Quantifying aesthetics of visual design applied to automatic design

In today\u27s Instagram world, with advances in ubiquitous computing and access to social networks, digital media is adopted by art and culture. In this dissertation, we study what makes a good design by investigating mechanisms to bring aesthetics of design from realm of subjection to objection. These mechanisms are a combination of three main approaches: learning theories and principles of design by collaborating with professional designers, mathematically and statistically modeling good designs from large scale datasets, and crowdscourcing to model perceived aesthetics of designs from general public responses. We then apply the knowledge gained in automatic design creation tools to help non-designers in self-publishing, and designers in inspiration and creativity. Arguably, unlike visual arts where the main goals may be abstract, visual design is conceptualized and created to convey a message and communicate with audiences. Therefore, we develop a semantic design mining framework to automatically link the design elements, layout, color, typography, and photos to linguistic concepts. The inferred semantics are applied to a design expert system to leverage user interactions in order to create personalized designs via recommendation algorithms based on the user\u27s preferences

Only Screen Deep? Evaluating Aesthetics, Usability, And Satisfaction In Informational Websites

This thesis explores the role aesthetics plays in informational websites. In commercial interfaces, aesthetics (the perceived visual appeal and appropriateness of an object) has shown to correlate positively with many aspects of usability and emotional satisfaction. This thesis examines whether aesthetics has similar positive correlations in informational websites. Heuristics or guidelines for evaluating informational websites are developed based on empirical research and practitioner expertise. Categories for heuristic evaluation include usability, credibility, visual clarity, visual richness, and emotional satisfaction. A class of graduate students browsed three academic websites, evaluated them, and critiqued the heuristics. Results indicate that aesthetics does correlate with overall impression, usability, satisfaction, and credibility. The data also suggests that there are two dimensions of aesthetics: visual richness and visual clarity. Overall impression correlated with the average of all categories. The heuristics used in this pilot study are now ready to be tested on a larger population

Design e processamento cognitivo de informação online : um estudo de Eye Tracking

Tese de mestrado. Multimédia. Faculdade de Engenharia. Universidade do Porto. 200

Narrative and Performance : Components and Attributes of Conceptual Paradigm of Interaction Form

