paper3.pdf
Ora sì ch’io son contenta: sembra fatto inver per me - Identifying
User Requirements for Wearable Augmented Reality at Opera
Barbara Balbi Alessandra Marasco
Institute for Research on Institute for Research on
Innovation and Services for Innovation and Services for
Development (IRISS-CNR) Development (IRISS-CNR)
Naples, Italy Naples, Italy
b.balbi@iriss.cnr.it a.marasco@iriss.cnr.it
ABSTRACT for hedonic are still limited [9]. Indeed, according to the review
The purpose of this study is to propose a User Experience (UX) by Diefenbach et al. [9], 33% on a total of 151 articles referred to
model to support the design of a wearable Augmented Reality (AR) hedonics within the background literature, but only once and not
application for Opera. To this end, it implements the UX approach as a central issue. Further, their review highlighted that hedonic
by Hassenzahl and Tractinsky [17] and User-Centered Design meth- is generally considered only as a part of UX frameworks/models.
ods within a People Action Context Technologies (PACT) analysis. Interestingly, hedonic is always addressed as resulting from the
The preliminary results identify users’ requirements relating to users’ experience of the product under evaluation (i.e. assessment of
People, Actions and Contexts for a visual AR interface at Opera. users’ perceived hedonic quality) and not as a foreground concept
The study contributes to generate useful knowledge to support per se that needs to be taken into account before and beyond the
the design of visual AR interfaces for predominantly hedonic con- instrumental [9]. Therefore, they highlight the need for more elabo-
texts, such as performative arts. Further, being among the first to rated approaches to design for hedonic. With specific regard to the
investigate UX for wearable AR at Opera, this study provides a design of digital applications for culture and heritage, it is stressed
foundation for the implementation of wearable digital applications that the successful implementation of AR requires an adequate
in this context. understanding of requirements from a users’ point of view [28].
However, the literature highlights that research on UX methods in
KEYWORDS this context is still limited [15, 28]. Further, hedonic is addressed as
a part of attributes in established models within the evaluation of
Augmented Reality, Visual Interfaces, User Experience, Hedonic,
the product. In particular, as in Hassenzahl and Tractinsky [17], the
Opera
hedonic aspects are identified as distinct from the pragmatic ones.
ACM Reference Format: However, when digital applications are aimed at supporting cul-
Barbara Balbi and Alessandra Marasco. 2018. Ora sì ch’io son contenta: sembra tural experiences, the interaction implies a resemiotization [27],
fatto inver per me - Identifying User Requirements for Wearable Augmented
in which the pragmatic aspects are to be consistent with the aes-
Reality at Opera. In Proceedings of 2nd Workshop on Advanced Visual Inter-
faces for Cultural Heritage (AVI-CH 2018). Vol. 2091. CEUR-WS.org, Article
thetic experience. Therefore, Hedonic cannot be limited to tools of
3. http://ceur-ws.org/Vol-2091/paper3.pdf, 4 pages. pleasure and stimulation, but should be considered as a broader
concept, in which the hedonic experience itself lives through a new
1 INTRODUCTION language. According to this perspective, new methods are required
to provide designers with an appropriate knowledge of users’ needs
Recently, the challenges associated to the use of AR for enhancing
and to produce results closer to users’ perspective in the context
the consumption of arts and cultural heritage have received an
under investigation.
increased attention [1, 7, 15, 28]. In this regard, performing arts
In this direction, this study contributes to identify a methodology
are a relevant case in point. The complexities involved with the
to design for the Hedonic based on an appropriate conceptual model
application of digital technologies in this context mostly derive
and users’ requirements, through a case study of wearable AR
from the predominant aesthetic and hedonic components of the
at Opera. In particular, it proposes a model in which the whole
users’ experience [2, 5], yielding relevant implications for the design
interaction design of visual interfaces is developed by integrating
of visual interfaces.
