> For the complete documentation index, see [llms.txt](https://cultural-physics.gitbook.io/n/llms.txt). Markdown versions of documentation pages are available by appending `.md` to page URLs; this page is available as [Markdown](https://cultural-physics.gitbook.io/n/applications-per-discipline/experience-design.md).

# Experience Design

## Overview

Experience design (XD) is the discipline of shaping *the conditions under which perception occurs*. Unlike sound design (temporal rhythm), graphic design (spatial hierarchy), or motion design (kinetic narrative), experience design operates at the level of the *field itself*—orchestrating environment, interaction, sequence, and sensory modality into a coherent perceptual whole. The experience designer does not design objects. They design the *conditions for collapse*.

In Cultural Physics terms, experience design is the engineering of *perceptual fields*—structured environments that guide which collapses are possible, likely, or inevitable across multiple sensory channels and temporal scales. The experience designer is a **Stabilizer** (building coherent field conditions), a **Gatekeeper** (controlling access and sequence), and a **Heartstream engineer** (entraining collective nervous system states).

This research brief integrates embodied cognition, environmental psychology, interactive systems design, spatial computing, and industry practice into the Cultural Physics framework.

***

## Part 1: Core Concepts – What Experience Design Actually Does

#### 1.1 Defining the Experience Field

Experience design is often misunderstood as "UX for digital products." But the domain is far broader. Experience design applies wherever there is a *designed encounter* between a perceiver and an environment:

* **Physical spaces:** Museums, retail stores, airports, hospitals, theme parks
* **Digital interfaces:** Websites, apps, software, dashboards
* **Hybrid environments:** AR/VR/MR, interactive installations, smart spaces
* **Temporal sequences:** Events, performances, rituals, ceremonies
* **Service ecosystems:** Hospitality, healthcare, education, civic systems

What unites these domains is not the medium but the *logic*: the designer shapes the *conditions* under which the user perceives, acts, and makes meaning.

**Cultural Physics translation:** Experience design is *field engineering*. The designer does not control the collapse (the user's perception is ultimately their own). But they shape the *amplitude field*—the distribution of possible collapses—through environment, sequence, feedback, and constraint.

#### 1.2 The Shift from Objects to Systems

Traditional design disciplines (graphic, industrial, interior) focus on *objects*—the logo, the chair, the room. Experience design focuses on *systems*—the relationships between objects, the sequences of interactions, the feedback loops between action and response.

| Traditional Design | Experience Design        |
| ------------------ | ------------------------ |
| Designs artifacts  | Designs interactions     |
| Focuses on form    | Focuses on sequence      |
| Static outcome     | Dynamic process          |
| User as viewer     | User as participant      |
| Single touchpoint  | Ecosystem of touchpoints |

This shift is not merely additive. It is *transformative*. An experience is not the sum of its touchpoints; it is the *emergent property* of their interaction.

**Cultural Physics translation:** Experience design is *field-level design*. The artifact (a button, a room, a sign) is a *node*—a site of concentrated charge. The experience is the *trajectory* of collapses as the user moves through nodes, across thresholds (gates), and through sequences (temporal rhythms). The designer cannot control the user's collapse at each node, but they can shape the *field conditions* that make certain collapses more likely.

#### 1.3 The Three Horizons of Experience Design

Experience design operates across three temporal horizons:

| Horizon          | Timescale                                               | Focus                                   | Cultural Physics Role            |
| ---------------- | ------------------------------------------------------- | --------------------------------------- | -------------------------------- |
| **Anticipatory** | Before the experience (expectation, planning, arrival)  | Managing expectation, setting the basis | *Predictive template activation* |
| **Immediate**    | During the experience (interaction, perception, action) | Shaping collapse in real-time           | *Field condition engineering*    |
| **Reflective**   | After the experience (memory, meaning-making, sharing)  | Shaping what persists                   | *Gravity accumulation*           |

The most sophisticated experience designs manage all three horizons simultaneously. The anticipation sets the basis for the immediate collapse; the immediate collapse provides material for reflective meaning; the reflective meaning feeds back into future anticipation.

**Cultural Physics translation:** The three horizons are *temporal amplitude fields*. The designer shapes not only what happens *now*, but what the user expects to happen (anticipatory) and what they will remember happening (reflective). This is the experience designer's unique power: to shape perception across time, not only in the present moment.

