From UXD to LivXD

Sylvie Leleu-Merviel, Professor in Information and Communication Sciences at Université Polytechnique Hauts-de-France, is also head of the DeVisu laboratory in visual and urban design and the DREAM school of audiovisual and digital media. She also co-manages the e-laboratory UNESCO Human Trace.Daniel Schmitt is Maître de conférences in Information and Communication Sciences at Université Polytechnique Hauts-de-France. His research focuses on lived experience and instrumented mediations of tangible and intangible heritages.Philippe Useille is Maître de conférences in Information and Communication Sciences at Université Polytechnique Hauts-de-France. His research is devoted to emerging forms and writings of information.

• Introduction xiSylvie LELEU-MERVIEL, Daniel SCHMITT and Philippe USEILLEPart 1. Epistemology and Concepts 1Chapter 1. From UXD (User eXperience Design) to LivXD (Living eXperience Design): Towards the Concept of Experiences of Life and their Design 3Patrizia LAUDATI and Sylvie LELEU-MERVIEL1.1. Introduction 31.2. The source of UXD 41.2.1. From design to user-centered design (UCD) 41.2.2. What is UXD? 51.2.3. The UXD approach in practice 71.2.4. Assessment 91.3. Beyond digital devices: from experience design to life experience design 101.3.1. The framework of the experience: spaces and living spaces 101.3.2. The practices of the places: living experience and visit experience 111.4. Views on experience 121.4.1. Experience according to Dewey 131.4.2. The conditions of experience according to Dewey 141.4.3. The meaning of experience according to Dewey 161.4.4. When Dewey anticipates Varéla 171.4.5. Theureau’s course of experience applied to the case of the visit experience 181.4.6. Françoise Héritier’s identity perspective 191.5. How can we design experience? 201.5.1. Is it possible to design experience? 201.5.2. How can we design the spatial framework of experience? 211.5.3. Criteria for the spatial preconfiguration of life experience: LivXD 211.6. Conclusion and perspectives 231.7. References 241.8. Webography 26Chapter 2. Thinking and Living “Experience”: Pragmatist Contributions from John Dewey 27Françoise BERNARD2.1. Introduction 272.2. Reading experiences: paths to experience in John Dewey’s work 282.3. John Dewey: a broad, constructed and argued pragmatism 312.4. A social philosophy open to multiple themes and practices 332.5. Conclusion 362.6. References 372.7 Webography 40Chapter 3. Paths Created by an Enactive-relativized Approach to Experience: the Case of Viewing Experience 41Charles-Alexandre DELESTAGE3.1. Introduction 413.2. Method of relativized conceptualization and enaction 423.2.1. On the subject of embodied cognition 423.2.2. Method of relativized conceptualization 453.2.3. Enaction 513.2.4. First theoretical contributions 533.3. From percept to concept 553.3.1. The body, a unit of consciousness 563.3.2. Communication perspective 633.3.3. Communicability of the lived experience 703.4. The horizon of relevance 723.4.1. Specific individual expectations and relevance: the case of viewing experience 733.4.2. Towards a horizon of relevance 773.5. Conclusion 813.6. Appendix: MRC summary 823.7. References 91Chapter 4. The Lived Experience as an Alternative to Digital Uses 93Philippe BONFILS, Laurent COLLET and Michel DURAMPART4.1. Introduction 934.2. A partial review of a scientific production linked to the questions of experience 944.2.1. Two references: enactivism and narrative semiotics 944.2.2. The prism of the relationship with the device 954.2.3. Shifting gaze, from interaction to the subject’s transformations 964.2.4. The literacy current 964.3. The lived experience in i3M Toulon research programs (IMSIC) questioning digital technology at school 974.3.1. Prerequisites: a context of paradoxical injunctions 984.3.2. An example of “diligence” 984.3.3. The bottom line: rigidities, immobilization and fears 1014.4. The lived experience in i3M Toulon research programs (IMSIC) questioning immersive environments and industry training 1024.4.1. The observation of a shift from uses to experiences to be lived 1024.4.2. From experience stories to testing 1044.5. Assessment: the lived experience and its methodological consequences in research 1064.6. Conclusion 1074.7. References 108Part 2. Experiences of Creation and/or Work 111Chapter 5. Sources of Video Mapping: a “Proto-narrativity” of a Musical Nature? 