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A Methodology to Envision Emotion-Focused New Product Ideas
Future of Business and Finance
The Future of Business and Finance book series features professional works aimed at defning, analyzing, and charting the future trends in these felds. The focus is mainly on strategic directions, technological advances, challenges and solutions which may affect the way we do business tomorrow, including the future of sustainability and governance practices. Mainly written by practitioners, consultants and academic thinkers, the books are intended to spark and inform further discussions and developments.
Teresa Alaniz • Stefano Biazzo
Emotion-Driven Innovation
A Methodology to Envision
Emotion-Focused
New Product Ideas
Teresa Alaniz Director of Design Delivery and Strategist NiEW Modena, Italy
Stefano Biazzo Department of Management and Engineering University of Padua Padua, Italy
ISSN 2662-2467
Future of Business and Finance
ISBN 978-3-031-49876-3
ISSN 2662-2475 (electronic)
ISBN 978-3-031-49877-0 (eBook) https://doi.org/10.1007/978-3-031-49877-0
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Chapter 1 The Challenges of Generating Emotion-Focused Product Idea
1.1 Why Emotions Are Relevant in Product Innovation
This book is focused on the emotional dimension of a product from a design perspective: the problem of creating products with the intention of provoking specifc emotions (Desmet et al., 2016a; Hekkert & Van Dijk, 2011).
It is already known that interaction with a product can be the cause of emotional experiences, as any social interaction between people (Desmet et al., 2016b). Emotions establish a person’s position in a given situation: negative emotions move us away from products that do not represent a beneft, while positive emotions bring us closer to products that represent a beneft for our well-being (Desmet & Hekkert, 2007). Positive or negative emotions can be triggered by all designed products, services, technologies, and systems (Desmet, 2012).
Emotions can affect human cognition and behaviours: memory, attention, decision-making, and actions are guided by emotions. Emotion is defned as an event-focused, fast process composed of two steps: (1) the elicitation of the emotion, which involves mechanisms for evaluating events that may be considered relevant to a person and (2) the emotional response—which could be expressions, automatic reactions, and action tendency (Coppin & Sander, 2016).
For an emotion to occur, there must be a relationship with a specifc object (the stimulus). The stimulus could be a person, a situation, or an artefact.
This condition distinguishes emotions from moods and feelings. Moods and feelings are affective states that do not involve a specifc stimulus; moods, for example, do not arouse due to a specifc object but, more so, due to the general environment.
Emotions are intentional affective states; therefore, emotions are highly relevant in product experience (Desmet, 2002; Desmet & Hekkert, 2002; Dell’Era & Verganti, 2009, 2010; Verganti, 2017).
T. Alaniz, S. Biazzo, Emotion-Driven Innovation, Future of Business and Finance, https://doi.org/10.1007/978-3-031-49877-0_1
The accurate knowledge of the conditions that provoke emotions and the behavioural and experiential manifestations is referred to as emotion knowledge. This type of knowledge can be applied to all kinds of designs created for consumers— including product design, graphic design, food design, package design, and service design (Desmet et al., 2016a).
Professionals responsible for designing and developing new products should be able to understand the differences in emotions. It is not enough to understand emotions at a basic level.1 It is necessary to differentiate between emotions at a granular level. For example, negative emotions do not always represent a negative situation; by way of illustration, the emotion of fear can positively affect the behaviour of people—when person experiences fear the adrenaline level in his or her body increases, which makes this person have more energy to perform a certain activity (Fredrickson, 2013; Fokkinga & Desmet, 2014; Fokkinga, 2015). Different positive emotions can stimulate different behaviours for fulflment, health, or survival; for example, to feel pride, people are encouraged to achieve signifcant goals (Fredrickson, 2013).
The perceptions and thinking of consumers and their behaviours can be infuenced in a favourable way when the understanding of the nuances of the different emotions are applied strategically (Norman, 2003). Positive emotions stimulate purchase intentions, and products that provoke positive emotions are bought more often and are more enjoyable to use (Desmet, 2012).
