This conference originally was driven by the need to move away from a purely functional approach to usability, and focused on a more experiential approach to human-product interaction. Now, the rationalization of the means for design and production leading to a relative standardisation of the products on the market, the sharp competition between the mature companies exhorts to take into account the aspects linked to the perceptions of the final users and to turn innovation into a more experiential approach to human-product interaction.

Important dates

Call for papers : November 2008
Deadline for Paper Submission : March 20, 2009
Peer review results sent to authors : May 30, 2009
Final paper uploading : July 15, 2009
Conference : October 13-16, 2009

Paper submission
Proposals must be submitted to the appropriate topic, as a single PDF file via the UploadSystem by the dates above.
Final submission papers (PDF) must be no larger than 5 Mo.

Poster submission
Proposals must be submitted as a single PDF file via the UploadSystem by the dates above.
Final submission papers (PDF) must be no larger than 3 Mo.

Demo submission
Proposals must be submitted in a one page presentation, as a single PDF file via the UploadSystem by the 15th of May, 2009.

Industrial Exhibition submission
Proposals must be submitted through email, to the contact in charge of industrial liaison, by the 28th of February, 2009.

FuTURN Innovation, the ground for co-emergence of experiences and technologies.
The scientific community taking part in this conference is a compilation of research experts from multidisciplinary backgrounds, i.e., the Industrial Design and Engineering Design as well as the Human Sciences. Its focus is on the exploration of the innovation processes through an experiential approach, inspired and ignited by the challenges of human comprehension.

The integration of their different approaches through a common ground, design, is quintessential to its undertaking.

+ 1 : Aesthetics for intelligent product and system design

Organizers : Philip Ross and Joep Frens, Eindhoven University of Technology, The Netherlands

Aesthetics is key in product design. Design is moving towards interactivity, product behaviour and system intelligence, in a setting that increasingly includes networks of multiple people and multiple products.

What does such intelligent product and system design entail in terms of aesthetics? It is clear that the notions of aesthetics in this context are manifold, and this diversity may be inherent to the subject.

Therefore we do not only aim to identify a common ground in this track, but also seek to chart the diversity of insights in this changing design research area.

This call is open to contributions both of a theoretical and practical nature, including but not limited to design approaches, theoretical insights or design examples
Papers that mutually connect design theory and design activity are particularly encouraged. A special invitation goes out to those that look into the future of product and system design, pairing intelligence and behaviour with aesthetics.

Please feel challenged to respond to the following questions, or to go beyond them:

What design approaches enable designing aesthetics in the context of intelligent products and systems?
How do the current theories and approaches hold in the upcoming domain of intelligent product and system design?
What relations can we find between specific notions to aesthetics and resulting designs?
What does aesthetics mean in networked system design?
How can we design intelligent product and system behaviour that is aesthetic?
Are there cultural, ethical or social implications to aesthetics in intelligent product and system design? And if so, what are they?
See litterature references

Literature suggests a broad range of notions that are deemed relevant to aesthetics in design, e.g., pragmatism (Shusterman, 2000; Petersen et al., 2004), aesthetics laws (Hekkert, 2006), narrative (Dunne & Raby, 2001), human values (Ross, 2008), richness (Frens 2006), resonance (Hummels, 2003). References
Dunne, A., Raby, F. (2001) Design Noir: The Secret Life of Electronic Objects. Basel: Birkhäuser. Frens, J.W. (2006). Designing for rich interaction - integrating form, interaction, and function. Drawing new territories; 3rd symposium of design research, Swiss Design Network, Switzerland. (pp. 91-106). Switzerland: Swiss Design Network.

+ 2 : Narrative design

Organizers: Ilpo Koskinen and Tuuli Mattelmäki, University of Art and Design Helsinki, Finland

Narratives are ubiquitous. People organize their world and make sense what is important in things through narratives. They also learn action: what motivated other people to do what they did. Narratives are one of the most important devices people use to keep< things in memory, and to retrieve these things from memory as well, often in embellished form.

Even more importantly, it is through narratives that people share experiences, values, and points of view. When we experience something new, we tell about it. We make our experiences understandable, and place them in context narratively. We explain our actions and give reasons for them narratively, and thus come to construct a joint world.

