Contrary towhat one might imagine, there is no such thing as an experience designer. Atleast not in the sense that we might talk of an individual recognised as such.To make experiences is to be human. Shaman, architect, food engineer - you nameit, they are all experience designers. Informed by an understanding of people'sneeds and wants - our stories, our rituals, our myths - the beautifullydesigned experience has the power to transform lives. “/i>iThe Experience Book is an ode to that power. Essentially, it is a book abouttime and how we use it to design and make experiencesthat define the spaces we live, work and play in. Divided into a guidebook anda sourcebook, it begins by explaining what it is about the human mind that sodeeply feasts on the notion of the experience, and then employs this knowledgeto suggest a method or framework fordesigning experiences. The guidebook done, the sourcebook serves asinspiration for the art of experience design, with precedents drawn from the past 35,000 years' worth oftransformative experience making. The first publication about theattributes that together make what is fast becoming a recognised discipline, “/i>iThe Experience Book is beautifully presented. Comprised of a wonderfully eclectic range of written forms, illustratedby a fantastic mix of drawings and photography, and backed by historicaland contemporary examples from the worlds ofarchitecture, branding, fashion, music, art, sport and business, it introducesthe maker of experiences as part ethnographer, storyteller, master planner andperformance artist. Challenging theorthodoxy of function, reasserting process over monument and product, delighting in the unexpected, and championing the spectator over the spectacle, this is a book for anyone interested in the power of design,be they creator, communicator or consumer.

This text seeks to raise the curtain on competitive pricing strategies and asserts that businesses often miss their best opportunity for providing consumers with what they want - an experience. It presents a strategy for companies to script and stage the experiences provided by their products.

A book that produces sensory experiences while bringing the concept of experience itself into relief as a subject of criticism and an object of contemplation. Experience offers a reading experience like no other. A heat-sensitive cover by Olafur Eliasson reveals words, colors, and a drawing when touched by human hands. Endpapers designed by Carsten Höller are printed in ink containing carefully calibrated quantities of the synthesized human pheromones estratetraenol and androstadienone, evoking the suggestibility of human desire. The margins and edges of the book are designed by Tauba Auerbach in complementary colors that create a dynamically shifting effect when the book is shifted or closed. When the book is opened, bookmarks cascade from the center, emerging from spider web prints by Tomás Saraceno. Experience produces experience while bringing the concept itself into relief as an object of contemplation. The sensory experience of the book as a physical object resonates with the intellectual experience of the book as a container of ideas. Experience convenes a conversation with artists, musicians, philosophers, anthropologists, historians, and neuroscientists, each of whom explores aspects of sensorial and cultural realms of experience. The texts include new essays written for this volume and classic texts by such figures as William James and Michel Foucault. The first publication from MIT's Center for Art, Science, & Technology, Experience approaches its subject through multiple modes. Publication design by Kimberly Varella with Becca Lofchie, Content Object Design Studio. Cover concept by Olafur Eliasson in collaboration with Kimberly Varella (Content Object). Contributors Tauba Auerbach, Bevil Conway, John Dewey, Olafur Eliasson, Michel Foucault, Adam Frank, Vittorio Gallese, Renée Green, Stefan Helmreich, Carsten Höller, Edmund Husserl, William James, Caroline A. Jones, Douglas Kahn, Brian Kane, Leah Kelly, Bruno Latour, Alvin Lucier, David Mather, Mara Mills, Alva Noë, Jacques Rancière, Michael Rossi, Tomás Saraceno, Natasha Schüll, Joan W.Scott, Tino Sehgal, Alma Steingart, Josh Tenenbaum, Rebecca Uchill

This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts. Written for a general educated audience as well as students and scholars in the field, it offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life, made up of play and laughter as well as serious work. Medieval stylistic values of variety, sweetness, good taste, and ordinary beauty are grounded in classical and medieval biological theories of change and flux in the human body, not only in symbolism and theology. The book will appeal to all lovers of medieval arts, literature, architecture, music, and painting, as well as serious students of religion and the language of beauty.

This groundbreaking book is based on the findings of the first major study on spiritual reminiscence work with people with dementia. Carried out over a decade, the study confirmed spiritual reminiscence to be an effective means of helping people with dementia to find meaning in their own experience, and interact in meaningful ways with others. The authors present the evidence for the efficacy of spiritual reminiscence with this group, and drawing on examples demonstrate its many benefits, as revealed by the study, including the affirmation of identity and worth whilst promoting resilience and transcendence; reducing levels of depression; and giving people with dementia a voice with which to express grief, despair, joy, wisdom, insight and humour. Specific practice issues are addressed, including how to maximise communication and nurture connections during sessions; the role of symbol, ritual and liturgy and how to design an effective spiritual reminiscence program. Transcripts of sessions are included throughout the book as examples, providing unprecedented insight into how people with dementia experience spiritual reminiscence, and encouraging reflective practice. The book closes with a set of suggested questions and discussion topics which can be used as the basis of a six week program. Providing theory and the latest research as well as a wealth of practical information and examples to guide practice, this book will be of interest to dementia care practitioners and activity coordinators, pastoral carers, aged care chaplains, practical theologians, students, academics and researchers.

Psychodynamic Approaches to the Experience of Dementia: Perspectives from Observation, Theory and Practice demonstrates the impact of healthcare approaches that take into account not only the practical needs but also the emotional experience of the patient, their partners, families and friends, lay carers and professional staff. Currently there is no cure for dementia, but the psychosocial and therapeutic approaches described in this volume have appeared to help people, both patients and carers, feel more contained and less lonely and isolated. Psychoanalytic theory provides a disciplined way of thinking about the internal world of an individual and their relationships. Each author provides their own commentary on the personal and interpersonal effects of dementia, endeavouring to understand behaviours and emotions which may otherwise seem incomprehensible. The subject is approached from a psychodynamic perspective, considering the unconscious, previous and current experiences and relationships, including those between patients and staff. Psychodynamic Approaches to the Experience of Dementia illustrates the practical and theoretical thinking of clinicians from a wide range of disciplines who are engaged in the care of people in late life with a diagnosis of dementia. It will be essential reading for mental health and health professionals in practice and training in the field of dementia.

This book provides an analysis of the country's political economy in transition. It documents the history of the gold mining industry's involvement in shaping the political landscape of South Africa, and shows the degree to which the political transition was induced to put in place a new mode of regulation for capital accumulation. In the process, the victims of apartheid have now become victims of democracy's neo-liberalism as the government is constrained from being developmental, interventionist and redistributive.