In the design process, the knowledge of emotions can play an important role: emotions infuence how human minds solve problems, stimulate creativity, help to defne design goals, and support communication between design team members (Norman, 2003; Desmet et al., 2016a, 2016b). The application of the knowledge of positive emotions can stimulate lateral thinking, and professionals can deliver nonobvious or unexpected solutions by tackling different positive emotions; this situation can enhance the possibilities of product innovation (Yoon et al., 2016). In particular, positive emotions stimulate effective learning and creative thinking and encourage curiosity (Norman, 2003).
In order to obtain the benefts that the knowledge of emotions can bring when it is integrated into the design process, professionals need to be assisted with approaches to apply the knowledge of emotions systematically and strategically
1 Emotions can be structured into three levels: (1) the superordinate level, which differentiates between pleasant and unpleasant emotions; (2) the basic level, which represents emotion types— such as joy, anxiety, admiration, regret, and so forth; and (3) the subordinate level, which represents the fne distinctions of emotions—for example, eagerness and motivation (for inspiration) (Desmet, 2012).
1.2 Creating a Process for Designing Emotionally Relevant Products
Design is an interdisciplinary phenomenon in which many specialists participate in; it deals with situations, artefacts, and human interactions (Swann, 2002; Moultrie et al., 2007). Design research pursues an understanding of the phenomenon of design and boosts opportunities to design and develop successful products through the creation and validation of new tools (Blessing, 1995). In a manufacturing context, design requires the generation of knowledge to deliver direct benefts to the people or entities involved.
The process research methodology proposed by Platts (1993) opens opportunities to generate knowledge and provides practical support through the creation, development, and validation of processes. Moultrie et al. (2007) defned the process research methodology as ‘procedural action research’ (PAR).
Very frequently, managers confront the necessity of providing answers to crucial questions regarding the management of their companies; these questions can be categorised as ‘what?’ ‘why?’ or ‘how to?’. Different knowledge is needed to answer these types of questions; content knowledge created by scientifc disciplines predominates in ‘what?’ or ‘why?’ questions. ‘How to?’ questions are addressed by process knowledge created by engineering disciplines (Platts, 1993).
This book faces ‘how to?’ questions; these types of questions are aimed at creating, articulating, and communicating advanced knowledge through practical approaches that contribute to the design and development of products and systems (Archer, 1995; Cross, 1999; Platts, 2001; Eckert et al., 2003).
The process research methodology has been adopted to support the development of useful tools applicable to the industry. This includes a design audit tool used to improve design practices; the tool is presented in an applicable form to companies and employs good design principles. The process research methodology has also been implemented to develop a tool aimed at evaluating the design processes and identifying improvements made by design teams in workshop settings (Moultrie et al., 2006, 2007).
The book presents the result of a research project which has been carried out by adopting a process research methodology; it is an applied research methodology for creating, developing, testing, and refning processes. The major aim of this approach
Fig. 1.1 Process research methodology. The four phases
1 The Challenges of Generating Emotion-Focused Product Idea
is to develop processes that can be adopted in different contexts and by different companies. This methodology encompasses four main phases: (1) state-of-the-art review, (2) process creation, (3) process development, and (4) process validation, see Fig. 1.1 (Platts, 1993, 2001; Moultrie et al., 2006, 2007).
1.3 State-of-the-Art Review
This phase aims to ensure that the process is grounded in existing theory and practice, through a state-of-the-art review of methods aimed at supporting the design and development of products with emotional value. The state-of-the-art review has been conducted through a systematic literature review method; it supports the creation of a process based on relevant practices and existing theories. It has adopted the approach proposed by Tranfeld et al. (2003) following six main steps (see Fig. 1.2): (1) identifcation of research, (2) selection of studies, (3) study quality assessment, (4) data analysis, (5) data fndings, and (6) data synthesis.
A product can provoke emotions by its appearance, by the way it performs its function, by the values of the brand, and the symbolic meaning of the product2 (Jordan, 1999; Norman & Verganti, 2004; Eisenman, 2013; Rampino, 2011; Kamp & Desmet, 2014).