the Hedonic as a prerequisite. This is obtained by an in-depth
This study aims to advance the design process of hedonic inter-
knowledge of users’ needs through UCD methods that inform every
active products, based on an exploratory research conducted in the
part of PACT analysis [3, 26] in order to achieve a virtuous circle
context of (Italian) Opera. In particular, the purpose of this study
where the HCI is enriched by the Hedonic and the Hedonic is
is to propose a UX model to support the design of a wearable AR
enriched by a satisfying AR interaction. In this way, this study
application for Opera.
contributes by developing the theoretical perspective of the Hedonic
Despite the growing interest for hedonic quality in Human-
of interactive products for promoting effective design process and
Computer Interaction (HCI), studies providing knowledge to design
strategy.
AVI-CH 2018, May 29, 2018, Castiglione della Pescaia, Italy
© 2018 Copyright held by the owner/author(s).
1
AVI-CH 2018, May 29, 2018, Castiglione della Pescaia, Italy Barbara Balbi and Alessandra Marasco
Figure 3: The elements considered for the design of Per-
sonas.
2 MATERIALS AND METHOD
Figure 1: Adaptation of Hassenzahl and Tractinsky [17] The study adopted an experiential approach based on Hassenzahl
approach to take into account the transmediality, multidi- and Tractinsky [17] framework to take into account the Hedonic
mensionality and Hedonic in the experience of Opera. in the Opera experience (Fig. 1). Within this general perspective,
it was developed on the basis of a multidisciplinary research that
intertwined cultural, semiotic, communication and social domains,
in order to identify the structural components of Opera [27], its
trans-medial transmission [8] in the AR application and the drivers
of the experiential consumption of arts [5]. In particular, on the
basis of these multidisciplinary elements, a synthetic analysis of 56
references of Opera in several contexts (TV, cinema, radio, litera-
ture, technology-based contexts) was performed, as exemplified in
Fig.2:top. This approach resulted in the conceptual model depicted
in Fig.2:bottom.
Following this multidisciplinary analysis, qualitative methods,
including online Survey, Ethnographic Analysis, Interviews [13, 24],
have been used to design Personas [6]. Fig. 3 summarizes the el-
ements considered for the design of Personas. Coherently with
the attributes identified in these Personas, a group of People was
involved in focus group and Design Thinking activity. The focus
group was fed by the structural components that were previously
identified in relation to the experience at the Opera, in accordance
with research in cultural, semiotic, communication and social do-
mains. A Design Thinking activity [4, 10–12] supplied design of
the elements of the Actions and the Moments of use related to the
functionalities of the interaction with AR application.
In this way, the sessions of Design Thinking activity and Focus
Groups have been supported by effective materials to provide a
clearer picture of the context of interaction according with the
multidisciplinary research mentioned above.
Figure 2: The dimensions of the experience at the Opera:
structural components (center), transmediality (middle cir- 3 PRELIMINARY FINDINGS AND DISCUSSION
cle), experiential drivers (outer circle). Fig. 2:top exemplifies Based on this process and methods, a UX model aimed to support
the specific case of Rossini’s Cenerentola by Ponnelle (1980); the design of the digital application at Opera has been created. In
Fig. 2:bottom summarizes the results of the synthetic anal- particular, we present the preliminary results relating to the user
ysis of 56 different references of Opera in several contexts requirements of the Persons, Activities and Context of use of the
(TV, cinema, radio, literature, technology-based contexts). expected wearable AR application at the Opera. With regard to
Persons, 7 Personas were identified and invited to participate to
2
Ora sì ch’io son contenta AVI-CH 2018, May 29, 2018, Castiglione della Pescaia, Italy
is in line with Kuflik et al. [20] that stressed the need to better
link the pre-, during, and post- visit phases of the cultural heritage
experience.
