Goals in Java

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If personas provide the context for sets of observed behaviors, goals are the drivers behind those behaviors. A persona without goals can still serve as a useful communication tool, but it lacks utility as a design tool. User goals serve as a lens through which designers must consider the functions of a product. The function and behavior of the product must address goals via tasks typically, as few tasks as absolutely necessary. Remember, tasks are only a means to an end; goals are that end.
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Goals motivate usage patterns
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People s or personas goals motivate them to behave the way they do. Thus, goals not only provide an answer to why and how personas desire to use a product but also can serve as a shorthand in the designer s mind for the sometimes complex behaviors in which a persona engages and, therefore, for their tasks as well.
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Goals should be inferred from qualitative data
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You usually can t ask a person what his goals are directly. Either he won t be able to articulate them, or he won t be accurate or even perfectly honest. People simply aren t well prepared to answer such questions accurately. Therefore, designers and researchers need to carefully reconstruct goals from observed behaviors, answers to
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5: Modeling Users: Personas and Goals
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other questions, nonverbal cues, and clues from the environment such as the titles of books on shelves. One of the most critical tasks in the modeling of personas is identifying goals and expressing them succinctly: Each goal should be expressed as a simple sentence.
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User goals and cognitive processing
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Don Norman s book Emotional Design introduced the idea that product design should address three different levels of cognitive and emotional processing, which he has called visceral, behavioral, and reflective. Norman s ideas, based on years of cognitive research, provide an articulated structure for modeling user responses to product and brand and a rational context for many intuitions long held by professional designers. Norman s three levels of cognitive processing are:
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Visceral The most immediate level of processing, in which we react to visual and other sensory aspects of a product that we can perceive before significant interaction occurs. Visceral processing helps us make rapid decisions about what is good, bad, safe, or dangerous. This is one of the most exciting types of human behavior, and one of the most challenging to effectively support with digital products. Malcolm Gladwell explores this level of cognitive processing in his book Blink. For even more in-depth study of intuitive decision making, see Gary Klein s Sources of Power or Hare Brain, Tortoise Mind by Guy Claxton. Behavioral The middle level of processing that lets us manage simple, everyday behaviors, which according to Norman, constitute the majority of human activity. Norman states and rightly so that historically, interaction design and usability practices have nearly exclusively addressed this level of cognitive processing. Behavioral processing can enhance or inhibit both lower-level visceral reactions and higher-level reflective responses, and conversely, both visceral and reflective processing can enhance or inhibit behavioral processing. Reflective The least immediate level of processing, which involves conscious consideration and reflection on past experiences. Reflective processing can enhance or inhibit behavioral processing but has no direct access to visceral reactions. This level of cognitive processing is accessible only via memory, not through direct interaction or perception. The most interesting aspect of reflective processing as it relates to design is that, through reflection, we are able to integrate our experiences with designed artifacts into our broader life experiences and, over time, associate meaning and value with the artifacts themselves.
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Part I: Understanding Goal-Directed Design
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Designing for Visceral Responses
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Designing for the visceral level means designing what the senses initially perceive, before any deeper involvement with a product or artifact occurs. For most of us, that means designing visual appearance and motion, though sound can also play a role think of the distinctive Mac power-up chord. Those of us designing devices may design for tactile sensations as well. A misconception often arises when discussing visceral-level design: that designing for visceral response is about designing beautiful things. Battlefield software and radiation-therapy systems are just two examples where designing for beauty may not be the proper focus. Visceral design is actually about designing for affect that is, eliciting the appropriate psychological or emotional response for a particular context rather than for aesthetics alone. Beauty and the feelings of transcendence and pleasure it evokes is really only a small part of the possible affective design palette. For example, an MP3 player and an online banking system require very different affects. We can learn a great deal about affect from architecture, the cinema and stage, and industrial design. However, in the world of consumer products and services, attractive user interfaces are typically appropriate. Interestingly, usability researchers have demonstrated that users initially judge attractive interfaces to be more usable, and that this belief often persists long after a user has gained sufficient experience with an interface to have direct evidence to the contrary.9 Perhaps the reason for this is that users, encouraged by perceived ease of use, make a greater effort to learn what may be a challenging interface and are then unwilling to consider their investment ill spent. For the scrupulous designer, this means that, when a user interface promises ease of use at the visceral level or whatever else the visceral promise of an interaction may be it should then be sure to deliver on that promise at the behavioral level.
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