This track explores narratives in design. Designers gather user data through narratives, organize their observations through narratives - often in co-design sessions - create storyboards, and create priorities for their design narratively. It is also through narratives that various design elements such as physical design, practices, environments and their connections are envisioned or prototyped. We have narrative graphics, websites, products, textiles. We also have narrative interiors, cafés and restaurants, hotels, theme parks, events, and neighborhoods.

Our claim is that narratives are widely used in design process, but designers seldom tell about in detail how they work with them. This session invites papers that explore but are not limited to:

1. How designers use narratives at work: how they gather and analyze narrative user data, how they gain empathy through narratives and create designs using narrative means (for example, through scenarios and role playing), what roles narratives have in the design process and decision making, and what kinds of technical means they use to help working with narratives.

2. Narrative elements in actual designs. We encourage case studies and analyses of products based on narratives, including products (for example, Antti Eklund's Maus product series); services (for example, so called designer hotels, or boutique hotels, or chains like San Francisco Coffee and Ben & Jerry’s); events (for example, children’s historical tours and the Opening ceremony of Beijing Olympics); and even neighbourhoods and cities (for example, Autostadt in Wolfsburg, Germany, and Celebration, originally a Disney city in Florida).

3. What are the benefits of narratives in design: What are the settings and reasons for narrative approaches and how a narrative design methodology could produce not just understandable products, but also suspense, surprise, drama, and wow-effects

4. How narratives figure in co-design: how participants tell stories to share their experience; how they construct and maintain focus through narratives; and how the
actual structure for design emerges from/ with the help of narratives.

+ 3 : Pleasure of risk and risk of pleasure

Organizers: Pierre-Henri Dejean and Michel Le Chapellier, Compiègne University of Technology, France

To date, there is little research on the relationship between pleasure and risk.
For example, the standard definition of risk as “combination of the probability of occurrence of harm and the severity of the harm” is neither helpful nor well understood.

However, the risk-taking process, which is induced by careful evaluation or emotional impulse, may be a source of pleasure both for the designer and the user of a new product.

Should we move beyond a defensive safety culture and consider risk as a decisive factor for innovation?The present call for paper seeks testimony, track, both empirical and theoretical research addressing the risk-taking process and its pleasure, in a variety of human machines, systems and products.

Topics may include but are not limited:

Methods for designing risk and pleasure
Pleasure of risk
Pleasure and risk of the designer
Pleasure and risk of the user
Benefit of risk's control and pleasure

Domains of technological applications include but are not limited

Games
Medicine
Consumer products (electronic devices, food, cosmetics,…)
Simulation and training
Transportation systems

+ 4 : Products and services co-designed by Customers

Organizers : Francesca Rizzo, Francesco Zurlo, Politechnico di Milano, Italy

We are assisting to a proliferation of innovative products and services that are generated in conjunction with end users. The model of customer generated innovation, also with the help of web 2.0 capabilities, goes beyond the traditional involvement of end users through qualitative research (focus group, in deep interviews etc.) and it is based upon customers’ engagement on idea generations and product development. Lego’s model of co-creation is currently the one that excites the most because turns children and grown-up into producers. But other terrific examples of deep co-creation are ranging from digital media like videos and music samples to t-shirts, shoes and furniture (completely on-line conceived and designed by their final consumers), that would not have come to be, had end-users themselves not been involved in creating them.

This trend is putting through the mill the concept of a product being ready and complete and then purchased by a customer, is no longer the only valid model. Instead, many companies are defining strategies to create and manage continuous user driven innovation and make profit from it through co-design platforms and collaboration with lead users.

These some of the current questions that are animating the debate in the design field: What are the design strategies required to engage with products, services and experiences that are to be completed and built upon by users? How can we design for and with co-designers? How to scale up participation and what are the favorable conditions? What social and ethical considerations are involved? What methods and practices might be involved when development and use become connected? What are the characteristics of markets, companies, communities, products, services and experiences that cater this phenomenon?

This track intends to collect experiences/case studies/applications of co-creation design processes that have resulted in: new products; new services; new product service systems.

Possible areas of application include but are not limited:

products conception, design and distribution (fashion products, furniture products, digital device);
artefact design for social interactions (social media, virtual worlds, social networking, off and on line communities);
social services design (active welfare, traffic congestion, urban spaces, learning/teaching activities)
users generated content (webTv, blog, Participatory Journalism) ;
new application and service concepts related with co-designing processes;
new user interfaces or interaction phenomena related to co-design ;
ways of generating customer engagement in co-creation processes
managment and social aspects of co-designing;
effectiveness of co-designing processes.