학위논문(박사) -- 서울대학교대학원 : 미술대학 디자인학부 디자인전공, 2022.2. 정의철.컴퓨터와 관련 기술이 폭발적으로 발전하고 편재화, 일상화되면서 그 상호작용에 대한 논의는 다각화되었다. 그 중 사용성에 대한 논의는 태동에서부터 이슈를 바꿔가며 지속적으로 중심에 있었고 현재도 유효하다. 반면 인터랙션의 디자인에 있어서 기존 디자인의 조형 개념들과는 차별화된 확장적 고려가 필요함에도 불구하고 집중된 연구가 이루어지지 못했다. 본 연구는 인터랙션의 미적 조형을 개념적으로 구조화하고 그 구성 요소들이 미적 경험의 발현에 작용하는 속성을 도출하여 체계화하는 것을 목표로 한다. 이를 위해 인터랙션 조형을 개념 정의한 후 모형의 형태로 제시하고, 이를 구성하는 핵심 요소로서 ‘내러티브’와 ‘퍼포먼스’의 차원을 유관 미학의 논의를 차용하고, 그 세부적인 구성 메커니즘과 속성을 발견하여 제시하고 사례를 중심으로 관계성을 예증하였다. 이어, 실험과 응용 연구를 통해 제시된 개념 모형과 내러티브, 퍼포먼스의 요소, 속성을 중심으로 심화된 이해를 도모하였다. 우선, 본 연구는 ‘인터랙션 조형’을 디자인 대상으로서의 인터랙션를 미적으로 조직하는 행위와 과정 혹은 그 결과로 정의하고, 그 개념적 구조를 모형화하여 ‘AID(Aesthetic Interaction Design) 모형’으로 제시하였다. 이 모형은 크게 ‘형태(Form)’, ‘내러티브(Narrative)’, ‘퍼포먼스(Performance)’의 차원으로 구성되고, 각각의 차원은 하위 구성 요소를 가진다고 보았다. 그 중 인터랙션 조형을 차별화하는 내러티브와 퍼포먼스의 2개 차원에 집중하여 세부적인 구성 요소와 속성을 도출하였다. 인터랙션 내러티브는 인터랙션의 서사적 특성을 통해 미적 경험을 자극하는 차원으로서, 서사 미학의 기존 이해를 바탕으로, 인터랙션의 이벤트를 유기적으로 조직하고 배치한 결과인 ‘플롯(plot)’, 인터랙션의 에이전트들이 드러내는 성격인 ‘캐릭터(character)’, 인터랙션 내러티브가 벌어지는 배경과 맥락인 ‘시간과 공간’으로 이루어진다. 인터랙션 퍼포먼스는 인터랙션의 수행적 미감을 자극하는 차원으로서, 수행 미학을 바탕으로, 인터랙션을 이루고 있는 동적인 표현인 ‘키네틱스(kinetics)’, 인터랙션의 감각적 심미성을 전달하는 매개인 ‘센서빌리아(sensibilia)’, 인터랙션의 역동성이 표현되는 ‘시간과 공간’으로 이루어진다. 이와 같이 제시된 하위 구성 요소들에 대해 그 미적 속성을 도출하여 정의하고 인터랙션 사례를 통해 예시하였다. 플롯은 핵/위성 이벤트, 선별성, 개연성, 핍진성, 의외성, 특이성을, 캐릭터는 ‘주목성, 흥미성, 정체성, 입체성을, 키네틱스는 흐름, 힘, 속도, 방향/범위를, 센서빌리아는 기억성, 협력성, 전이성, 확장성을 가진다. 시간과 공간은 내러티브와 퍼포먼스가 공유하는 요소로서 내러티브적인 순차성, 지속성, 확장성과 퍼포먼스적인 즉흥성, 맥락성, 가상성의 속성을 가진다. 위와 같은 이해를 심화하기 위해 3개의 실험 및 응용 연구를 진행하였다. 내러티브의 플롯에 관한 실험을 통해 순차성, 특이성, 핵 이벤트의 미적 작용을 세부적으로 탐색하였고, 퍼포먼스의 키네틱스에 관한 실험을 통해 키네틱스 속성들의 패턴 조합들이 가지는 미적 감성과의 상관성을 알아보았다. 퍼포먼스의 센서빌리아의 응용 연구를 위해 인터랙티브 인스톨레이션을 개발하였고, ‘숨은 감각’이라는 감각 전이의 미적 경험을 탐색할 수 있었다. 본 연구는 인터랙션 조형의 개념을 정립하고 그 개념적 구조를 체계적으로 제시함으로써 인터랙션 조형의 구성과 미적 경험의 발현에 대한 이해를 심화하였다. 내러티브와 퍼포먼스의 차원을 심층적으로 탐구하여 제시함으로써 인터랙션의 차별적 미감을 해석하고 속성적 원리를 이해할 수 있는 근거를 제시하였다. 또한 실험 및 응용 연구를 통해 인터랙션 조형의 개념과 구조를 기반으로 인터랙션의 미적 경험에 대한 이해를 심화하고 인터랙션 조형의 프로세스에 응용할 수 있는 가능성을 제시하였다.As computers and related technologies explosively developed and became ubiquitous, discussions of their interactions have diversified. Among them, the discussion about usability has been at the center changing its issues from the beginning, and is still valid. On the other hand, despite the need for extended consideration differentiated from the existing formative concepts of design, the design of interaction does not seem to have been paid enough attention to. The study aims to structure the concept of aesthetic form of interaction, and to systematize the attributes that its components act on the expression of aesthetic experience. To this end, the study defined the concept of ‘interaction form’ and presented in the form of a model. The dimensions of ‘narrative’ and ‘performance’ which are the core components of the model were borrowed from related aesthetics studies to discover the properties and mechanisms, and exemplified the relationship based on cases. The study extended it with experimental and applied researches to in-depth understanding of the model and its components and attributes. First of all, the study defined ‘Interaction Form’ as the act and procedure of organizing aesthetic interaction, or the results of it. The study modeled the conceptual structure and suggested ‘AID(Aesthetic Interaction Design) paradigm’ which is composed of ‘Form’, ‘Narrative’ and ‘Performance’ as higher dimensions and each dimension has its sub-components. Among them, the study concentrated on the dimensions of ‘Narrative’ and ‘Performance’ which differentiated the interaction form to derive detailed components and attributes of them. Interaction Narrative is the dimension that stimulates aesthetic experience through narrative features of interaction. Based on and borrowed from the narrative aesthetics, it consists of ‘plot’, a result of organizing the events in interaction, ‘character’, characteristics of agents in interaction, and ‘time and space’ in which the interaction takes place. On the other