Examinando por Autor "Maya J."
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Ítem The Aesthetic Pleasure in Design Scale for Spanish Speaking Countries: A Method for the Cross-Cultural Implementation and Adaptation of Psychometric Scales(SPRINGER, 2019-01-01) Garrido-Possauner L.M.; Maya J.One of the main issues in the field of product aesthetics is the lack of consistency in the instruments and terms being used to assess it. Several scales have been used but with restricted validity and reliability; notwithstanding, the APID (Aesthetic Pleasure In Design) scale developed in English, as part of the UMA (Unified Model of Aesthetics) project, lacks these limitations. Our research, being in a Spanish speaking country, required the scale to be in Spanish to be comprised and applied to domestic respondents. The adaptation of psychometric instruments with conceptual and linguistic challenging constructs, often is difficult, as the items used to assess the construct do not always have a direct translation. Also, it is possible for the adapted version to require different items that were not considered in the original instrument in order to preserve the content’s equivalence according to the target culture. A qualitative-quantitative mixed approach is proposed in order to overcome these issues. The resulting instrument has been statistically tested, proving to be both valid and reliable for the measurement of aesthetic pleasure in design. The final scale consists of five items: bonito, hermoso, agradable, llamativo and me gusta. This paper aims to improve the understanding of how aesthetic pleasure is perceived and therefore expressed by the local respondents gaining insight into how this construct is mentally represented and categorized by the respondents. It also aims to illustrate how psychometric scales based on respondents’ vocabulary have a great potential as usability assessment instruments. © 2019, Springer Nature Switzerland AG.Ítem The Aware User Experience Model, Its Method of Construction and Derived Heuristics(SPRINGER, 2020-01-01) Maya J.; Ariza N.Psychological experience possesses many different determinants of affective, cognitive, and behavioral order in complex interaction and mostly hidden to our consciousness. User experience models face this complexity by presenting a reduced set of variables and interactions. Most of these models have been created on a deductive but also largely intuitive basis. This poses three problems: First, the UX models’ authors don’t propose a systematic response to the question of “how to know what variables use into the UX model?” Second, most UX models overlook the components that arise to the user’s consciousness. Third, even with this multitude of UX models, UX designers continue to rely heavily on intuition. Based on previous work, we propose the Aware UX Model, built systematically, and gathering empirical users’ data. It focuses on the components, mostly thoughts, and feelings, that arise in the user’s consciousness. The model provides their characterization and a rational account of its emergence in the UX. In addition, we propose a construction method for UX models based on our own process. We expose a case study to substantiate the Aware UX model and to contribute to its validation. Finally, we propose heuristics coupled to the Aware UX model components. © 2020, Springer Nature Switzerland AG.Ítem Construction of a repertoire of analog form-finding techniques as a basis for computational morphological exploration in design and architecture(SPRINGER, 2018-01-01) Patiño E.; Maya J.The article describes the process of constructing a repertoire of analog form-finding techniques, which can be used in evolutionary computation to (i) compare the techniques among them and select the most suitable for a project, (ii) to explore forms or shapes in an analog and/or manual way, (iii) as a basis for the development of algorithms in specialized software, (iv) or to understand the physical processes and mathematical procedures of the techniques. To our knowledge no one has built a repertoire of this nature, since all the techniques are in sources of diverse disciplines. Methodologically, the construction process was based on a systematic review of the literature, allowing us to identify 33 techniques where the principles of bio-inspiration and self-organization are evident, characteristics both of form-finding strategies. As a result, we present the repertoire structure, composed of five groups of techniques sharing similar physical processes: inflate, group, de-construct, stress, solidify and fold. Subsequently, the repertoire’s conceptual, mathematical, and graphical analysis categories are presented. Finally, conclusions of potential applications and research trends of the subject are presented. © Springer International Publishing AG, part of Springer Nature 2018.Ítem Dice preconceptions exploration card: A tool to avoid preconceptions among students in multidisciplinary entrepreneurship courses(Academic Conferences and Publishing International Limited, 2019-01-01) Molina V.; Maya J.Many difficulties could be saved if a team starts a project using a tool to promote a clear understanding of the terms they are going to use and the abilities of each member. Design, creativity, innovation, and entrepreneurship, have been studied from many different disciplines, sometimes giving diverse definitions and setting false expectations on what everyone does. The problem becomes larger when we take into consideration that interdisciplinary collaboration and integration on these fields is always promoted. So, when working with multidisciplinary groups, some participants use the terms indistinctively when discussing their new projects, particularly in the entrepreneurship class, bringing those incompatible, sometimes mistaken, views to the teamwork, making it necessary to discuss about their preconceptions. The aim of this paper is to propose a preconceptions exploration card as a pedagogical tool for entrepreneurship education in multidisciplinary groups that allows students to have that first discussion in which they can understand each other's discipline and strengths. To propose the card, we did a content analysis of expert literature to extract the most common words used to define each field and that way incorporate it to the tool. The tool consists of one first card, the preconceptions explorations card, to randomly be filled by one student on the definition, objectives, core concepts, the actors, and the context of one of the disciplines; the second, reference