+ 5 : Sensory and innovative product

Organizers : Jean-François Bassereau, Arts et Metiers-ParisTech, Régine Charvet Pellot, Louise Bonamy, RCP Design, France, Jean-François Petiot, Ecole Centrale Nantes, France

Innovation can be divided into two categories:
1) Incremental innovation, a process through small successive improvements. The products of one family group evolve gently.
2) Innovation by rupture. The products are submitted to a brutal mutation, that removes them away from their original family group.
Whether the innovation of a product is incremental or by rupture, both processes are technological. However, despite their predominant techno-centred aspects, the products are perceived (even unconsciously). The perceived aspects are the consequences of innovation, but the sensations they provide are not necessarily different from the previous products. Since the emergence of sensory assessment, designing the perceived aspects of a product is feasible. Designing the sensory aspect of products opens up new horizons to innovation.

Thereby, sensory design puts techno-centred innovations of products into perspective. Whereas technological innovations might be not perceived, a little innovation which creates a perceivable differences might be a rupture innovation. To put it clearly, taking into account the interactions Man/Product linked to sensations may generate a new type of innovation.

On this issue, we are eager to receive your contributions in this vast domain of innovative product and sensory.

A list of issues might help defining this domain without being restrictive:

What kind of innovative and sensory interaction between Man/Product covers this domain?
How can we apply sensory design to innovative product issues, including technological innovation?
How can we control the perceived aspects of innovative products? Which methodological tools should we use?
Which professions - evolutions in professions - could control the sensory design process of innovative products?
Which innovative products have specific undesired sensations, or sensations we cannot control? Which products have improved their innovative process when in contact with sensory design?
Submission
To stimulate debates and exchanges, we deeply encourage participants to determine their approaches and the methodological tools to use, the more accurately as possible. Please illustrate with genuine cases when possible.

+ 6 : Enaction design for Human World Interaction (HWI)

Organizers : Olivier Gapenne, Anne Guenand, Charles Lenay, Indira Thouvenin, Compiègne University of Technology, France

Inspired by the paradigm of enaction developed in biology and cognitive science, we suggest a specific approach in designing the products, devices and interfaces which could be digital or not, mediating the relations between humans and their physical or digital environments and based on the history of their interaction.
This approach focused on the active and constitutive relations between humans and the world through the devices is particularly aware to the circularity (or coupling), the embodiement (or materiality), the history (or constitution and genesis) and the experience (or proper world).
This session intends to promote both theoretical issues and practical cases of innovative works in design which are sensitive and dedicated to original design approaches for co-constitution of products and experiences that are given possible through mediatised Human World Interaction, design approaches based on contrasting the third and first person of the technological experience, new systems design enhancing the experience in both physical and virtual worlds, leading to better comprehend the factors for building “enactive interfaces” (constitution of guidelines, extraction of the invariants)
analysis of the interaction between the user and the world through the use of the product with the support of the gesture analysis and the digital possibilities design tools that support knowledge capitalization in collaborative sessions between designers. design physical and/or digital evolving machines or products for which the humans constitutes the environment,
comparing enactive, ecological and computational approach of the technological experience, considering all the multisensorial and multimodal coupling between humans and the environment as a sort of gesture which implies a chain of components as an operational closure (this chain could be completely mechanical, and in this case defined as ergotic in reference to Cadoz, but it could articulate the mechanical and the optical order which constitutes a big challenge in cognitive research and enaction design).
This session encourages works, theoretical or practical, which explore the possibilities of virtual, augmented and/or mixed reality in all the applications of the human mediatised environment, such as:

electronic devices, communication devices
ambient technologies
tactile technologies
intelligent systems
…

+ 7 : Skilled Interaction: Making people better at being good.