Fig. 1.2 Process research methodology, Phase 1—State-of-the-art review
2 The concept of ‘symbolic meaning’ is used here to refer to the set of beliefs associated to a specifc product; it is created by the tangible and intangible elements like material, price, advertising, product history, product’s designer, etc.
Assuming these facts, some questions emerge: do the companies are aware of the importance of emotion knowledge in their consumer products? If yes, what are the methods supporting companies to design and develop consumer products with emotional value? And, what are the diffculties that companies are addressing at designing and developing those consumer products?
As the objective of the research is to create a process to support product development teams to envision emotion-focused new product ideas, it was decided to investigate the state-of-the-art of methods aimed to support the design and development of products with emotional value. The exploration of the state-of-the-art has been done through a systematic literature review (SLR) method; the SLR adopted the approach proposed by Tranfeld et al. (2003). Figure 1.3 represents the entire process of the SLR carried out.
Identifcation of Research, Selection of Studies, and Study Quality Assessment
The identifcation of research started by applying two sets of keywords: emotions and product design OR product development OR industrial design in the title or in the abstract. The search resulted in 625 documents coming from very different areas. The selection of the relevant documents was made by adding another set of
Fig. 1.3 Systematic literature review process proposed by Tranfeld et al. (2003)
1 The Challenges of Generating Emotion-Focused Product Idea
keywords (emotional design OR design for emotion OR emotion-driven design). This additional set of keywords was necessary in order to focus the attention on research outputs linked to the practice of designing products with the explicit intention to provoke predefned emotions. The search resulted in 107 documents.
The analysis of the 107 documents obtained in the previous step, was made with two actions. First, after reading the abstract, documents that were not related to theory building, review of methods, and case studies on emotional design were eliminated. After this selection, 67 documents remained. Second, by full-text reading, 22 methods aimed to support the creation of new products with emotional value were identifed. Table 1.1 presents the list of methods.
Table 1.1 List of 22 methods aimed at supporting the creation of new products with emotional value
In order to evaluate the impact of the identifed methods in the practices of designing and developing new products, an innovation process model was adopted, as a reference framework for the analysis.
According to a large body of literature the innovation process consists of a range of activities that can be grouped in two main classes (Eppinger & Ulrich, 2015; Koen et al., 2001; Terwiesch & Ulrich, 2009), the front-end of innovation (FEI) focusing on creating new product ideas (opportunity-generation process) and the back-end of innovation (BEI), aimed at transforming ideas in products ready for the market (product development process). The two groups of activities are characterised by different objectives: the overarching goal of the FEI is to explore the innovation opportunities through the generation of a large number of ideas in order to fnd the exceptional ones; in the BEI, the main task is to transform the selected ideas and preliminary concepts in an engineered and production-ready product.
Different models of FEI have been proposed by academics and practitioners in the last 20 years (Gaubinger & Rabl, 2014; Khurana & Rosenthal, 1997; Koen et al., 2001; Murphy & Kumar, 1997; Russell & Donald, 2008). Despite the differences of the articulation of the FEI process and its graphical representations, it is possible to identify three fundamental components of the opportunity-generation efforts:
1. Knowledge acquisition on the evolution of the markets and technologies
2. Goal defnition to defne the ‘problem to solve’ and select the search area
3. Idea generation to identify exceptional innovation opportunities
Fig. 1.4 The innovation process model
As far as BEI is concerned, literature converges to represent the product development process as a combination of two fundamental phases (Eppinger & Ulrich, 2015; Iansiti, 1995; Verganti, 2009), a concept defnition phase (also defned as concept development), where alternative product concepts are generated and selected for further development and testing; and an implementation phase, where product and process engineering take place. Figure 1.4 provides a graphical representation of the innovation process framework.
The specifc location of ‘Design’ activities is underlined in accordance with the meaning of the word ‘Design’ that we adopt in this work: ‘Design’ is the activity to conceive and give form to products that solve problems (Ulrich, 2011) where the word ‘Form’ is defned as the ‘characteristic of a product that brings utilitarian, hedonic, and semiotic benefts to the user’ (Bloch, 2011).
