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This study uses a critically acclaimed digital game as an instructional tool to explore the role of emotional design elements on psychological flow and perceived learning.

The authors employ transportation theory to generate a set of antecedents of psychological flow and the theory of flow to connect the gaming experience to positive learning outcomes. The authors investigate the subjective learning experience of players with the use of a psychometric survey, and the authors employ structural equation modelling (SEM) to unearth the direct as well as the indirect effects amongst narrative, aesthetics, flow and learning outcomes.

The findings of this study demonstrate that narrative and aesthetics in serious games positively influence the perceived learning by facilitating a state of psychological flow.

This study contributes to better understanding and theorizing the role of narrative and aesthetics on learning outcomes in the context of serious games.

The findings of this study bear valuable implications for the design of serious games as they highlight the importance of elements often disregarded as not directly related to the learning process and are typically absent from the design of serious games.

Prior studies have identified aesthetics and narratives as design elements that contribute to the perceived enjoyment of a game; this study empirically investigates the role of narratives and aesthetics in enhancing perceived learning through psychological flow.

Customization by segmenting within human–computer interaction is an emerging phenomenon. Appealing graphical elements that cater to user needs are considered progressively important, as the way a graphic is visually represented can greatly contribute to the interaction. However, aesthetic perceptions are subjective and may differ by target group. Understanding variations in user perceptions may aid in design processes; therefore, we set out to investigate the effects of demographic differences relating to perceptions of graphical user interface (GUI) element (i.e. game app icon) aesthetics.

The authors employed a vignette experiment with random participant (n = 513) assignment to evaluate 4 icons from a total of 68 pre-selected mobile game icons using semantic differential scales. This resulted in a total of 2052 individual icon evaluations. Regression analyses were performed with the effects of age, gender and time using graphical user interfaces (i.e. app stores) and the interactions of these variables relating to perceptions of GUI element aesthetics.

The results indicate that, overall, demographic factors have relatively little effect on how icons are perceived. Significant relations suggest that experienced users, younger audiences and women are more critical in their perception of aesthetic excellence, and that perceptions change for younger women. The implications of the findings are discussed via adaptive decision-making theory.

In the context of graphical user interface element aesthetics, demographic differences have received minimal attention as moderating variables regardless of their relevance in design and development. Hence, it merits further research.

This study aims to explore aesthetic atmospheres and their affordances in urban squares to advance knowledge on the research and design of attractive living environments.

Descriptions of pleasant and unpleasant experiences of urban squares were collected using qualitative questionnaires with open-ended questions. The theoretical framework and the lens of aesthetic affordances were applied to pinpoint and understand the connections between the place attributes and experiences.

This study found four distinct aesthetic atmospheres formed by perceived synergies of both the material and immaterial aspects of the environment. It was also found that the atmospheres may shift. A model that shows the aesthetic atmospheres and their potential affordances as layered and emerging is presented.

Everyday aesthetics considered as affordances open new research perspectives for the understanding of what generates attractive living environments – or not.

Aesthetics affordances may provide the design professionals and alike means on how to design places that engender specific aesthetic atmosphere.

Gathering and discussing commonplace aesthetic experiences in everyday life may enhance democratic participation in place development among people with different levels of design expertise.

This study combines theories of place with a novel concept of aesthetic affordances to identify distinct aesthetic atmospheres. A holistic overview structure of how the various constituents of aesthetic atmospheres relate to each other provides new ways of studying and understanding urban aesthetic atmospheres.

This study conceptualizes a form of luxury consumption in which luxury brands collaborate with unconventional non-luxury partners. These unconventional luxury brand collaborations are growing in popularity among Chinese luxury consumers of the post-1990s generation. Luxury brands are exploring new branding strategies due to the growing commercial importance of Chinese luxury consumers.

An in-depth qualitative study informs this paper. Interviews with young adult luxury consumers self-identifying as Chinese reveal a growing interest for luxury brands that collaborate with odd partners in social media and online culture.