Further, by assuming the Hedonic as a precondition through
a multidisciplinary approach, an effective conceptual model was
created to support the identification of the requirements of Persons,
Actions, Contexts and Context of use to design the visual interface
and the contents of the AR application for Opera. The study sug-
gests, in particular, that the fundamental experiential levers of the
hedonic experience (i.e. sensation, emotion, cognition) should be
amplified by making them fully consistent with the pragmatic ele-
ments of the interaction, since the latter are able to represent users’
needs only if they are consistent with their hedonic demand. There-
fore, it is important to share a sound conceptual model between
users and designers, especially when designing visual interfaces
related to performative arts experiences.
As previous literature reports [17], "State-of-the-art machinery
(graphics, sound, networks, miniaturization, etc.) allows for more
than mere functionality" (p. 6). In this sense the many available
approaches for UX analysis, including Product-centered models
[19], User-centered models [16], Interaction models [25], do not
consider the Hedonic as a prerequisite but either as an emotion
determined by the use of the interface or as an interactive metaphor.
In particular, to the best of our knowledge, there are no studies
Figure 4: Materials from Personas (top) and Design Thinking related to culture and heritage where the Hedonic is considered
sessions (bottom). as a metalanguage as we assume in this research. The literature
reveals many perspectives that involve the “hedonistic” and “aes-
thetic” dimensions [18], because it has been widely recognized in
HCI that the analysis of the user experience should go beyond the
instrumental [17]. Nevertheless, the main focus in UX studies on
AR still remains usability [14, 22, 23]: the hedonic is not an intrinsic
value, but it is evaluated post design [22] or by asking to users an
imaginative and cognitive effort [24], or considered as a pleasure
element [16].
The advantage of a multidisciplinary approach that acquires the
Hedonic of experience as an intrinsic value, keeping it consistent
until the end of the design process, as proposed in this study, en-
sures that the expectation towards an aesthetic experience remains
firmly faithful to users’ requirements. In this way, the visual in-
terface (Technologies) will be designed for real users (Personas),
on consistent and lasting interactive metaphors, responding to the
hedonic experience (Actions and Contexts) in the same manner
that grammar and words in a linguistic system are vehicles that
Figure 5: Extra-contents desired by users in relation to the respond to thought.
phases of the experiential process of Opera.
4 FUTURE STEPS
Focus Groups and Design Thinking sessions. One of the identified The proposed model will be validated through the further stages of
Personas is depicted in Fig. 4:top. experimental assessment in order to test the hedonic augmented re-
In particular, results from Design Thinking sessions in pair be- ality experience. In line with other studies on the impact of cultural
tween Personas and designers (Fig. 4:bottom for a snapshot) allowed heritage experiences created with the new generation of wearable
to identify several Actions in terms of extra-contents desired by devices on behavioral intentions to visit [7, 21], this research will
users. These include more information about text (libretto), plot, also analyze the influence of the perceived visual appeal and emo-
characters and score; subtitles and voice-over; director’s marks; aug- tional involvement of augmented Opera experience on the intention
mented scenography; games. Interestingly, the sessions allowed to to visit, i.e. to attend the Opera. For this reason, a TAM question-
relate all the extra-contents to the phases of the process of cultural naire will be used to evaluate the most pragmatic elements related
consumption at Opera as described in Fig. 5. Such an approach
3
AVI-CH 2018, May 29, 2018, Castiglione della Pescaia, Italy Barbara Balbi and Alessandra Marasco
to the acceptance of the AR application, in relation to the Hedo- Education 94, 1 (2005), 103–120. https://doi.org/10.1002/j.2168-9830.2005.tb00832.
nic that potentially influence the intention to use the AR and to x
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of Heritage Tourism 13, 1 (2018), 46–61. https://doi.org/10.1080/1743873X.2016.
The research described in this paper was supported by the Project 1251931
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- MISE - D.M. 1 Giugno 2016 "Horizon 2020 - PON 2014/2020". user and product. In Funology. Springer, 31–42.
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