It has been analysed the usefulness of the identifed methods in the different phases of the innovation process model. A three-level qualitative scale was adopted (*** strong, **medium, *weak). The objective of the method and the guidelines to use the method were key elements in the analysis. The guidelines to use the method were essential information in order to understand if the method is capable to achieve the intended objective. Due to the methods were created in different years and have different representations, the methods have been categorised into fve main classes.
1. A self-report method is verbal or nonverbal guide used to self-report the reactions of people towards different stimuli (e.g., product, event, and sounds).
2. A software method is a program performed by a computer using a specifc device.
3. A card-based method is a collection of cards.
4. A database method is an organised collection of information available online or in a storage device.
5. A questionnaire method is a series of questions or other prompts to get information from respondents.
The analysis of every method has been documented in a ‘method summary page’. The format contains the name of the method, the reference of the document, web reference, the declared objective of the method, a brief description, the approach to the emotion knowledge, the guidelines to use the method, the usefulness of the method in the innovation process, the category of the method, and a picture of the method.
Data Findings
From the analysis of the usefulness of the identifed methods in the innovation process, some critical considerations have been identifed. No method was found that supports the entire area of the innovation process (FEI or BEI) or the entire innovation process itself. It was discovered that the majority of the methods are particularly useful in the back-end of innovation, with 14 out of 22 methods falling into this category. These methods are primarily designed to assess
Three-level qualitative scale
1 The Challenges of Generating Emotion-Focused
emotional responses, report moods, measure pleasure experienced towards existing products, analyse specifc components of a product, evaluate product usage, and gauge reactions to sounds or other interactions with the product.
The identifed methods have different approaches to emotion knowledge. There are 12 methods with a specifc set of emotions (positive and/or negative); the number, the name, and the defnitions of the emotions differ between the methods. See Table 1.2 for detailed information.
From the methods with a specifc set of emotions, only four of these methods are useful in the front-end of the innovation process; two of these methods have the same framework of positive emotions (PEG cards and Emotion rainbow). The rest of the methods use different languages, adopting concepts like emotion categories, affect, and pleasure.
The methods with a well-defned set of emotions can better pursue the development of the competence of emotional granularity and therefore the objectives of the knowledge acquisition phase. Emotional granularity competence is the ability in which an individual can interpret and articulate her/his own and others’ emotional states (Yoon et al., 2016).
Even though there are two methods that declare the objective of defning the emotional intentions of the new product (EmoCards and PEG cards) these methods are not integrated with clear guidelines to pursue this objective. In particular, EmoCards method lacks guidelines to help designers at translating the information gathered in analysing existing products into the emotional intentions of the new product. Similarly, there are no indications on how to use PEG cards to identify specifc emotional objectives.
Regarding the idea-generation phase of FEI, we identifed four methods with medium or strong usefulness. As we have seen in the previous section, the [product & emotion] navigator and emotion rainbow are sort of databases that work as a source of inspiration; both methods can stimulate the imagination of people at generating ideas. The guidelines to use EmoCards in the idea-generation phase suggest an iterative process, which is composed of the development of a mock-up, the emotional evaluation of the mock-ups, and the refnement of the mock-up. However, the guidelines are not clear about how the designer should ‘match’ the user concerns into mock-ups. PEG cards methods in the idea-generation phase have the role of a creativity stimulus; the objective is the generation of a considerable number of product ideas through the random selection of a large number of specifc emotional cards. Those methods are similar to many other techniques to stimulate divergence and generate a considerable quantity of ideas; those techniques are useful to generate spontaneous solutions for simple problems but unrealistic to achieve specifc complex targets (Osborn, 1953). Figure 1.5 depicts the main fndings.
Data Synthesis
The following statements synthesise the fndings of the literature review.
Fig. 1.5 Main fndings of the systematic literature review
Statement 1: There is no method that systematically supports an entire area of the innovation process (FEI or BEI) or the entire innovation process.
