Designing for Behavior in Java

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Designing for Behavior
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Designing for the behavioral level means designing product behaviors that complement a user s own behaviors, implicit assumptions, and mental models. Of the three levels of design Norman contemplates, behavioral design is perhaps the most familiar to interaction designers and usability professionals. One intriguing aspect of Norman s three-level model as it relates to design is his assertion that behavioral processing, uniquely among his three levels, has direct influence upon and is influenced directly by both of the other two levels of processing. This would seem to imply that the day-to-day behavioral aspects of interaction design should be the primary focus of our design efforts, with visceral and reflective considerations playing a supporting role. Getting design of behavior
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5: Modeling Users: Personas and Goals
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right assuming that we also pay adequate attention to the other levels provides our greatest opportunity for positively influencing the way users construct their experience with products. Not following this line of reasoning can lead to the problem of users initial impressions being out of sync with reality. Also, it is difficult to imagine designing for reflective meaning in memory without a solid purpose and set of behaviors in place for the here and now. The user experience of a product or artifact, therefore, should ideally harmonize elements of visceral design and reflective design with a focus on behavioral design.
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Designing for Reflection
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Reflective processing and, particularly, what it means for design is perhaps the most challenging aspect of the three levels of processing that Norman discusses. What is clear is that designing for the reflective level means designing to build longterm product relationships. What isn t clear at all is the best way to ensure success if that s even possible at the reflective level. Is it chance that drives success here being in the right place at the right time or can premeditated design play a part in making it happen In describing reflective design, Norman uses several high-concept designs for commodity products as examples such as impractically configured teapots and the striking Phillipe Starck juicer that graces the cover of his book. It is easy to see how such products whose value and purpose are, in essence, the aesthetic statements they make could appeal strongly to people s reflective desire for uniqueness or cultural sophistication that perhaps may come from an artistic or stylish self-image. It is more difficult to see how products that also serve a truly useful purpose need to balance the stylistic and the elegant with the functional. The Apple iPod comes very close to achieving this balance. Although its click-wheel navigation scheme is perhaps less than optimal in some respects, users visceral reaction to the product is tremendous, due to its elegant industrial design. Its reflective potential is also significant, because of the powerful emotional connection people experience with their music. It s a winning combination that no competitor has yet been able to challenge. Few products become iconic in people s lives in the way that, say, the Sony Walkman or the iPod has. Clearly there are some products that stand little chance of ever becoming symbolic in peoples lives like Ethernet routers, for instance no matter how wonderful they look or how well they behave. However, when the design of a product or service addresses users goals and motivations possibly going beyond the product s primary purpose, yet somehow connected to it via personal or cultural associations the opportunity for the creation of reflective meaning is greatly enhanced.
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Part I: Understanding Goal-Directed Design
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The three types of user goals
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In Emotional Design, Norman presents his three-level theory of cognitive processing and discusses its potential importance to design. However, Norman does not suggest a method for systematically integrating his model of cognition and affect into the practice of design or user research. In our practice, we ve found that the key to doing so lies in properly delineating and modeling three specific types of user goals as part of each persona s definition.10 Three types of user goals correspond to Norman s visceral, behavioral, and reflective processing levels:
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