Unconventional collaborations between luxury brands and non-luxury partners catalyze shifting meanings of luxury through the following juxtapositions: ephemeral instead of timeless, trendy rather than inaccessible, and playful in contrast with traditional. First, young Chinese consumers construct luxury meanings through ephemerality, like digital possessions, social media fame and fleeting experiences. Second, luxury meanings emerge in trendiness among social media influencers and online culture rather than in the seemingly inaccessible taste regimes of the upper class. Third, younger consumers appreciate fun, rebellious and over-the-top aesthetics in luxury brands.

The study contributes to the nascent field of unconventional luxury by conceptualizing how unusual, odd and unexpected collaborations constitute new forms of luxury consumption. The shifting meanings of luxury consumption that this study conceptualizes raise new opportunities and challenges for luxury brands. One of such is the release of limited collections with non-luxury partners seemingly at the opposite spectrum of design, image and values. Moreover, the study adds nuance to the understanding of luxury consumption among young Chinese consumers.

The aim of the study reported in this article was to establish whether the quality of clothes of a given brand is perceived and assessed by consumers at the same level. An additional purpose was to identify the features that characterize the quality of popular, among Polish young female consumers, clothing brands and to classify them according to their quality level (perceived and assessed).

The article presents two approaches to consumer assessment of the quality of clothes: the survey method, in which the product quality was determined by 320 Polish female young respondents (19–25) based on their own previous experiences and impressions related to a particular clothing brand, and a direct assessment of shirts of selected brands using a sensory quality assessment method, a five-point hedonic scale with the verbal anchor (115 evaluators).

The research has revealed a significant difference between the perception of selected quality features of brands and the consumer assessment of the products. The perception maps developed based on the PROFIT analysis (PROperty FITting) as well as on cluster analysis provided interesting information about the situation of selected brands and their features in comparison with others and allowed to identify strong and weak features characterizing a given category.

This study has several limitations. First and foremost, the research results cannot be generalized to all consumers because they encompass the results from one national context and one population of respondents (young females). It should also be noted that the conducted research comprises only the most popular clothing brands available on the Polish market, in particular, the fast fashion segment brands. Furthermore, it would be advisable to carry out a sensory assessment of the quality of other clothing items offered under the brand names investigated.

This research could be a valuable source of information for clothing company managers, thanks to which they could better manage their brand and its position on the market. When undertaking marketing activities consisting of building positive perceptions about the product, it is important to make sure that the product offers an attractive sensory experience. When real quality deviates from consumer perceptions about the quality, managers should take corrective actions to restore and even improve the brand image in the eyes of the consumer, as well as to ensure the brand and the products offered under it a stable position on the market.

By comparing two approaches to consumer quality assessment, discrepancies between declared and real (sensory) quality of clothes have been identified and the distinctive features that differentiate selected brands regarding their quality level have been indicated.

This paper aims to investigate the phases of new product development within the design-driven innovation (DDI) process, the role of designers and collaborators in the process and how this process relates to some quality principles.

This study adopted a qualitative approach using Gioia methodology. In particular, four Italian manufacturing companies in the home appliances and furniture industry were selected, and data mainly collected through direct interviews were analysed through content analysis.

The new product development related to DDI includes the following phases: the company brief, the designer research, the concept of the designer, the design, legal protection, prototyping, production and the market launch. Designers play a strategic role in the above phases of DDI, but other actors also cooperate and some quality principles affect positively on the process. This study proposes a model for a DDI process in the home appliances and furniture sector.

Although this exploratory study was conducted on only four companies, it advances the DDI research in relation to new product development.

This study makes recommendations to entrepreneurs and managers on how to innovate successfully and to effectively manage designers and collaborators to ensure competition.

This analysis highlights that design-based innovation contributes to improving the quality of life of consumers.

To the best of the authors' knowledge, this is the first qualitative study to examine the phases of new product development in DDI process, the actors involved and relationship to quality principles for the Italian home appliances and furniture sector.