Statement 2: Most of the methods are focused only on the back-end of the innovation process (14 out of 22).
The analysis of the literature highlights a signifcant challenge: none of the tools examined have the capability to comprehensively support all the essential elements of the front-end of innovation in an integrated manner. This presents a serious concern since the quality of front-end innovation outputs has a profound infuence on the entire innovation process (Murphy & Kumar, 1997; Koen et al., 2001; Russell & Donald, 2008).
Statement 3: On the front-end of innovation only four methods work with a welldefned framework of emotions.
The presence of a well-defned framework is crucial for cultivating the competency of emotional granularity, which proves advantageous in design activities (Yoon et al., 2016). Additionally, such competency can enhance the vocabulary shared between designers and managers, thereby fostering product innovation (Dell’Era et al., 2011).
Statement 4: None of the methods analysed to support the goal defnition phase.
As it has been stated before the goal defnition phase is a very critical phase in a creative process. The problem to be solved must be defned before entering the divergent activities of idea generation.
The innovation process model proposed by Buijs (2003) highlights the importance of a strategy-formulation phase preceding idea generation. This phase involves the team’s exploration of the strategic innovation trajectory to establish the direction
for their innovation endeavours. Similarly, the innovation process structure put forth by Roozenburg, (1995) underscores the signifcance of defning company objectives for the new product before embarking on idea generation. They refer to this phase as ‘policy formulation’. While the terminology differs between the two models, both highlight the crucial role of defning the major aims for the new product before proceeding with idea formulation. This step ensures a clear focus and alignment with organisational goals. However, despite the importance of this goal-defnition phase, there is a lack of established methods or approaches to support it.
Statement 5: The four methods that have been identifed as useful in the ideageneration phase do not give any specifc guidelines in the process of idea generation, as they work only as ‘creativity stimuli’.
There is an opportunity to create guidelines to simplify the complex problem of generating new product ideas with emotional value. The four tools that are useful in the idea-generation activities share the same characteristic: they have the objective to generate many product ideas, similar to the classic creativity techniques which are focused on fostering divergent thinking (Michalko, 2010). Those techniques are useful to generate spontaneous solutions for simple problems but unrealistic to achieve specifc complex targets (Osborn, 1953; Brown, 2009): how can product development teams be guided to generate strong and meaningful emotion-focused product ideas (thick ideas)? In this context, ‘thick idea’ refers to a product concept that’s deeply rooted in understanding specifc emotions; these ideas, enriched with attributes drawn from thoughtful consideration of emotional meanings, are designed to evoke precise emotional responses from users.
The aim of this book is to tackle the challenges outlined in the preceding fve statements by developing a process that not only supports but also fosters the generation of new product ideas with a focus on emotions. Our purpose is to make the complex task of generating new product ideas with emotional value less daunting and more structured.
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Zaman, B., & Shrimpton-Smith, T. (2006). The FaceReader: Measuring instant fun of use. In ACM international conference proceeding series (pp. 457–460). References
Chapter 2 Process Creation: Structuring the Emotion-Driven Innovation
2.1 The Structure of the Emotion-Driven Innovation Process
The emotion-driven innovation process aims to envision new emotion-focused product ideas. The process is created to support multidisciplinary teams in the design and development of new products. It pursues the integration of different professionals involved in the design and development of new products in order to stimulate fruitful environments for creativity and to generate solid decisions. The process was creating applying the Process research methodology (See Fig. 2.1. and 2.2). The fnal structure of the emotion-driven innovation process is presented in Fig. 2.3
A ‘process’ is as way of achieving an outcome and it can be characterised by four main elements (Platts, 1993):
1. Procedure. The steps or phases to go through
2. Purpose and outcome of each phase
3. Methods, which encompassed tools and guidelines (techniques) that defne the modus operandi and guide people in accomplishing specifc outcomes
4. Participants, the people involved in the process and their patterns of interaction
Emotion-driven innovation (E-DI) is a process to support product development teams in envisioning new emotion-focused product ideas. The E-DI process bases the creation of ideas on the experience, skills, and, crucially, on the emotions of the people involved in the process; this characteristic defnes E-DI as an inside-out front-end of innovation (FEI) process, where the vision of the new product stems from something that deeply represents the people involved in the team (Verganti, 2017).
