爱恨交织：科技与情感设计的复杂关系

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"设计我们爱恨交织" 《设计我们爱恨交织》是唐纳德·诺曼（Donald A. Norman）的一部作品，该书探讨了人类与技术之间复杂的情感关系，特别是围绕“情感设计”这一核心概念。诺曼是用户体验和人机交互领域的权威，他的著作深入浅出地剖析了日常生活中我们对技术既爱又恨的情感矛盾。 "Emotional Design"（情感设计）是本书的主题，它指的是设计师如何通过考虑产品或服务在情感层面对用户的影响来创建更吸引人的体验。诺曼指出，技术虽然极大地改变了我们的生活，但同时也带来了许多困扰。人们可能因为科技带来的便利而热爱它，却又无法忍受其使用过程中的种种不便和挫败感。这种情感上的爱恨交织，形成了一种稳定而复杂的关系。书中，诺曼引用了他的其他著作，如《无形的计算机》、《让我们变聪明的事物》等，展示他对人机交互和认知科学的深刻理解。他强调了用户中心的设计理念，即设计应以人为本，关注用户的情感反应和使用体验。通过理解用户的心理和行为，设计师可以创造出既满足功能需求又能触动人心的产品。《设计我们爱恨交织》还涵盖了诺曼对学习与记忆、人类信息处理、认知科学等多个领域的研究，揭示了人类与技术互动的心理机制。书中可能包括了关于汽车的信号如何成为其“面部表情”的讨论，以及如何从日常事物中提取设计灵感，以减少用户的挫败感，增强他们的满意度。诺曼的著作提醒我们，设计不仅是关于外观和功能，更是关于如何引发和管理用户的情绪反应。通过对技术的巧妙设计，我们可以缓解其带来的负面情绪，增强正面体验，从而构建更为和谐的人与技术关系。总结来说，《设计我们爱恨交织》是一部探讨情感在设计中的重要性的著作，它鼓励设计师不仅要考虑产品的实用性，还要关注它如何触动用户的情感，从而创造出让人们既爱又恨，但最终难以割舍的科技产品。

FIGURE 0.4

Three teapots: works of art in the window above the kitchen sink.

(Author's collection. Photograph by Ayman Shamma.)

ating a product, a designer has many factors to consider: the choice of

material, the manufacturing method, the way the product is marketed,

cost and practicality, and how easy the product is to use, to under-

stand. But what many people don't realize is that there is also a strong

emotional component to how products are designed and put to use. In

this book, I argue that the emotional side of design may be more criti-

cal to a product's success than its practical elements.

The teapots also illustrate three different aspects of design: viscer-

al, behavioral, and reflective. Visceral design concerns itself with

appearances. Here is where the Nanna teapot excels—I so enjoy its

appearance, especially when filled with the amber hues of tea, lit from

beneath by the flame of its warming candle. Behavioral design has to

do with the pleasure and effectiveness of use. Here both the tilting

teapot and my little metal ball are winners. Finally, reflective design

considers the rationalization and intellectualization of a product. Can

I tell a story about it? Does it appeal to my self-image, to my pride? I

Prologue: Three Teapots 7

This is so despite the common tendency to pit cognition against

emotion. Whereas emotion is said to be hot, animalistic, and irra-

tional, cognition is cool, human, and logical. This contrast comes

from a long intellectual tradition that prides itself on rational, logical

reasoning. Emotions are out of place in a polite, sophisticated society.

They are remnants of our animal origins, but we humans must learn

to rise above them. At least, that is the perceived wisdom.

Nonsense! Emotions are inseparable from and a necessary part of

cognition. Everything we do, everything we think is tinged with emo-

tion, much of it subconscious. In turn, our emotions change the way

we think, and serve as constant guides to appropriate behavior, steer-

ing us away from the bad, guiding us toward the good.

Some objects evoke strong, positive emotions such as love, attach-

ment, and happiness. In reviewing BMW's MINI Cooper car [figure

0.5], the New York Times observed: "Whatever one may think of the

MINI Cooper's dynamic attributes, which range from very good to

marginal, it is fair to say that almost no new vehicle in recent memory

has provoked more smiles." The car is so much fun to look at and

drive that the reviewer suggests you overlook its faults.