113Pascal BOUCHEZ and Philippe USEILLE5.1 Introduction 1135.2. Video mapping and narrativity: a musical chord? 1145.3 Parent-child interactions and proto-narrativity 1185.4. Proto-narrativity and configuration of the temporal experience 1205.5. Conclusion 1235.6. References 125Chapter 6. In the Minds of Artists? Study of the Situated Artistic Creation Experience 127Marine THÉBAULT and Daniel SCHMITT6.1. Creation: between myth and mystery 1276.2. Video mapping: a form of support for the study of creative experiences 1286.3. REMIND: a method for analyzing the artistic creation experience 1296.3.1. Summary of artists’ different courses of experience 1326.3.2. Discussion 1386.4. Conclusion 1396.5. Acknowledgments 1396.6. References 139Chapter 7. Participants’ Experience in an Optical Illusion Installation 143Khaldoun ZREIK and Ahmad ALI7.1. Preamble 1437.2. Visual perception and the art of optical illusion 1447.2.1. Visual perception in an optical illusion 1447.2.2. Geometrical-optical illusion 1467.3. Receiving visual data 1527.3.1. The spectator’s culture 1537.3.2. The spectator’s age 1547.3.3. The spectator’s gender 1547.4. Mediation in the search for perspective 1557.4.1. Anamorphosis 1557.4.2. Digital anamorphosis 1587.4.3. Lenticular printing 1597.5. The art of optical illusion 1617.5.1. Op Art: main features 1637.5.2. The art of optical illusion from a unique viewpoint 1657.5.3. The interactive optical illusion 1717.6. Design examples 1757.6.1. Unique perspective in the media 1767.6.2. Experiment at Le Chêne 1777.6.3. Spectator reactions to the installation 1797.6.4. Experiment in an open public space: description 1817.6.5. Spectator reactions 1837.7. Conclusion 1847.8. References 186Part 3. Experiences in Mediation and Training 187Chapter 8. The Concept of Experience in John Dewey’s Aesthetic Pragmatism: What are the Consequences for Cultural Mediation in the Museum? 189Jérôme HENNEBERT8.1. Introduction 1898.2. Aesthetic theory before John Dewey 1918.3. John Dewey’s aesthetic pragmatism: the continuity of art and existence 1958.4. Towards a descriptive redefinition of cultural mediation in museums 1988.5. Conclusion 2038.6. References 203Chapter 9. A Step Towards Experience Design in Museums 205Daniel SCHMITT and Virginie BLONDEAU9.1. Visitor experience and experience design 2059.2. Reducing the concept of experience 2069.3. REMIND, a method of accessing experience 2079.4. Objectifying visitor experience: the Iguane marin 2099.4.1. Analysis of the installation 2119.5. Objectifying your own experience: the Louise de Bettignies project 2129.6. A step closer to experience design? 2149.7. References 215Chapter 10. Towards Teaching Focused on the “Bridging Experience”: the Case of Urban Learning through Site Visits 217Smaïl KHAINNAR10.1. Introduction 21710.2. Theoretical part: experience, and bridging experience in pedagogy 21910.2.1. Experience: some conceptual milestones 21910.2.2. What place is there for the bridging experience in pedagogy? 22010.3. Application part: two site visits as experiential situations 22210.3.1. Research methodology and experimental protocol 22210.3.2. Results and discussion 22410.4. Conclusion and possibilities 22610.5. References 227Chapter 11. Design Games and Game Design: Relations Between Design, Codesign and Serious Games in Adult Education 229Julian ALVAREZ, Olivier IRRMANN, Damien DJAOUTI, Antoine TALY, Olivier RAMPNOUX and Louise SAUVÉ11.1. Introduction 22911.2. Definitions 23011.2.1. Design and codesign 23011.2.2. Design games 23111.2.3. Games 23211.2.4. Serious games 23211.2.5. Game design 23311.2.6. Gamification 23411.3. Exploring the links between design and serious games 23511.3.1. Design games and serious games 23511.3.2. Design games and game design 23511.4. The main approaches to designing a serious game 23911.4.1. Identification of different approaches 23911.4.2. Serious game design 24111.4.3. Gamification 24211.4.4. Degamification 24311.4.5. Serious gaming 24511.4.6. Review and discussion 24911.5. Conclusion 25011.6. References 251List of Authors 255Index 257