hand, Interaction Performance is the dimension that stimulates performative aesthetics. Based on performative aesthetics, it consists of ‘kinetics’ , a dynamic expression of interaction, 'sensibilia', a medium that conveys the sensory aesthetics of interaction, and 'time and space' in which dynamics of interaction takes place. Aesthetic attributes of the above components were derived and defined with examples of interaction cases. As results, the study found that plot has nucleus/satellite events, selectivity, probability, plausibility, unexpectedness, and particularity, character has attractiveness, excitement, identity and multi-dimensionality, kinetics has flow, force, speed and direction/range, sensibilia has memorability, cooperativity, transferability and extendability. Time and space are the components that Narrative and Performance dimensions share, and have narrative attributes of sequentiality, durability and extendability, and performative attributes of improvisationality, contextuality and virtuality. In order to deepen the above understanding, experimental and applied research were conducted. Through an experiment on the plot components of Narrative dimension, detailed aesthetic effects of sequentiality, particularity and nuclei events were explored, and on kinetics of Performance, the correlation between the patterns of kinetics attributes and aesthetic emotions. A series of interactive installations were developed to apply the sensibilia of Performance, in which the aesthetic experience of sensory transfer was explored. The study deepened the understanding about the structure of interaction forms and the manifestation of aesthetic experience from them by establishing the concept of interaction form and presenting the conceptual structure of it. The study explored the dimensions of Narrative and Performance in-depth to provide the basis for interpreting differentiated aesthetics of interaction and understanding principles of its aesthetic attributes. In addition, with the concept and structure, the study deepened the understanding of aesthetic experience of interaction, and suggested the possibility of applying in the process of interaction design through experimental and applied researches.1. 서론 1 1.1 배경 1 1.2 연구의 목표, 범위, 방법 6 2. 인터랙션 미학과 인터랙션 조형 10 2.1 사용성에서 심미성으로 10 2.2 인터랙션의 조형 16 2.3 특질(qualities), 속성(attributes), 요소(elements) 20 2.4 한계와 방향성 26 3. AID(Aesthetic Interaction Design) 모형 29 3.1 추론의 과정 29 3.2 인터랙션 설계의 층위 30 3.3 인터랙션 조형의 층위 35 3.4 상관성과 전체성 43 4. 인터랙션 내러티브(Interaction Narrative) 46 4.1 내러티브 46 4.1.1 일상의 내러티브 46 4.1.2 내러티브의 메커니즘 48 4.2 인터랙션 내러티브 51 4.3 플롯(Plot) 54 4.3.1 핵과 위성(nucleus and satellite) 55 4.3.2 선별성(selectivity) 58 4.3.3 개연성(probability) 60 4.3.4 핍진성(plausibility) 62 4.3.5 의외성(unexpectedness) 64 4.3.6 특이성(particularity) 66 4.4 시간과 공간(Time & Space) 68 4.4.1 순차성(sequentiality) 69 4.4.2 지속성(durability) 71 4.4.3 확장성(extendability) 72 4.5 캐릭터(Character) 74 4.5.1 주목성(attractiveness) 78 4.5.2 흥미성(excitement) 81 4.5.3 정체성(identity) 84 4.5.4 입체성(multi-dimensionality) 87 4.6 요약 89 5. 인터랙션 퍼포먼스(Interaction Performance) 93 5.1 퍼포먼스 93 5.1.1 일상의 퍼포먼스 93 5.1.2 퍼포먼스란 무엇인가 95 5.2 인터랙션 퍼포먼스 101 5.2.1 퍼포먼스로서 인터랙션 : 매크로-마이크로 퍼포먼스 101 5.2.2 인터랙션 퍼포먼스의 구성 109 5.3 키네틱스(kinetics) 112 5.3.1 흐름(flow) 116 5.3.2 힘(force) 122 5.3.3 속도(speed) 126 5.3.4 방향(direction)/범위(range) 130 5.4 시간과 공간 133 5.4.1 즉흥성(improvisationality) 135 5.4.2 맥락성(contextuality) 138 5.4.3 가상성(virtuality) 141 5.5 센서빌리아(sensibilia) 145 5.5.1 기억성(memorability) 150 5.5.2 협력성(cooperativity) 154 5.5.3 전이성(transferability) 159 5.5.4 확장성(extendability) 166 5.6 요약 171 6. 심화 및 응용 174 6.1 내러티브의 플롯과 상호작용성 175 6.1.1 실험 175 6.1.2 평가 177 6.1.3 결과 178 6.1.4 분석 179 6.1.5 소결 184 6.2 퍼포먼스의 키네틱스와 상호작용성 185 6.2.1 실험 187 6.2.2 결과 188 6.2.3 분석 190 6.2.4 그 외 발견점 195 6.2.5 소결 197 6.3 퍼포먼스의 센서빌리아와 상호작용성 198 6.3.1 컨셉 199 6.3.2 초기 디자인 200 6.3.3 Numb 202 6.3.4 kam 204 6.3.5 결과 및 토의 206 6.3.6 소결 208 7. 결론 210 7.1 결과 및 의의 210 7.2 한계 및 과제 214 참고문헌 217 부록 1 : 내러티브 속성 실험 전체 결과물 234박