Organizers : Mads Vedel Jensen, Marcelle Stienstra, SPIRE Centre, The Mads Clausen Institute, University of Southern Denmark

“Skill, in short, is a property not of the individual human body as a thing-in-itself, but of the total system of relations constituted by the presence of the organism-person in a richly structured environment.” (Ingold 1996)

Through its relatively short life, interaction research has branched out in many directions, and we have witnessed a variety of trends running through the research community. We have seen interaction under headlines such as, among others; Tangible Interaction (Ullmer and Ishii 2000), Expressive Interaction (Djajadiningrat, Overbeeke et al. 2000), Embodied Interaction (Dourish 2001), Resonant Interaction (Hummels and Helm 2004), ‘Expected and Sensed’ Interaction (Benford, Schnädelbach et al. 2005), Movement Based Interaction (Klooster, Appleby et al. 2004; Moen 2007), ‘Collaborative’ Interaction (Hornecker, Marshall et al. 2007), and recently also Skilled Interaction (Djajadiningrat, Matthews et al. 2006; Jensen 2008).

In his influential book,‘Where the Action Is’, Dourish reflects on the history of interaction. He emphasizes the increasing number of skills we have been able to take advantage of interaction wise, in the evolution of the computer. Those are predominantly cognitive skills, such as linguistic and spatial skills and our ability to decode visual metaphors (Dourish 2001 pp. 5-13). About tangible computing, Dourish says that “it attempts to exploit our physical and spatial skills and to extend interaction into arenas where these skills can be brought to bear for smoother and more natural forms of interaction and expression” (Dourish 2001 p. 189). Here Dourish has focus on the fundamental skills that we build and nurture in our everyday interactions with the world.

We invite papers, which focus or touch upon specialized bodily skills, built and expressed in craftsmanship and manual work, of various sorts. Although these skills defy general description, we see them as a rich and compelling source of inspiration, and we welcome papers showing ways to expand and build on skilled practice through interaction design.
We encourage the discussion and creation of novel interaction that empowers the skilled user, interaction that makes him better at being good.
This session intends to promote both theoretical issues and practical cases of innovative works in design, which are sensitive and dedicated to:

Crafts and human movement, in particular skills and skill-building and skilled practice as inspiration for interaction design.
original approaches that highlight and discuss skilled practice in interaction design practical cases with a focus on skills and skill-building. in the fields of :
everyday electronic devices, from mobile phones to specialized industrial controllers.

+ 8 : Mastering emotional values in the early phase of the design process

Organizer: Jettie Hoonhout, Philips Research, Eindhoven, the Netherlands

The attention for affective aspects of products, and for tools to evaluate the affective quality of products is growing; however, such tools mostly target the later phases of product development; yet, it is at least equally important to have sufficient attention for tools, techniques and models that can be used in the very early phases of the development process – to support implementation of design aims, and ensure that affective targets can be translated into concrete design specifications.
This session encourages both more theoretical contributions around e.g. models that can be used to guide the development process, and practical cases demonstrating how the affective quality of a product or service was purposefully implemented right from the start, highlighting design approaches, tools and instruments that supported this.
In addition, papers may adress issues such as :

Emotional value of a product. How a system of emotional values can be constituted, and how such a set of values is then translated into concrete design decisions.
"Other" user experience depending on the class of products. I.e. when studying user experience, the focus often is on 'classical' user experience aspects such as usability, functionality, and increasingly on user experience qualities such as engagement, enjoyment, fun. However, many more user experience characteristics might be considered, depending on class of products; e.g. trust in case of financing or medical services, luxury in case of certain domestic appliances, challenge and surprise in case of entertainment related products.
Cultural aspects of the product in the early phase of design process. When considering user experience and affective qualities of products, it is quite often left undecided to what extent cross-cultural differences might play a role.
This session invites papers that explore the construction of the affective aspects of the products and present case studies, applications or experiences that result in

new products
new services
new concepts

+ 9 : Interaction design and tools for virtual prototyping

Organizers : Benoît Eynard, Compiègne University of technology, Samuel Gomes, Belfort-Montbeliard University of Technology, Lionel Roucoules, Arts et Metiers-ParisTech

Designing the product interfaces and man-product interactions are huge challenges during the whole product lifecycle. Virtual engineering and digital prototyping can be considered as key issues to enable the right design to fulfil the right need. In such a context, innovative methods and tools are required to explore, analyse, specify, prototype and manufacture the products offering the functions, forms, usages, and interaction characteristics awaited by end users. This session aims at providing a synthesis on theoretical and applied works in the field of virtual engineering, numerical prototyping, in managing the whole product lifecycle and validating its usage. Numerous questions still open:

How end user viewpoint can be effectively integrated in product design? Are end-users correctly involved in product specifications and validations?

