Product Experience brings together research that investigates how people experience products: durable, non-durable, or virtual. In contrast to other books, the present book takes a very broad, possibly all-inclusive perspective, on how people experience products. It thereby bridges gaps between several areas within psychology (e.g. perception, cognition, emotion) and links these areas to more applied areas of science, such as product design, human-computer interaction and marketing. The field of product experience research will include some of the research from four areas: Arts, Ergonomics, Technology, and Marketing. Traditionally, each of these four fields seems to have a natural emphasis on the human (ergonomics and marketing), the product (technology) or the experience (arts). However, to fully understand human product experience, we need to use different approaches and we need to build bridges between these various fields of expertise. Most comprehensive collection of psychological research behind product design and usability Consistenly addresses the 3 components of human-product experience: the human, the product, and the experience International contributions from experts in the field

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.

There currently exists an abundance of materials selection advice for designers suited to solving technical product requirements. In contrast, a stark gap can be found in current literature that articulates the very real personal, social, cultural and economic connections between materials and the design of the material world. In Materials Experience: Fundamentals of Materials and Design, thirty-four of the leading academicians and experts, alongside 8 professional designers, have come together for the first time to offer their expertise and insights on a number of topics common to materials and product design. The result is a very readable and varied panorama on the world of materials and product design as it currently stands. Contributions by many of the most prominent materials experts and designers in the field today, with a foreword by Mike Ashby The book is organized into 4 main themes: sustainability, user interaction, technology and selection Between chapters, you will find the results of interviews conducted with internationally known designers These ‘designer perspectives’ will provide a ‘time out’ from the academic articles, with emphasis placed on fascinating insights, product examples and visuals

"This book focuses on how literate artisans began to write about their discoveries starting around 1400: in other words, it explores the origins of technical writing. Artisans and artists began to publish handbooks, guides, treatises, tip sheets, graphs and recipe books rather than simply pass along their knowledge in the workshop. And they tried to articulate what the new knowledge meant. The popularity of these texts coincided with the founding of a "new philosophy" that sought to investigate nature in a new way. Smith shows how this moment began in the unceasing trials of the craft workshop, and ended in the experimentation of the natural scientific laboratory. These epistemological developments have continued to the present day and still inform how we think about scientific knowledge"--

First released in the Spring of 1999, How People Learn has been expanded to show how the theories and insights from the original book can translate into actions and practice, now making a real connection between classroom activities and learning behavior. This edition includes far-reaching suggestions for research that could increase the impact that classroom teaching has on actual learning. Like the original edition, this book offers exciting new research about the mind and the brain that provides answers to a number of compelling questions. When do infants begin to learn? How do experts learn and how is this different from non-experts? What can teachers and schools do-with curricula, classroom settings, and teaching methodsâ€"to help children learn most effectively? New evidence from many branches of science has significantly added to our understanding of what it means to know, from the neural processes that occur during learning to the influence of culture on what people see and absorb. How People Learn examines these findings and their implications for what we teach, how we teach it, and how we assess what our children learn. The book uses exemplary teaching to illustrate how approaches based on what we now know result in in-depth learning. This new knowledge calls into question concepts and practices firmly entrenched in our current education system. Topics include: How learning actually changes the physical structure of the brain. How existing knowledge affects what people notice and how they learn. What the thought processes of experts tell us about how to teach. The amazing learning potential of infants. The relationship of classroom learning and everyday settings of community and workplace. Learning needs and opportunities for teachers. A realistic look at the role of technology in education.

Jim Carpenter's 1994 dissertation, Weaving the Text, looks at his production of Hamlet from the previous year. Weaving the Text is the principal surviving document of his decades of collaboration and dialogue with his theatre students. It draws on pedagogical, hermeneutic, phenomenological, textual and acting theory -- but its focus is on the real-life experience of students and teacher.