Modelagem multidimensional para mensurar qualidade em website de e-commerce utilizando a teoria da resposta ao item

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro Tecnológico, Programa de Pós-Graduação em Engenharia de Produção, Florianópolis, 2012.O presente trabalho tem por objetivo construir uma modelagem multidimensional para medir a qualidade de websites comerciais com uso da Teoria da Resposta ao Item (TRI). Como qualidade de um website, entende-se suas características técnicas (usabilidade/navegabilidade, apresentação da informação e interatividade) e não técnicas (design, estética, apelo visual, confiabilidade, hedonismo, imagem) configurando, teoricamente, um contexto multidimensional. As suposições iniciais das dimensões e elaboração dos itens foi baseada em uma análise bibliográfica sobre o tema qualidade em websites de e-commerce. Um conjunto de 75 itens foi elaborado e submetido a uma amostra de 441 websites de e-commerce dos mais variados setores. O tratamento e análise dos dados foi feita utilizando-se a Teoria da Resposta ao Item. Nesta etapa, são discutidas questões referentes à dimensionalidade e a escolha do modelo mais adequado. Por fim, um modelo multidimensional com quatro dimensões é ajustado compreendendo as dimensões de orientação do usuário e navegabilidade; acessibilidade e confiabilidade do sistema; interatividade; e apresentação da informação.This paper aims to build a multidimensional modeling to measure the quality of commercial websites using the Item Response Theory (IRT). As a quality website means its technical characteristics (usability / navigation, presentation of information and interactivity) and non-technical (design, aesthetics, visual appeal, reliability, hedonism, image) setting, theoretically, a multidimensional context. The initial assumptions of the dimensions and design of the items was based on a literature review on the topic of quality in e-commerce websites. A set of 75 items was developed and submitted to a sample of 441 e-commerce websites in several sectors. Treatment and data analysis was done using the Item Response Theory. At this stage, we discuss issues of dimensionality and choose the most suitable model. Finally, a multidimensional model is fitted with four dimensions comprising the dimensions of user orientation and navigability, accessibility and reliability of the system, interactivity, and presentation of information

Users' efficiency, effectiveness, cognitive style and emotional reactions to computer interface based on different data model