Several years ago, I was taking part in a radio show along with

designer Michael Graves. I had just criticized one of Graves's cre-

ations, the "Rooster" teapot, as being pretty to look at, but difficult

to use—to pour the water was to risk a scalding—when a listener

called in who owned the Rooster. "I love my teapot," he said.

"When I wake up in the morning and stumble across the kitchen to

make my cup of tea, it always makes me smile." His message seemed

to be: "So what if it's a little difficult to use? Just be careful. It's so

pretty it makes me smile, and first thing in the morning, that's most

important."

One side effect of today's technologically advanced world is that it

is not uncommon to hate the things we interact with. Consider the

rage and frustration many people feel when they use computers. In an

article on "computer rage," a London newspaper put it this way: "It

starts out with slight annoyance, then the hairs on your neck start to

8 Emotional Design

prickle and your hands begin to sweat. Soon you are banging your

computer or yelling at the screen, and you might well end up belting

the person sitting next to you."

In the 1980s, in writing The Design of Everyday Things, I didn't

take emotions into account. I addressed utility and usability, function

and form, all in a logical, dispassionate way—even though I am infu-

riated by poorly designed objects. But now I've changed. Why? In

part because of new scientific advances in our understanding of the

brain and of how emotion and cognition are thoroughly intertwined.

We scientists now understand how important emotion is to everyday

life, how valuable. Sure, utility and usability are important, but with-

out fun and pleasure, joy and excitement, and yes, anxiety and anger,

fear and rage, our lives would be incomplete.

Along with emotions, there is one other point as well: aesthetics,

attractiveness, and beauty. When I wrote The Design of Everyday

Things, my intention was not to denigrate aesthetics or emotion. I

simply wanted to elevate usability to its proper place in the design

world, alongside beauty and function. I thought that the topic of aes-

thetics was well-covered elsewhere, so I neglected it. The result has

been the well-deserved criticism from designers: "If we were to fol-

low Norman's prescription, our designs would all be usable—but they

would also be ugly."

Usable but ugly. That's a pretty harsh judgment. Alas, the critique

is valid. Usable designs are not necessarily enjoyable to use. And, as

my three-teapot story indicates, an attractive design is not necessarily

the most efficient. But must these attributes be in conflict? Can beauty

and brains, pleasure and usability, go hand in hand?

All these questions propelled me into action. I was intrigued by the

difference between my scientific self and my personal life. In science,

I ignored aesthetics and emotion and concentrated on cognition.

Indeed, I was one of the early workers in the fields that today are

known as cognitive psychology and cognitive science. The field of

usability design takes root in cognitive science—a combination of

cognitive psychology, computer science, and engineering, analytical

Prologue: Three Teapots 9

fields whose members pride themselves on scientific rigor and logical

thought.

In my personal life, however, I visited art galleries, listened to and

played music, and was proud of the architect-designed home in

which I lived. As long as these two sides of my life were separate,

there wasn't any conflict. But early in my career, I experienced a sur-

prising challenge from an unlikely source: the use of color monitors

for computers.

In the early years of the personal computer, color displays were

unheard of. Most of the display screens were black and white. Sure,

the very first Apple Computer, the Apple II, could display color, but

for games: any serious work done on the Apple II was done in black

and white, usually white text on a black background. In the early

1980s, when color screens were first introduced to the world of per-

sonal computers, I had trouble understanding their appeal. In those

days, color was primarily used to highlight text or to add superfluous

decoration to the screen. From a cognitive point of view, color added

no value that shading could not provide. But businesses insisted on

buying color monitors at added cost, despite their having no scientific

justification. Obviously, color was fulfilling some need, but one we

could not measure.

I borrowed a color monitor to see what all the fuss was about. I was

soon convinced that my original assessment had been correct: color

added no discernible value for everyday work. Yet I refused to give up

the color display. My reasoning told me that color was unimportant,

but my emotional reaction told me otherwise.

Notice the same phenomenon in movies, television, and newspa-

pers. At first, all movies were in black and white. So, too, was televi-

sion. Movie makers and television manufacturers resisted the

introduction of color because it added huge costs with little dis-

cernible gain. After all, a story is a story—what difference does color

make? But would you go back to black-and-white TV or movies?

Today, the only time something is filmed in black and white is for

artistic, aesthetic reasons: The lack of full color makes a strong emo-

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