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1、本科毕业设计文献翻译产品设计，语义和情绪反应Product design, semantics and emotional response学院（部）： 专业班级： 学生姓名： 指导教师： 2011年 6月 5日英文原文:Product design, semantics and emotional responseAbstractThis paper explores theoretical issues in ergonomics related to semantics and the emotional content of design. The aim is to find ans
2、wers to the following questions: how to design products triggering happiness in ones mind; which product attributes help in the communication of positive emotions; and finally, how to evoke such emotions through a product. In other words, this is an investigation of the meaning that could be designe
3、d into a product in order to communicate with the user at an emotional level. 1. Introduction Contemporary life is synonymous with accelerating social and technological change. Similarly, product design is being rapidly transformed through materials technology, production technology, information-pro
4、cessing technology and other processes. The changes in technology are occurring at a speed and scale beyond any expectation. The digital revolution is progressively turning the objects with which we interact into smaller and more intelligent black boxes, making it difficult for us to understand the
5、mechanism or the working method (Bolz 2000). Design therefore occurs in a different framework than before, with reference to social change, the conservation of resources and energy, emerging environmental problems, and customer-oriented trends (Ohira 1995, Jones 1997). Accordingly, whether driven by
6、 advertisement and marketing strategies, or by trends, fashion, and social events, users expectations from consumer products have been also changing. Functionality, attractiveness, ease-in-use, affordability, recyclability, and safety are all attributes that are expected to already exist in a produc
7、t. Users are expecting more from everyday products. Recent design trends show an inclination towards objects that inspire users, enhance their lives, help in triggering emotions or even in evoking dreams (Jensen 1999, Alessi 2000). Jensen predicts that the Dream Society is coming soon, following a s
8、ociety based on data, called the Information Society (1999). He adds that, as information and brainpower are becoming the realm of computers and high-tech, society will place new value on a human ability that has not been automated yet: emotion. Functionality is more and more taken for granted in pr
9、oducts, and users are looking for fulfillment at an altogether different level of appreciation. Imagination, myths, and rituals (being the language of emotion) will have an effect on our behaviors, ranging from our buying decisions to our communication with others (Jensen 1999). Furthermore, Khalid
10、(2001: 196) points out that the decision to buy can be momentary, so customer needs can then be created very quickly, while other needs are long established. Consequently, emotions and affect in general, have received increasing attention over the last few years (Velsquez 1998). Affect being defined
11、 as the consumers psychological response to the semiotic content of the product. Approaches to emotions and affect can be studied at many different levels and all offer different insights. As Velsquez points out, several models have been proposed for a variety of domains and environments. Some examp
12、les that he gives include the use of emotions to create synthetic agents with lifelike qualities and personalities (Bates 1994, Kline and Blumberg 1999, Elliott 1992, Reilly 1996) systems that reason about emotions in narrative (Elliott et al. in Velsquez 1998), systems that rely on emotional proces
13、sing to mediate social interactions (Breazeal in Velsquez 1998), and architectures that model the influences of emotions in behavior and learning (Camero 1997, Kitano 1994, and Seif El-Naser et al. in Velsquez 1998). Different approaches work best in different domains, and the decision to follow one
14、 or the other depends greatly on the specific goals and purposes of these models. Design directed by emotional content can be regarded as the heart of current design practices, research, and education. As Paul Hekkert (2002), the chairman of the Design & Emotions Society, says: “It is no longer suff
15、icient to design good products or services; we all want to design experiences and generate pleasurable or exciting sensations.” “But what do we really know about these experiences and products ability to evoke emotions? Can affective interactions be designed and how do designers and industries deal
16、with this new design paradigm?” The goal of this study is to reveal the semiotic nature of emotional responses in design products, as well as to explore affect programs concerning the relationship between product design and human experience. 2. Product semantics at the physical and cognitive level Product semantics was developed and introduced by
