4/5/2024 0 Comments Plutchik's wheel of emotions![]() ![]() If they’re happy, they’ll keep using it, form emotional bonds with it and tell their friends. Reflective: After they encounter your design, users will consciously judge its performance and benefits, including value for money. They should feel satisfied that they’re in control, with minimum effort required. Visceral: Users’ gut reactions to or their first impressions of a design e.g., an uncluttered user interface suggests ease of use.īehavioral: Users subconsciously evaluate how a design helps them achieve goals and how easily. So, you must address three levels of cognitive responses when you design: Whether or not they realize it, users have sophisticated thought processes going on most of the time. The fact is that the emotional design of a product or service affects its success-and thus the bottom line. They also have tempers some get frustrated faster than others. ![]() Likewise, users associate feelings with what they encounter. However, these not-so-positive experiences can sometimes be fun-consider the chilling thrills of horror movies. ![]() Negative experiences help us prevent repeated mistakes. They help motivate us to grow as individuals. As rational as people may like to think they are, emotions are at the heart of how humans interpret reality. However, a designer must also be keenly aware of their user’s responses-which are naturally emotional. ![]() The functionality of a design should help users achieve their goals as efficiently and effectively as possible. Similarly, those same words could be made subject of a series of a pack of ‘taboo’ cards by students in class, and the game played in revision sessions to ensure that their vocabularly is rich and expressive in the final examinations.© Interaction Design Foundation, CC BY-SA 4.0 How Emotional Design Anticipates and Accommodates Users’ Needs and Responsesĭesigners should focus on users’ needs in their interactions with products or services. The use of Plutchik’s Wheel of Emotions can be combined with a banned word list to restrict them from using basic adjectives (“biased”, “happy”, “angry”). Special credit could be given to students who are deemed to have used the widest and most appropriate range of adjectives by the end of the lesson. Once a word has been settled upon, it can no longer be used that lesson. The teacher can then circle each one off if and when it is used by somebody in the class during discussion, with the rest of the class being given the opportunity to challenge its use and suggesting something more appropriate. To get students thinking about analysing the tone of sources in a more sophisticated manner during sourcework analysis exercises (for example, during a silent discussion activity), have an image of Plutchik’s Wheel of Emotions on the board and instruct them that only words listed within it can be used in their annotations and later answers. After all, the tone of a source is a useful indicator of the objectivity and detachment of the author, or conversely of his or her emotional involvement and subjectivity. In reality, however, one of the most useful ways of determining the reliability of a source is through its content, not its provenance. By this logic, the content can be used to provide information and to help us make deductions, whilst the provenance alone can help us put it into context and thereby decide how reliable this content actually is. Too often, when analying historical sources, students treat their content and provenance as two completely distinct features. When assessing the values and limitations of sources, get students to use Plutchik’s Wheel of Emotions to explain the tone of the author and thereby evaluate its reliability with a more sophisticated use of vocabulary and reasoning: ![]()
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