How to take advantage of the virtual prototyping to trigger new needs and usage requirements ?
How human behaviour can be efficiently taken in account in virtual environment?

How to trigger emotional responses of potential users through the interaction with a virtual world and a digital prototype ?
What kind of tools can enable the emergence of new product usage striggering positive emotions? How can we validate the relevancy of these new devices leading to the new usages and new interaction modalities through the use of digital prototyping ?

Are digital and virtual reality technologies fulfilling the right needs to tackle the virtual prototyping issue? Do they have to be improved (i.e. what is the future of virtual engineering)?

How to garantee the acceptability of the products developped through digital prototyping ? What could be the possible approaches to include the end-user in the iterative loop of CAD and virtual design ?

The session should merge the scientific viewpoints and approaches in the field of industrial and engineering design,
product design ergonomics and human factors information technology, This session invites papers that explore the construction of the affective aspects of the products in digital environments and present case studies, applications or experiences that result in

new products
new methods
new tools
The technologies that are addressed by the session are but not limited to :

consumer goods
communication and electronic devices
transportation systems

+ 10 : Innovation centers
Organizers : Bruno Ramond, Thierry Gidel Compiègne University of Technology

Breakthrough innovation design is a topic that receives much attention in industry , and that has led in the recent 10 years to the development of many technocentres and centres for the exploration of future socio-technical innovations.

The ambition nursed by the UTC concerning its project for an innovation center is to have specific premises, which would be open to society, and more particularly to companies, which, like a true "villa Médicis of innovation", would welcome project carriers who would collaborate with our research units and benefit from our know-how and competencies. The innovation center, a truly inspirational place for interaction and creativity, would allow for the accomplishment of innovative projects by providing for the essential intersection of knowledge and skills which exceed and go beyond the initial theoretical basis. This center of innovation would contribute, with the backing of the Picardy Region, to enhance the UTC’s image in the fields of conception and innovation, establishing an efficient base for the dissemination of research and the development of industrial partnerships.

In this track we are seeking contributions from innovation centers which do innovation products or services.
A particularly attention and user experience related product qualities is clearly recognized as well.
DPPI is looking for contributions from innovative centers and industry, to share views and cases, showing how they do innovation and how they teach how they do.

+ Pre-conference workshop

The conference addresses questions on materializing visions on the human-world interaction by means of the highly-technological devices. Every researcher/practitioner who have a strong motivation to comprehend the human-world interaction, who strives at materializing for these interactions and who faces the question of acceptability by the market, will find a vibrant environment at DPPI in Compiègne in October 2009.

Conference Committees

Designing Pleasurable Products and Interfaces was born in 2003 in Pittsburgh. It welcomed people formerly involved in the International Conference on Affective Human Factors (Singapore 2001), Design and Emotion (Delft, 2002), and other venues. From 2003 onwards, DPPI has travelled around the world, in 2005 in Eindhoven, 2007 in Helsinki, and now in 2009 in Compiègne.
DPPI brings together designers, experts from industry, design researchers and students to propose new ways towards industrial innovation through advanced interactive design.

Scientific committee
Améziane Aoussat France
Jean-Paul Barthes France
Alain Bernard France
Jean-Claude Bocquet France
Jonathan C.Borg Malta
Brigitte Borja De Mozota France
Carole Bouchard France
Jean-François Boujut France
Patrick Bourdot France
Jacob Buur Denmark
Amaresh Chakrabarti India
Hervé Christofol France
Pieter Desmet The Netherlands
Alex Duffy UK
George Fadel USA
Alain Findeli France
John Gero USA
Caroline Hummels The Netherlands
Thimothée Jobert France
Frédéric Kaplan Swiss
Evelyne Klinger France
Lysiane Léchot Hirt Swiss
Chris McMahon UK
Stéphanie Minel France
Sally Jane Norman UK
François Pachet France
Pierre Rabardel France
Johan Redstrom Sweden
Sébastien Remy France
Simon Richir France
Jean-Claude Sagot France
Colin Schmidt France
Bernard Stiegler France
Serge Tichkiewitch France
Xiu Tian Yan UK
Sandor Vajna Germany
Bernard Yannou France

Secretary contact :
Fabienne Pierre
Tel : +33 (0)3 44 23 43 46
Email : fabienne.pierre@utc.fr