The purpose of this paper is to introduce narrative distance as a phenomenon that can help create transformative learning experiences (TLEs). Narrative distance is defined as the cognitive or emotional space afforded by indirect communication that invites listeners to make sense of content. In ways similar to a book, movie or play, narrative distance invites participants to draw conclusions for themselves (Craddock, 2002).

After examining how other fields have discussed concepts related to narrative distance and its affordances, this paper illustrates how this phenomenon can satisfy many of Wilson and Parrish’s (2011) key indicators for TLEs.

Six principles are offered for incorporating narrative distance into instructional design.

Instructional design has not explored indirect communication that is similar to narrative in any significant way.

The nose length is the key design parameter affecting the aerodynamic performance of high-speed maglev train, and the horizontal profile has a significant impact on the aerodynamic lift of the leading and trailing cars Hence, the study analyzes aerodynamic parameters with multi-objective optimization design.

The nose of normal temperature and normal conduction high-speed maglev train is divided into streamlined part and equipment cabin according to its geometric characteristics. Then the modified vehicle modeling function (VMF) parameterization method and surface discretization method are adopted for the parametric design of the nose. For the 12 key design parameters extracted, combined with computational fluid dynamics (CFD), support vector machine (SVR) model and multi-objective particle swarm optimization (MPSO) algorithm, the multi-objective aerodynamic optimization design of high-speed maglev train nose and the sensitivity analysis of design parameters are carried out with aerodynamic drag coefficient of the whole vehicle and the aerodynamic lift coefficient of the trailing car as the optimization objectives and the aerodynamic lift coefficient of the leading car as the constraint. The engineering improvement and wind tunnel test verification of the optimized shape are done.

Results show that the parametric design method can use less design parameters to describe the nose shape of high-speed maglev train. The prediction accuracy of the SVR model with the reduced amount of calculation and improved optimization efficiency meets the design requirements.

Compared with the original shape, the aerodynamic drag coefficient of the whole vehicle is reduced by 19.2%, and the aerodynamic lift coefficients of the leading and trailing cars are reduced by 24.8 and 51.3%, respectively, after adopting the optimized shape modified according to engineering design requirements.

The “what is beautiful is good” (WIBIG) effect implies that observers tend to perceive physically attractive people in a positive light. The authors investigate how the WIBIG effect applies to user personas, measuring designers' perceptions and task performance when employing user personas for the design of information technology (IT) solutions.

In a user experiment, the authors tested six different personas with 235 participants that were asked to develop remote work solutions based on their interaction with a fictitious user persona.

The findings showed that a user persona's perceived attractiveness was positively correlated with other perceptions of the persona. The personas' completeness, credibility, empathy, likability and usefulness increased with attractiveness. More attractive personas were also perceived as more agreeable, emotionally stable, extraverted and open, and the participants spent more time engaging with personas they perceived attractive. A linguistic analysis indicated that the IT solutions created for more attractive user personas demonstrated a higher degree of affect, but for the most part, task outputs did not vary by the personas' perceived attractiveness.

The WIBIG effect applies when designing IT solutions with user personas, but its effect on task outputs appears limited. The perceived attractiveness of a user persona can impact how designers interact with and engage with the persona, which can influence the quality or the type of the IT solutions created based on the persona. Also, the findings point to the need to incorporate hedonic qualities into the persona creation process. For example, there may be contexts where it is helpful that the personas be attractive; there may be contexts where the attractiveness of the personas is unimportant or even a distraction.

The findings point to the need to incorporate hedonic qualities into the persona creation process. For example, there may be contexts where it is helpful that the personas be attractive; there may be contexts where the attractiveness of the personas is unimportant or even a distraction.

Because personas are created to closely resemble real people, the authors might expect the WIBIG effect to apply. The WIBIG effect might lead decision makers to favor more attractive personas when designing IT solutions. However, despite its potential relevance for decision making with personas, as far as the authors know, no prior study has investigated whether the WIBIG effect extends to the context of personas. Overall, it is important to understand how human factors apply to IT system design with personas, so that the personas can be created to minimize potentially detrimental effects as much as possible.