The E-DI process is structured in three phases, each one with specifc methods that integrate tools and guidelines to achieve the general objective of the process.
T. Alaniz, S. Biazzo, Emotion-Driven Innovation, Future of Business and Finance, https://doi.org/10.1007/978-3-031-49877-0_2
Fig. 2.1 Process research methodology, Phase 2—Process creation
These methods are meant to support multidisciplinary teams (designers, engineers, marketers, managers, etc.).
2.2 Understanding and Using the Knowledge of Emotions
In order to generate new emotion-focused product ideas, people involved in the project need to develop the competence of emotional granularity, making this activity—Emotion Knowledge Acquisition—critical to the creation of the process.
Emotional granularity could permit better communication throughout the innovation process; also, it can facilitate creative activities and help to formulate the design goals (Desmet et al., 2016; Yoon et al., 2016). This phase aims to support the team in creating a panorama of emotions to work with. The panorama of emotions is the shared view of how the 19 positive emotions are experienced in a selected sample of the products in the market.
The emotional analysis of products uncovers the panorama of emotions that later will be the main input on the strategy defnition in Phase 2 of E-DI process. The Learning Game and Dots Game are the methods created for this phase of the process.
Learning Game Method
The Learning Game method consists of a set of cards and four guidelines for using the cards; it aims to develop the competence of emotional granularity and support the entire process. There are 19 emotion cards, each of which presents the name of the emotion, the defnition of the emotion, and the corresponding emotional-job-tobe-done. Figure 2.4 presents one example of emotion cards. There are also four
Fig. 2.2 Main discussions of the fve focus group sessions
cards representing the human-product emotional interactions; the interaction cards present the name of the interaction and the emotional design factors (see Fig. 2.5).
The four guidelines for using the cards were designed to prepare team members for the defnition of the emotional intention of the new product and to develop the competence of emotional granularity. The three guidelines are the following:
Fig. 2.3 Structure of the emotion-driven innovation process
1. Encounter the cards (individual activity)
It aims to be an introductory activity for becoming familiar with the cards, and the steps of the technique are presented below.
2. Share understanding (activity in pairs)
It develops emotional granularity by discussing the understanding of how different products can elicit the same emotion.
3. Prepare to create—option A (team activity)
It aims to enhance the granularity of the emotional language of the team. With this technique, we try to reduce ambiguity in the understanding of emotions.
Dots Game Method
It is a method aimed at creating a ‘panorama of emotions’ to be used when working with the new product. The panorama of emotions is the shared view of how the 19 positive emotions are experienced in a selected sample of the products present in the market.
The Dots Game comprises a matrix (see Fig. 2.6) and the guidelines to perform an emotional analysis of the selected products. The game should be played in team. In order to perform the Dots Game method properly it is important to have some experience with the Learning Game method. The more products are analysed, the stronger the panorama of emotions will be. The analyses should be made
individually but at the end of the activity, all the results must be combined to create the shared view. The guidelines are presented next.
Step 1: Identify the sample of the products
Select the products to analyse. The selection of products depends on the strategic objective of the innovation project in which the E-DI process is performed. It is recommended to make the selection before the analysis session.
Step 2: Refect
Using the emotion cards and the human-product emotional interaction cards as support, refect on the situations in which the selected products can provoke positive emotions. This activity must be done individually.
Step 3: Vote
Every member of the team has four dots to give. For each product, everyone must identify a maximum of four different emotions, but it is not mandatory to apply the four dots. The four dots are related to the four human-product emotional interactions; the idea is to capture the few key emotions that, from the experience of each person are evoked by the products.
Step 4: Count to visualise the panorama of emotions of the product sample
On the matrix page add the results of all members of the team.
Fig. 2.4 Example of an emotion card
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