***

## Part 2: Embodied Interaction – The Body as Interface

#### 2.1 The Embodied Turn in HCI

Human-Computer Interaction (HCI) was long dominated by *cognitivist* models: the user as information processor, the interface as input-output channel, the goal as task efficiency. The *embodied turn* (Dourish, 2001; Klemmer, Hartmann, & Takayama, 2006) challenged this, arguing that interaction is fundamentally *embodied*—shaped by the user's physical body, motor system, spatial perception, and situated context.

Key principles of embodied interaction:

* **Embodiment:** Meaning arises from physical action, not just mental representation
* **Spatiality:** Interaction is situated in physical and social space
* **Sociality:** Interaction is shaped by shared practices and cultural norms
* **Temporality:** Interaction unfolds through action and response in real time

**Cultural Physics translation:** Embodied interaction is the recognition that the *body is the primary interface*. The user does not "process information" through a screen; they *move through a field*, sensing, acting, and collapsing meaning through their whole nervous system. The experience designer who ignores the body is designing for a fiction.

#### 2.2 Action-Action Relationships (Schnell)

Norbert Schnell's concept of *action-action relationships* reframes interaction design: any action is not isolated but is always part of an *inter-action*, belonging to and becoming an interactive relationship.

This shifts focus from discrete actions (click, swipe, press) to *action sequences*—the temporal arc of initiation, continuation, and completion.

Schnell identifies several types of action-action relationships:

* **Causal:** Action A triggers Action B (press → sound)
* **Continuous:** Action A modulates Action B over time (drag → continuous pitch change)
* **Emergent:** Action A and Action B co-produce a third outcome not reducible to either (two players creating harmony)
* **Disruptive:** Action A interrupts Action B (an alert, an error, an unexpected event)

**Cultural Physics translation:** Action-action relationships are the *syntax of interaction*. They structure the sequence of collapses: A collapses, then B collapses in relation to A, then the relationship itself collapses into a new perception. The designer who engineers action-action relationships is choreographing the *order of collapse*—which is the essence of temporal experience design.

#### 2.3 The SOR Model: Stimulus, Organism, Response

The SOR model (Mehrabian & Russell, 1974) is a foundational framework for environmental psychology. It proposes:

* **Stimulus (S):** Environmental variables (light, sound, spatial layout, temperature)
* **Organism (O):** Internal states (emotion, cognition, physiological arousal)
* **Response (R):** Behavioral outcomes (approach, avoidance, engagement, satisfaction)

The critical insight: the relationship between stimulus and response is mediated by the *organism's internal state*. The same store environment (S) can produce different emotions (O) and different shopping behaviors (R) depending on the shopper's mood, personality, and prior experience.

**Cultural Physics translation:** The SOR model is *collapse mediation*. The stimulus is the amplitude field (the designed environment). The organism's internal state is the *observer's priors*—their somatic encoding, cultural conditioning, and current nervous system state. The response is the *collapse*—the committed perception and action that follows. The experience designer shapes the stimulus, but the collapse is always a co-production of stimulus and observer.

***

## Part 3: The Metaverse and Spatial Computing – New Fields, New Collapses

#### 3.1 The SOR Model in Immersive Environments

Recent research (Xia, 2025) applies the SOR model to metaverse museum experiences. The findings are directly applicable to Cultural Physics:

Key factors affecting user psychological immersion:

| Factor                             | Definition                                                    | Cultural Physics Translation                                                           |
| ---------------------------------- | ------------------------------------------------------------- | -------------------------------------------------------------------------------------- |
| **Interactive Entertainment (IE)** | Games, quizzes, touch-based exploration, gamified learning    | *Active collapse*—the user's actions directly determine the amplitude field            |
| **Escapist Experience (EE)**       | Sense of leaving the everyday world, entering another reality | *Membrane crossing*—the user passes through a perceptual gate into a different field   |
| **Educational Value (EV)**         | Learning, knowledge acquisition, skill development            | *Predictive template encoding*—the experience implants new categories and expectations |
| **Social Interaction (SI)**        | Chat, shared activities, collective meaning-making            | *Heartstream entrainment*—multiple nervous systems synchronize                         |

The study found that *Interactive Entertainment* and *Escapist Experience* were the primary drivers of immersion, outweighing passive educational content. Users wanted to *do* and *escape*, not just *learn*.