card, allows to compare the answers of the first card against what is defined in the literature on those disciplines. The paper contributes to relevant debates in education around the placing of value in multidisciplinary teaching, finding solutions for ill-defined societal challenges requires the integration of different knowledge fields. This century's main problems, such as water, poverty, environmental crises, violence, terrorism and destruction of social fabric can't be adequately tackled from the sphere of specific individualist disciplines. This poses a problem, since education systems are mostly monodisciplinary, resulting in experts in rather narrow fields. Although it is frequently attempted, the situation cannot be solved by creating teams of specialists in different areas around a given problem. This team approach only leads to an accumulation of visions emerging from the participating disciplines. © Proceedings of the 14th European Conference on Innovation and Entrepreneurship, ECIE 2019. All rights reserved.Ítem Experiential qualities of science museum exhibits: A thematic analysis(DESIGN SOC, 2017-01-01) Ocampo-Agudelo J.; Maya J.Designing and supporting the visitor experience with interactive exhibits in science museums is a complex endeavor, particularly because many factors are interrelated and its subjective and dynamic nature. Over the past two decades, a number of studies have addressed this subject from different perspectives. However, the majority of published work addresses only some aspects and most of them are under-Articulated. To address this issue, this article attempt to understand how different approaches relate and complement each other. A 'theoretical' thematic analysis was conducted to identify the essential constituent elements of the visitor experience with interactive science museum exhibits. The results of this paper indicate that the visitor, the interactive exhibit, the physical and social context, the engagement process, the learning experience and the science museum purpose are interconnected. Each element is reviewed and defined in detail, delineating its major characteristics.Ítem How should an entrepreneurship ecosystem be? Entrepreneurship ecosystems as an artifact of design(Academic Conferences and Publishing International Limited, 2017-01-01) Molina V.; Maya J.entrepreneurship ecosystems are the new trending topic in entrepreneurship research: We are trying to characterize them, measure them and even replicate them. However not many things are certain about them. Are these ecosystems just a collection of parts? If every entrepreneurship domain is present in a region, do we have an ecosystem? Until now entrepreneurship ecosystems, have been widely studied from a managerial and economic standpoint. There are some methods for measuring growth, startup creation and other economic results, but entrepreneurship ecosystems are more than numbers; cultural, social and human aspects in general have been underestimated. With this proposition of entrepreneurship ecosystems as design artifacts what the researchers are trying to portray is that fostering entrepreneurship ecosystems requires a human intervention, and a design approach may help to understand why some ecosystems flourish and some other perish. The main invitation of this paper is to leave preconceptions and usual managerial approaches to embrace the view from systemic design and understand entrepreneurship ecosystems as a complex system that is designed to promote the interactions of agents, the fascinating part of it, is that all of those new interactions, change the ecosystem and redesign it every time. Presenting the entrepreneurship ecosystems with a view from design can help us fill the gap between theory and practice when we try to foster an entrepreneurial ecosystem in a region. Adding the design approach could help policy makers and stakeholders of entrepreneurial ecosystems around the world to formulate better methods and practices to describe, model, propose and reconfigure the ecosystem. © 2018 Academic Conferences and Publishing International Limited. All rights reserved.Ítem Prototypical product shapes as a tool for aesthetic product design(DESIGN SOC, 2017-01-01) Maya J.; Betancur-Rodríguez D.The use of prototypical product shapes allows to structure and support the intuitive aesthetic design process. Prototypicality, a cognitive variable, is the extent to which an object represents a category: it shapes our aesthetic feelings with products, affects usability, makes up the products' look, and affects products' aesthetic evaluations and preferences. A mental prototype is a category's central element. We all have artifacts' prototypical information, however, designers are not aware and do not use it explicitly. These concepts have seldom been applied in design. Consequently, we explored how to use prototypical shapes for the aesthetic design process. 1. We proposed vectorising and interpolating 32 hand drawn Pepper Mills, PMs, to get the prototypical shape. In 2, we found the most innovative, original and typical PMs (n=74, 20 PMs). 3. We then used rules to explore aesthetic design possibilities and to transfer attributes to the prototypical PM shape. PMs' aesthetics, usability, and design pedagogy issues are discussed. We suggest a structured simple way to design the product's aesthetic for non-expert designers and applicable to other aesthetic cognitive variables.Ítem Towards measuring aesthetics in the classroom: A cross-cultural translation and adaptation of an aesthetic pleasure scale in design(Institution of Engineering Designers, The Design Society, 2018-01-01) Garrido-Possauner L.M.; Maya J.Measuring complex constructs has always been a big challenge for researchers and educators; aesthetic pleasure is not the exception. Many scales have been proposed but with limited validity and reliability; however, the aesthetic pleasure scale from the Unified Model of Aesthetics (UMA) lacks these shortcomings. Given that our research is in a Spanish speaking country, we needed the scale to be in the local language so that it could be understood when implemented with local respondents. Most translation methods rely on the translator’s expertise but, based on social cognitive methods, our approach aims to be not only constructed for but also from the target respondents’ language. The aim of this paper is to illustrate the process that is being taken in order to gain understanding of the respondent’s vocabulary. © 2018 Institution of Engineering Designers The Design Society. All Rights Reserved.