Informaciona usklađenost kompjuterskog sistema i korisnika, kao predmet kognitivne ergonomije, počiva na dobro osmišljenom korisničkom interfejsu koji strukturom i informacionim obimom treba da omogući optimalnu interakciju u složenom sistemu čovek‐računar. U osnovi vizuelne forme interfejsa stoji, pored ostalog, logika po kojoj su podaci raspoređeni, međusobno povezani i dostupni za upotrebu, a koja se definiše modelom podataka. Smatra se da je postizanje veće kompatibilnosti između predstave koju korisnik ima o sistemu i načina na koji sistem zaista funkcioniše ključ za efikasno i efektivno korišćenje interaktivnih sistema. U tom smislu, podaci koji se u bazi mogu predstaviti u obliku zvezdaste sheme (dimenziono modelovani podaci), gde su veze između objekata i hijerarhijski odnosi načelno dati u okviru jednog objekta, i podaci koji imaju strukturu u kojoj je svaki hijerarhijski nivo predstavljen posebnim objektom (transakciono modelovani podaci), za individualne korisnike mogu biti u različitoj meri upotrebljivi. Brzina i tačnost obavljanja poslovnih zahteva putem dimenziono i transakciono modelovanih podataka može zavisiti, kako od vrste i složenosti zadatka, tako i od psiholoških osobenosti korisnika. Kognitivni stil, specifičan način kognitivnog funkcionisanja, izdvojio se kao relevantan faktor. S druge strane, isticanje sve većeg značaja afektivne komponente procene sistema i veze sa objektivnim merama upotrebljivosti, uticalo je na to da se u eksperimentalni nacrt uvrste i dimenzije emocionalnih reakcija na izgled sistema. U istraživanju su se, u dva modela podataka, ispitivale brzina i tačnost rada ispitanika sa u različitom stepenu izraženim metaforičnim, racionalnim i empiričnim kognitivnim stilom, a s obzirom na izazvane emocionalne reakcije pobuđenosti, prijatnosti i dominantnosti. U eksperimentu sa ponovljenim nacrtom učestvovalo je 303 ispitanika, slučajno raspoređenih s obzirom na redosled izlaganja modela podataka, i ujednačenih po karakteristikama relevantnim za Mr Ivana Kovačević – DOKTORSKA DISERTACIJA 2 istraživanje. Rezultati govore u prilog bolje upotrebljivosti dimenzionog modela u kom ispitanici brže obavljaju zadatke. Brzina i tačnost rada nisu u očekivanoj korelaciji i nejednako variraju s obzirom na različite prediktore, te ih je smisleno odvojeno posmatrati. Manipulativna varijabla redosleda izlaganja modela se pokazala najznačajnijim prediktorom brzine rada. Ispitanici postižu mnogo bolje rezultate ukoliko prvo koriste dimenzioni model, kao pojavno manje složen, nego u situaciji kada je transakcioni model prvo korišćen. Ovaj nalaz govori u prilog tome da je brzina rada zavisna od specifičnog redosleda iskustva. U skladu sa tim su i rezultati koji pokazuju da kognitivni stil nema naročitog efekta na brzinu rada, za razliku od emocionalnih reakcija prijatnosti i kontrole koje su negativno povezane sa potrebnim vremenom da se zadaci obave. S druge strane, tačnost je relativno nezavisna od redosleda izlaganja, i konzistentna karakteristika u oba modela. Ispitanici koji teže tačnosti, to čine bez obzira na prethodna ili trenutna iskustva, stoga se čini da je tačnost rada inherentna karakteristika korisnika. Tako su nađene i veze metaforičnosti, racionalnosti i empiričnosti sa tačnošću rada. Tačnost opada pri prelasku sa transakcionog na dimenzioni model podataka, u funkciji porasta metaforičnosti (moguć efekat zamora), dok se prelaskom sa dimenzionog na transakcioni, povećava u transakcionom u funkciji povećanja skora na racionalnosti (moguć efekat uvežbanosti). Empiričnost je povezana sa slabijom tačnošću rada u transakcionom modelu, kada je on prvi model u kom se radi (moguć efekat neuvežbanosti). Pojednostavljeno rečeno, ukoliko težimo efikasnosti (većoj brzini rada), insistiraćemo na jednostavnijim ili pak postupno usložnjavajućim interfejsima. Ukoliko težimo efektivnosti (većoj tačnosti rada), rešenja ćemo tražiti u personalizaciji korisničkih interfejsa.Informational compatibility of computer system and user, as the subject of cognitive ergonomics, depends on the characteristics of user interface. Well conceived user interface, with its structure and amount of information, provides optimal interaction in complex computer‐user system. Visual form of interface is based on logics in which data are displayed (arranged), interconnected and available for use, defined by data models. It is assumed that achieving higher compatibility between user perception of the system and the manner in which it really operates is the key for effectiveness and efficacy in using interactive systems. There are at least two different data base arrangements with different usability level for individual users. Dimensionally modeled data are arranged in a shape of star schema, where all relations between objects and all hierarchical associations are given within one object. Transactionallly modeled data have structure within which every hierarchical level is represented with particular object. Speed and accuracy of performing tasks by using dimensionally or transactionally modeled data are dependent on type and complexity of tasks, as well as on psychological characteristics of users. Cognitive style, as the specific manner of cognitive functioning, and dimensions of emotional reactions on system appearance, are seen as relevant factors. Research consisted of experimentally measuring the speed and accuracy of performing tasks in two data environments (dimensional and transactional data models) by participants with different levels of metaphorical, rational and empirical cognitive styles. Emotional reactions of arousal, pleasure and dominance provoked during the experience of using data models were assessed as well. In this experiment 303 participants, balanced by relevant characteristics, were randomly assigned in groups according to the order of exposing to data models. Results proved better overall performance of dimensionally modeled data Mr Ivana Kovačević – DOKTORSKA DISERTACIJA 4 which is seen as a data model with higher usability. Speed and accuracy of performance are shown not to be in expected correlation, varying differently according to the different predictors. Therefore, it was concluded it is plausible to consider them as separate entities. Manipulative variable, the order of data model display, proved to be the most important predictor of speed performance. Participants achieved better results when using dimensionally modeled data first, with its appearance less complex, than in situation when the transactional model was primarily used. This result showed that performance speed was dependent on specific order of user experience. Accordingly, it was found that cognitive style had no particular effect on speed, while emotional reactions of pleasure and dominance were negatively related to the time required for task completion. On the other hand, accuracy was relatively independent of data model order and it is a consistent characteristic within subject in both models. Participants who tended to be accurate, did that regardless of their previous or current experience with data model, thus it appeared that performance accuracy was user`s inherent quality. Relations between accuracy and metaphorical, rational and empirical cognitive styles were also found. Accuracy of dimensionally modeled data performance was poorer when using the transactional model first, in function of higher level of metaphorical style (possible effect of fatigue). Conversely, when using the dimensional model first, accuracy is higher in the transactional model in function of increasing the score on rational dimension (possible effect of training). Empirical cognitive style is correlated with lower accuracy in the transactional model, when it was a the first model of choice (possible effect of lack of practice). Generally, abridged implications of findings were the following, if we strive to achieve efficacy (speed), we should insist on simplifying, or at least gradually building more complexity in user interfaces. Otherwise, if we are looking for effectiveness (accuracy), we should try to find a solution in the personalization of user interface