**Cultural Physics translation:** Immersion is *field coherence*. The more fully the user's nervous system collapses into the designed field (forgetting the external world), the more coherent the experience. Interactive Entertainment (active collapse) and Escapist Experience (membrane crossing) are the two most powerful levers for achieving this coherence.

#### 3.2 Multimodal Extended Realities: Interacting Across Spacetimes

Emerging research on "Multimodal Extended Reality" (M-XR) explores how users interact across simultaneous "spacetimes"—digital environments, augmented physical spaces, and remote locations, all at once.

Early findings suggest that users experience *spatial-temporal fragmentation* when these spacetimes conflict. A user in VR talking to a user on a phone experiences misalignment of presence, attention, and collapse.

**Cultural Physics translation:** Multimodal interactions require *basis alignment*. If different users are collapsing the same event through different measurement bases (VR vs. phone, immersive vs. distracted), their collapses diverge. The experience designer must either align the bases (making all participants use the same modality) or design for *branching*—different collapses for different participants, tolerated or even celebrated.

#### 3.3 Human-Agent Collaboration in Spatial Environments

As AI agents become more sophisticated, they are entering spatial environments as *co-participants*, not just tools. Research on "human-agent collaboration in spatial environments" (Pohl, 2025) examines how agents can collaborate in achieving tasks in spatial settings—understanding space, planning, communicating, and executing actions with humans.

Key findings:

* Agents must *situate* themselves in the user's spatial frame of reference (egocentric vs. allocentric, left/right vs. north/south)
* Agents must *negotiate shared attention*—knowing when to interrupt, when to wait, when to follow
* Agents must *adapt to user expertise*—providing more support for novices, more autonomy for experts

**Cultural Physics translation:** AI agents in spatial environments are **emerging cultural actors**. They possess functional intentionality (Searle) and can perform active maintenance (Section 2.4) of the interaction field. But they lack *somatic stake* (Section 2.3)—they cannot feel the chill of a successful collaboration or the unease of a failed one. The designer must therefore *embed somatic proxies*—simulated stakes that guide agent behavior toward human-aligned collapses.

***

## Part 4: Sequence, Pacing, and Rhythm

#### 4.1 The Arc of Experience: Tension and Release

Every designed experience has a temporal structure—a beginning, a middle, an end. The most memorable experiences follow a recognizable arc:

| Phase              | Function                                                 | Cultural Physics Translation                                   |
| ------------------ | -------------------------------------------------------- | -------------------------------------------------------------- |
| **Onboarding**     | Establish the basis; set expectations; orient the user   | *Basis selection*—defining the measurement frame               |
| **Rising action**  | Increase engagement; introduce challenges; build tension | *Amplitude building*—increasing the intensity of collapses     |
| **Climax**         | Peak emotional, sensory, or cognitive intensity          | *Chill-state induction*—the moment of maximal somatic aperture |
| **Falling action** | Resolve tension; provide closure; integrate meaning      | *Descent*—returning the nervous system to baseline             |
| **Coda/Exit**      | Reinforce memory; invite return; close the loop          | *Gravity anchoring*—embedding the experience in memory         |

This arc is not arbitrary. It mirrors the structure of narrative (Freytag's pyramid), ritual (Turner's liminality → communitas → reintegration), and physiology (sympathetic activation → peak → parasympathetic recovery).

**Cultural Physics translation:** The experience arc is the *temporal gravity well*. The designer shapes the trajectory of collapses over time, moving the user from baseline (coherent but low activation) through elevation (higher activation, narrower focus) to climax (maximal aperture) and back to baseline (integrated, transformed). Without descent (p. 107–111), the user remains elevated—the experience becomes unresolved and potentially destabilizing.

#### 4.2 Pacing and Tempo

Pacing refers to the *rate* at which experiences unfold. Too fast, and the user cannot keep up; collapses become shallow, fragmentation occurs. Too slow, and the user becomes bored; collapses stop occurring altogether.

Key pacing variables:

* **Event density:** The number of significant interactions per unit time
* **Variation:** The degree of change between successive events (low variation = repetitive; high variation = unpredictable)
* **Predictability:** The degree to which the user can anticipate what comes next
* **Recovery time:** The space between peaks, allowing the nervous system to process

**Cultural Physics translation:** Pacing is *collapse rate*. The designer controls how frequently the user must collapse new meaning. Optimal pacing matches the user's processing capacity: not so fast that collapses are incomplete (shallow gravity), not so slow that collapses stop altogether (drift). The expert experience designer knows how to *breathe*—pushing the rate up during peaks, pulling it back during valleys.

