This paper explores the intersection of user experience and museums through interactive and immersive exhibits. It discusses the background and history of the art museum and the field of UX and describes how interactivity and immersion impact visitors and change…
This paper explores the intersection of user experience and museums through interactive and immersive exhibits. It discusses the background and history of the art museum and the field of UX and describes how interactivity and immersion impact visitors and change the exhibit development process. The implications of interactive and immersive exhibits on the museum space are detailed including: social media, the authenticity of objects, and the commodification of experience. It is argued that despite the drawbacks of interactivity and immersion in the museum, the potential benefits of audience engagement and social connection make them worth pursuing.
Date Created
The date the item was original created (prior to any relationship with the ASU Digital Repositories.)
"No civil discourse, no cooperation; misinformation, mistruth." These were the words of former Facebook Vice President Chamath Palihapitiya who publicly expressed his regret in a 2017 interview over his role in co-creating Facebook. Palihapitiya shared that social media is ripping…
"No civil discourse, no cooperation; misinformation, mistruth." These were the words of former Facebook Vice President Chamath Palihapitiya who publicly expressed his regret in a 2017 interview over his role in co-creating Facebook. Palihapitiya shared that social media is ripping apart the social fabric of society and he also sounded the alarm regarding social media’s unavoidable global impact. He is only one of social media’s countless critics. The more disturbing issue resides in the empirical evidence supporting such notions. At least 95% of adolescents own a smartphone and spend an average time of two to four hours a day on social media. Moreover, 91% of 16-24-year-olds use social media, yet youth rate Instagram, Facebook, and Twitter as the worst social media platforms. However, the social, clinical, and neurodevelopment ramifications of using social media regularly are only beginning to emerge in research. Early research findings show that social media platforms trigger anxiety, depression, low self-esteem, and other negative mental health effects. These negative mental health symptoms are commonly reported by individuals from of 18-25-years old, a unique period of human development known as emerging adulthood. Although emerging adulthood is characterized by identity exploration, unbounded optimism, and freedom from most responsibilities, it also serves as a high-risk period for the onset of most psychological disorders. Despite social media’s adverse impacts, it retains its utility as it facilitates identity exploration and virtual socialization for emerging adults. Investigating the “user-centered” design and neuroscience underlying social media platforms can help reveal, and potentially mitigate, the onset of negative mental health consequences among emerging adults. Effectively deconstructing the Facebook, Twitter, and Instagram (i.e., hereafter referred to as “The Big Three”) will require an extensive analysis into common features across platforms. A few examples of these design features include: like and reaction counters, perpetual news feeds, and omnipresent banners and notifications surrounding the user’s viewport. Such social media features are inherently designed to stimulate specific neurotransmitters and hormones such as dopamine, serotonin, and cortisol. Identifying such predacious social media features that unknowingly manipulate and highjack emerging adults’ brain chemistry will serve as a first step in mitigating the negative mental health effects of today’s social media platforms. A second concrete step will involve altering or eliminating said features by creating a social media platform that supports and even enhances mental well-being.
Date Created
The date the item was original created (prior to any relationship with the ASU Digital Repositories.)
This study exmaines the effect of in-vehicle infotainment display depth on driving performance. More features are being built into infotainment displays, allowing drivers to complete a greater number of secondary tasks while driving. However, the complexity of completing these tasks…
This study exmaines the effect of in-vehicle infotainment display depth on driving performance. More features are being built into infotainment displays, allowing drivers to complete a greater number of secondary tasks while driving. However, the complexity of completing these tasks can take attention away from the primary task of driving, which may present safety risks. Tasks become more time consuming as the items drivers wish to select are buried deeper in a menu’s structure. Therefore, this study aims to examine how deeper display structures impact driving performance compared to more shallow structures.
Procedure. Participants complete a lead car following task, where they follow a lead car and attempt to maintain a time headway (TH) of 2 seconds behind the lead car at all times, while avoiding any collisions. Participants experience five conditions where they are given tasks to complete with an in-vehicle infotainment system. There are five conditions, each involving one of five displays with different structures: one-layer vertical, one-layer horizontal, two-layer vertical, two-layer horizontal, and three-layer. Brake Reaction Time (BRT), Mean Time Headway (MTH), Time Headway Variability (THV), and Time to Task Completion (TTC) are measured for each of the five conditions.
Results. There is a significant difference in MTH, THV, and TTC for the three-layer condition. There is a significant difference in BRT for the two-layer horizontal condition. There is a significant difference between one- and two-layer displays for all variables, BRT, MTH, THV, and TTC. There is also a significant difference between one- and three-layer displays for TTC.
Conclusions. Deeper displays negatively impact driving performance and make tasks more time consuming to complete while driving. One-layer displays appear to be optimal, although they may not be practical for in-vehicle displays.
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The date the item was original created (prior to any relationship with the ASU Digital Repositories.)
When cartographers and graphic designers create maps they choose typefaces. Often, serif and sans serif typefaces are paired together to represent different information on a map. Typefaces have a communicated tone and choosing the correct typeface combination to send the…
When cartographers and graphic designers create maps they choose typefaces. Often, serif and sans serif typefaces are paired together to represent different information on a map. Typefaces have a communicated tone and choosing the correct typeface combination to send the intended message can be challenging. The purpose of this study was to create an analysis of the aesthetic characteristics of typeface pairings to assist map creators when choosing typefaces. An online survey was utilized to collect responses from graphic designers who have been trained in at least one year or more in design from a higher education institution. There were 30 participants in the study and they scored 24 typeface pairings, 12 differentiating and 12 superfamily, on 48 maps. Scoring was done on eight aesthetic characteristics: friendly, whimsical, cheap, neutral, bland, corporate, serious and modern. The researcher conducted an analysis of each typeface’s microaesthetics and then compared these to the survey’s scored aesthetic characteristics. It was concluded that there are many factors that go into comparing the typeface pairings of serif and sans serif typeface combinations. However, a selection of a superfamily typeface pairing is better than selecting a differentiating pairing. Future research should focus on conducting studies with a varying amount of typeface styles. Also, to include less maps per survey and a survey completion status bar.
Date Created
The date the item was original created (prior to any relationship with the ASU Digital Repositories.)