Escalator passenger comfort
Tiettyjä standardeja ja suunnitteludokumentteja käytetään määrittelemään sellaisia teknisiä parametrejä, jotka voivat vaikuttaa matkustajan aistihavaintoon liukuportaiden ajomukavuudesta. Laajemman ymmärryksen saamiseksi matkustajamukavuudesta tietoisesti koettuna ilmiönä, jota edeltävät useat kognitiiviset prosessit, voidaan tutkimuksessa käyttää heterofenomenologista lähestymistapaa. Tässä tutkielmassa liukuportaan ajomukavuuden kokemusta tutkittiin haastattelututkimuksella sekä tutkijahavainnoilla. Aineisto analysoitiin käyttäen tilastollista sekä spatiaaliskontekstuaalista analyysia. Tulokset osoittivat, että 50 % mukavuuden kokemuksesta voidaan ennustaa portaiden sekä käsikaiteen tärin…
From experiencing sites of past to the future of the Demolition Man and how graffiti fits to all
This paper explores the possibilities graffiti can provide to research user experience, focusing in those that might emerge in urban environments. The concept of User Experience (UX) can be seen as a consciously experienced phenomenon entailing for example biological, psychological and cultural, spatial and temporal aspects. Graffiti can be used as a tool to study experiences and meanings in physical and social places and practices. This can be done by studying direct experiences while completing a task, but also for example by narratives and memories involving graffiti. As the technology develops, it is incorporated in our lives, becoming more adaptive and virtual. This might have a strong…
Graffiti as a Palimpsest
Graffiti can be viewed as stories about embodied identities of the self and others which can be shared in intersubjective discourse, visual communication of varying content and motives, and utilizing specific technology and mediums. Graffiti’s palimpestuous nature, in its physical and symbolic forms of layering information, is present in production and perceiving graffiti. A creator and a reader of graffiti are both palimpsesting the work, acting as narrators of their own mental sheets. The concept of graffiti as a palimpsest can be exemplified for example in graffiti art where the interpretation of a work of art depends on the properties of the work, the perceiver and the social and instit…
The Good, the Bad and the Ugly Graffiti
Emotions play an essential role in aesthetic and art experience. Graffiti is an example of urban visual communication, and it can also be understood as a form of art. Like other works of art, graffiti can evoke different aesthetic emotions in its audiences, such as pleasure, wonder, interest and pride but also disinterest, disappointment or embarrassment, and even anger and disgust—further impacting, for example, how they value this art form. However, few studies have explored what kinds of emotions people feel when they appraise graffiti. This chapter discusses emotions in graffiti using examples from participant interviews in the Purkutaide study. Interview quotes are assessed against the…
Empathy in Technology Design and Graffiti
This paper discusses empathic understanding, what it means, and how it can be acquired. After an overview of some theories and models from the existing literature, two experiments are presented, where participants were assessing graffiti works. From the results of these experiments, it can be concluded that empathic understanding involves both embodied processes and abstract inferences. Furthermore, understanding can be based on perceived, mechanistic bodily similarities and movements or on folk-psychological inferences mentalized between the observer/empathizer and an object/empathized. Empathic understanding it can also be gained by recognizing and implementing learned bodily skills and c…
Graffiti and Street Art Research : An Outsider Perspective
In this paper we discuss our endeavours and experiences in the field of graffiti and street art research (GSAR) in the form of a dialogue. We reflect on planning and engaging with GSAR, contemplate our (field) work, analyse the methods we have developed, and shed light on the possibilities that arose during research processes. In particular, we focus on what it is like to do GSAR as outsiders, i.e. as those who are not writers or artists themselves, or who do research into a graffiti or street art scene that is foreign to them. peerReviewed