#### 4.3 The Ritual Structure of Experience

Victor Turner's analysis of ritual (p. 26, 107–111) is directly applicable to experience design. Turner identified three phases:

1. **Separation:** The participant is detached from their previous social structure and role
2. **Liminality (margin):** The participant enters a "betwixt and between" state, neither here nor there, suspended between identities
3. **Reaggregation:** The participant is reincorporated into the social structure, now transformed

This structure appears in everything from religious initiation to onboarding flows to theme park rides. The user *separates* from everyday life (buying a ticket, entering a queue), enters a *liminal space* (the ride, the virtual world, the ritual), and is *reaggregated* (exiting, receiving a photo, buying merchandise).

**Cultural Physics translation:** Ritual structure is *field transformation*. The user enters one field (everyday perception), passes through a gate (the threshold), collapses into a different field (the experience world), and returns transformed. The experience designer who ignores ritual structure is building experiences without *ontological stakes*—the user is never truly "out of their world," and thus never truly transformed.

***

## Part 5: The Industry in Transformation (2025-2026)

#### 5.1 Experience Design as Strategic Capability

Experience design has moved from a *tactical* discipline (UI polish, UX fixes) to a *strategic* capability that shapes product, brand, and business model.

Current XD leadership roles in major organizations:

* VP of Experience
* Chief Experience Officer (CXO)
* Head of Service Design
* Director of Immersive Experience

**Cultural Physics translation:** Experience design has been recognized as *field engineering*—not a support function but a core strategic lever. Organizations that understand experience as the site of perception collapse have an advantage over those that still think of "user experience" as screen-level usability.

#### 5.2 The Shift from Screen to Space

The dominant paradigm of experience design for the past two decades has been *screen-based*: websites, apps, software. The emerging paradigm is *spatial*: AR, VR, MR, voice, gesture, environment.

| Screen-based XD                 | Spatial XD                                        |
| ------------------------------- | ------------------------------------------------- |
| 2D interfaces                   | 3D environments                                   |
| Click/tap interaction           | Gaze, gesture, voice, movement                    |
| Single channel (usually visual) | Multimodal (visual, auditory, haptic, vestibular) |
| Individual, private             | Social, shared, or hybrid                         |
| Task-focused                    | Experience-focused                                |

**Cultural Physics translation:** Spatial XD is *full-field collapse*. The user is not looking *at* an interface; they are *inside* the field. Every sensory channel contributes to the amplitude distribution. This is simultaneously more immersive (higher potential coherence) and more risky (higher potential for sensory conflict and decoherence).

#### 5.3 The Role of AI in Experience Design

AI is transforming XD across multiple fronts:

| Application                 | Description                                                                       | Current State                                                            |
| --------------------------- | --------------------------------------------------------------------------------- | ------------------------------------------------------------------------ |
| **Generative environments** | AI creates 3D spaces, textures, lighting, soundscapes on demand                   | Emerging—quality improving, real-time constraints remain                 |
| **Adaptive experiences**    | AI adjusts pacing, difficulty, content based on user state (biometrics, behavior) | Early commercial deployment (gaming, fitness)                            |
| **Procedural narrative**    | AI generates story branches, character dialogue, plot events in real time         | Research stage—limited to specific genres                                |
| **Intelligent agents**      | AI characters that perceive, act, and adapt within the experience                 | Rapidly improving—still lacks long-term memory and deep social reasoning |
| **Experience analytics**    | AI analyzes user behavior to identify friction, drop-off, and opportunity         | Widely deployed (product analytics, session replay)                      |

**The critical shift:** AI moves experience design from *static* (one-size-fits-all) to *dynamic* (adaptive to the user in real time). But adaptation raises ethical questions: *Who controls the adaptation? What data is collected? Does the user know the experience is changing for them?*

**Cultural Physics translation:** AI enables *real-time field tuning*. The amplitude field can be adjusted moment by moment based on the user's behavior, biometrics, or demographic profile. This increases the potential for *resonance* (field tuned to user) but also the risk of *manipulation* (field tuned to extract behavior). The ethical experience designer must be transparent about adaptation and give users control over their data.