Emotionally charged: A practice-centred enquiry of digital jewellery and personal emotional significance.

The aim of this research was to explore the possible integration of digital technologies and contemporary jewellery towards the development of digital jewellery; jewellery objects embedded with electronic components. I sought to investigate the relevancies and appropriateness of such integration as extensions of contemporary jewellery through personally and emotionally significant experience. A critical contextual review reveals that wearable digital objects are fast emerging phenomena, but that the majority of existing approaches to their development, both conceptual and physical, are from outside the field of contemporary jewellery. In consequence the majority of developments commonly miss many of the subtleties and dynamics of what contemporary jewellery can be. Notable differences relate to interpretations of the aesthetics of jewellery, the relationship jewellery may have with the body and the role jewellery may play within human relationships. This critique is extended through the notion of the gadget. Current approaches to the design of wearable digital objects are led chiefly by an opportunistic use of the body as a mobile location serving to satisfy an increasing desire for ubiquitous computing. Such approaches encourage interpretations of digital objects as function led devices that have a transferable significance, are part of a fast paced consumption cycle and neglect considerations of emotionally rich interactions between people and digital objects. I have developed a practice-centred methodology rooted in craft practice that tests the appropriateness of contemporary jewellery practice as a creative strategy and research tool in the development of personal and emotionally significant digital jewellery. My process focuses on the involvement of individual participants with the aim of weaving aspects of their personal histories that are emotionally meaningful to them into pieces of digital jewellery. Innovative methods (stimuli) draw on methods from Interaction Design and atypical approaches to contemporary jewellery practice to facilitate contemporary jewellery practice as a directly social activity. In addition the research develops a perspective of the interconnected sensibilities within craft practice, of beauty, enchantment and empathy that enable it to offer an approach centred on the social and discursive elements of emotion. The participants' responses to the digital jewellery proposals reveal insights into opposing expectations and assumptions of digital objects and jewellery objects and also how the digital jewellery proposals were interpreted and appropriated in a personally emotionally significant context. Additional insights are revealed relating to perceptions of jewellery as intensely personal types of objects, strong connections between participants' inter-personal human relationships and their personal criteria for beauty and to shifts between how the participants referred to the pieces as personal or shared experiences depending on whether they regarded them as a piece of digital or non-digital jewellery.The research culminates in a body of work, both physical and conceptual that has relevance for both design and theory. (Abstract shortened by ProQuest.)