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 [13] Jodi Forlizzi and Katja Battarbee. 2004. Understanding experience in interactive attend the Opera. In this regard, a larger sample of individuals will systems. In Proceedings of the 5th conference on Designing interactive systems: be selected to test the proposed model, including users and other processes, practices, methods, and techniques (DIS 2004). ACM, 261–268. https: //doi.org/10.1145/1013115.1013152 stakeholders (e.g. Opera professionals) in order to assess its ability [14] Joe L Gabbard and J Edward Swan II. 2008. 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