#### 5.4 Accessibility as Field Condition

Accessibility has moved from *compliance* (meeting legal standards) to *design philosophy* (designing for the full range of human bodies and minds). This shift is directly relevant to Cultural Physics: different bodies have different nervous systems, different priors, different collapse patterns.

Key accessibility considerations for XD:

* **Motor:** Users with limited mobility, tremor, or fine motor control issues
* **Sensory:** Users with low vision, blindness, hearing loss, or sensory processing differences
* **Cognitive:** Users with learning disabilities, memory impairments, attention differences, or executive function challenges
* **Vestibular:** Users prone to motion sickness, vertigo, or balance disorders
* **Trauma:** Users with triggers related to sudden movement, loud sounds, flashing lights, or specific content

**Cultural Physics translation:** Accessibility is *field inclusivity*. A field that collapses cleanly for one body may decohere for another. The ethical experience designer does not design for the "average user" (who does not exist). They design *flexible fields*—amplitude distributions that can be collapsed in multiple ways depending on the observer's capacities and needs.

***

## Part 6: Ethical Dimensions – The Responsibility to Shape Fields

Experience design wields unique power: the power to shape *what the user perceives, feels, and remembers* across time. This power must be wielded with corresponding responsibility.

#### 6.1 Dark Patterns Revisited

Dark patterns are user interfaces designed to trick users into actions they did not intend. The same logic applies to experience design at the field level:

| Dark Pattern Type     | Mechanism                                       | Cultural Physics Translation                                                           |
| --------------------- | ----------------------------------------------- | -------------------------------------------------------------------------------------- |
| **Confirmshaming**    | Guilt-tripping users who decline an option      | *Amplitude weighting through negative affect*                                          |
| **Forced continuity** | Making subscription cancellation difficult      | *Gravity without gate*—the exit is blocked                                             |
| **Hidden costs**      | Revealing fees only after commitment            | *Late collapse*—the full amplitude field is hidden until partial collapse has occurred |
| **Misdirection**      | Visually emphasizing one option, hiding another | *Basis hijack*—the measurement frame is rotated without consent                        |
| **Roach motel**       | Easy to enter, difficult to leave               | *Attractor with no repellor*—gravity without escape                                    |

**Cultural Physics translation:** Dark patterns are *manipulative field engineering*. They exploit the user's collapse tendencies (Gestalt, Prägnanz, expectation) to produce outcomes the user would not have chosen if the full amplitude field had been transparent. The ethical experience designer does not hide the field; they *illuminate* it.

#### 6.2 Attention Extraction

The business model of many digital experiences is *attention extraction*: keeping the user engaged as long as possible to show more ads, collect more data, or drive more transactions. This model is in direct tension with user well-being.

**Attention extraction mechanisms:**

* Infinite scroll (no natural endpoint)
* Variable rewards (slot machine feedback loops)
* Push notifications (interruptions designed to pull attention)
* Recommendation algorithms (optimized for engagement, not user value)

**Cultural Physics translation:** Attention extraction is *field capture*. The experience is designed not to serve the user's collapses but to *prevent the user from leaving the field*. The user is trapped in a gravity well of their own clicks, unable to reach the escape velocity of disengagement. This is the opposite of rhythmic descent (p. 107–111)—the user is kept elevated, never returned to baseline.

#### 6.3 Responsible Experience Design Principles

Emerging principles for ethical experience design:

1. **Transparency:** Users should know what the field contains and how it will adapt to them.
2. **Control:** Users should be able to adjust the field's parameters (pace, intensity, modality, data collection).
3. **Designed Descent:** Every elevated experience should have a structured path back to baseline (p. 107–111).
4. **Accessibility as Default:** Fields should be designed for the full range of human bodies from the start, not retrofitted.
5. **Field Autonomy:** Users should be able to leave the field easily—exit should be as frictionless as entry.
6. **Meaningful Collapse:** Experiences should aim for genuine transformation, not mere engagement.

**Cultural Physics translation:** Responsible experience design is *field stewardship*. The designer is not a puppet master pulling the user's strings. They are a *host*—creating the conditions for the user's own collapses to unfold, supporting them, and ensuring they can leave transformed rather than trapped.

***

## Part 7: Research Agenda for Cultural Physics – Experience Design

| Research Area                         | Questions                                                                                                                                                      | Methods                                                                                               |
| ------------------------------------- | -------------------------------------------------------------------------------------------------------------------------------------------------------------- | ----------------------------------------------------------------------------------------------------- |
| **Field coherence measurement**       | How can we measure the coherence of an experience field in real time? What biometric, behavioral, or self-report metrics correlate with coherence?             | Multimodal sensor integration (EEG, ECG, GSR, eye tracking) + experience sampling                     |
| **Pacing as collapse rate**           | What is the optimal collapse rate for different experience types (learning, entertainment, healing, ritual)?                                                   | Controlled variation of event density with outcome measures (retention, satisfaction, transformation) |
| **Ritual structure transfer**         | Can ritual structures from traditional cultures (initiation, pilgrimage, healing ceremony) be translated into secular experience design without appropriation? | Ethnographic analysis + design translation studies                                                    |
| **AI-adaptive field ethics**          | How can we design adaptive experiences that respect user autonomy? What transparency and control mechanisms are sufficient?                                    | User testing with adaptive vs. static conditions; qualitative interviews about perceived manipulation |
| **Trauma-informed experience design** | How do different field parameters (pacing, intensity, control, predictability) affect users with trauma histories?                                             | Clinical collaboration; user testing with trauma-informed protocols                                   |
| **Field exit and descent**            | What are the minimal conditions for a user to leave a field feeling resolved rather than abandoned?                                                            | Post-experience interviews; longitudinal follow-up                                                    |
| **Cross-cultural field design**       | How do different cultural priors affect collapse patterns in designed experiences?                                                                             | Cross-cultural comparative studies; localization testing                                              |

***

## Summary: Experience Design in One Page

\| **Core Mechanic** | Experience design shapes the *field conditions* for collapse—environment, sequence, interaction, and sensory modality |

**Embodied Interaction** | The body is the primary interface; meaning arises from action, not just representation |

**SOR Model** | Stimulus (field) → Organism (observer's internal state) → Response (collapse and action) |

**Ritual Structure** | Separation → Liminality → Reaggregation (Turner); the arc of transformation |

**Pacing and Rhythm** | Collapse rate; event density; recovery time; optimal pacing matches user capacity |

**Spatial vs. Screen XD** | 2D interfaces → 3D environments; task-focused → experience-focused; individual → social |

**Industry Shift (2025-2026)** | XD as strategic capability; spatial computing; AI-adaptive fields; accessibility as design philosophy |

**AI Impact** | Real-time field tuning; adaptive pacing; generative environments; raises ethical questions of transparency and control | 

**Ethical Risk** | Dark patterns (basis hijack); attention extraction (field capture); no designed descent (elevated without return) |

**Key Scholars/Practitioners** | Dourish (embodied interaction), Klemmer et al. (embodied HCI), Turner (ritual structure), Mehrabian & Russell (SOR model), Schnell (action-action relationships), Norman (user-centered design) |

***

## Plain Text Source List (Experience Design)

Dourish, P. (2001). Where the Action Is: The Foundations of Embodied Interaction. MIT Press.

Klemmer, S. R., Hartmann, B., & Takayama, L. (2006). How bodies matter: Five themes for interaction design. Proceedings of DIS 2006, 140–149.

Mehrabian, A., & Russell, J. A. (1974). An Approach to Environmental Psychology. MIT Press.

Norman, D. A. (1988/2013). The Design of Everyday Things (Revised ed.). Basic Books.

Pohl, H. (2025). Human-agent collaboration in spatial environments. In P. D. N. Pohl, T. Holstein, & M. G. O. (Eds.), Open Access Publications (Forthcoming). University of Hamburg.

Schnell, N. (2013). Action-action relationships. In The Oxford Handbook of Interactive Audio. Oxford University Press.

Shedroff, N. (2001). Experience Design 1.1: A Manifesto for the Design of Experiences. Experience Design Books.

Turner, V. (1969). The Ritual Process: Structure and Anti-Structure. Aldine.

Xia, Y. (2025). Interactive motion graphics development: User experience design themed on the 24 solar terms integrating biological rhythms. Molecular & Cellular Biomechanics, 22(3), 884.

***

This research brief establishes the foundation for a full *Experience Design* section in the Cultural Physics document. When you are ready, we can proceed to **Architecture** following the same structure.