72,323 research outputs found
A Foundation for Emotional Expressivity
To express emotions to others in mobile text messaging in our view require designs that can both capture some of the ambiguity and subtleness that characterizes emotional interaction and keep the media specific qualities. Through the use of a body movement analysis and a dimensional model of emotion experiences, we arrived at a design for a mobile messaging service, eMoto. The service makes use of the sub-symbolic expressions; colors, shapes and animations, for expressing emotions in an open-ended way. Here we present the design process and a user study of those expressions, where the results show that the use of these sub-symbolic expressions can work as a foundation to use as a creative tool, but still allowing for the communication to be situated. The inspiration taken from body movements proved to be very useful as a design input. It was also reflected in the way our subjects described the expressions
The Usage and Evaluation of Anthropomorphic Form in Robot Design
There are numerous examples illustrating the application of human shape in everyday products. Usage of anthropomorphic form has long been a basic design strategy, particularly in the design of intelligent service robots. As such, it is desirable to use anthropomorphic form not only in aesthetic design but also in interaction design. Proceeding from how anthropomorphism in various domains has taken effect on human perception, we assumed that anthropomorphic form used in appearance and interaction design of robots enriches the explanation of its function and creates familiarity with robots. From many cases we have found, misused anthropomorphic form lead to user disappointment or negative impressions on the robot. In order to effectively use anthropomorphic form, it is necessary to measure the similarity of an artifact to the human form (humanness), and then evaluate whether the usage of anthropomorphic form fits the artifact. The goal of this study is to propose a general evaluation framework of anthropomorphic form for robot design. We suggest three major steps for framing the evaluation: 'measuring anthropomorphic form in appearance', 'measuring anthropomorphic form in Human-Robot Interaction', and 'evaluation of accordance of two former measurements'. This evaluation process will endow a robot an amount of humanness in their appearance equivalent to an amount of humanness in interaction ability, and then ultimately facilitate user satisfaction.
Keywords:
Anthropomorphic Form; Anthropomorphism; Human-Robot Interaction; Humanness; Robot Design</p
Designing Familiar Open Surfaces
While participatory design makes end-users part of the design process, we might also want the resulting system to be open for interpretation, appropriation and change over time to reflect its usage. But how can we design for appropriation? We need to strike a good balance between making the user an active co-constructor of system functionality versus making a too strong, interpretative design that does it all for the user thereby inhibiting their own creative use of the system. Through revisiting five systems in which appropriation has happened both within and outside the intended use, we are going to show how it can be possible to design with open surfaces. These open surfaces have to be such that users can fill them with their own interpretation and content, they should be familiar to the user, resonating with their real world practice and understanding, thereby shaping its use
Designing gestures for affective input: an analysis of shape, effort and valence
We discuss a user-centered approach to incorporating affective expressions in interactive applications, and argue for a design that addresses both body and mind. In particular, we have studied the problem of finding a set of affective gestures. Based on previous work in movement analysis and emotion theory [Davies, Laban and Lawrence, Russell], and a study of an actor expressing emotional states in body movements, we have identified three underlying dimensions of movements and emotions: shape, effort and valence. From these dimensions we have created a new affective interaction model, which we name the affective gestural plane model. We applied this model to the design of gestural affective input to a mobile service for affective messages
Product Charisma
Consumers are attracted by product designs that feel âaliveâ and that contain surprise elements. The right expressions in a product contribute to its attractiveness or âcharismaâ. Today, these intangible product attributes are an important way to differentiate a product from competitor's products. Companies in mature markets, especially, have a competitive advantage when they succeed in integrating âexpressionsâ or âmessagesâ into the product design that touches its user. This paper presents a classification of the various expressions that a product can convey. These different expressions are visualised by means of a diagram in which three types of messages are distinguished. The three groups consist of information about the product itself, about the product user and about the company. The product expressions are described in detail and illustrated with recent examples of product designs.
An aesthetics of touch: investigating the language of design relating to form
How well can designers communicate qualities of touch?
This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makersâ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designersâ capabilities
Design and semantics of form and movement (DeSForM 2006)
Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the âmachinesâ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding ÂŁ87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: âą 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. âą 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. âą 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles
Exploring the Affective Loop
Research in psychology and neurology shows that both body and mind are
involved when experiencing emotions (Damasio 1994, Davidson et al.
2003). People are also very physical when they try to communicate their
emotions. Somewhere in between beings consciously and unconsciously
aware of it ourselves, we produce both verbal and physical signs to make
other people understand how we feel. Simultaneously, this production of
signs involves us in a stronger personal experience of the emotions we
express.
Emotions are also communicated in the digital world, but there is little
focus on users' personal as well as physical experience of emotions in
the available digital media. In order to explore whether and how we can
expand existing media, we have designed, implemented and evaluated
/eMoto/, a mobile service for sending affective messages to others. With
eMoto, we explicitly aim to address both cognitive and physical
experiences of human emotions. Through combining affective gestures for
input with affective expressions that make use of colors, shapes and
animations for the background of messages, the interaction "pulls" the
user into an /affective loop/. In this thesis we define what we mean by
affective loop and present a user-centered design approach expressed
through four design principles inspired by previous work within Human
Computer Interaction (HCI) but adjusted to our purposes; /embodiment/
(Dourish 2001) as a means to address how people communicate emotions in
real life, /flow/ (Csikszentmihalyi 1990) to reach a state of
involvement that goes further than the current context, /ambiguity/ of
the designed expressions (Gaver et al. 2003) to allow for open-ended
interpretation by the end-users instead of simplistic, one-emotion
one-expression pairs and /natural but designed expressions/ to address
people's natural couplings between cognitively and physically
experienced emotions. We also present results from an end-user study of
eMoto that indicates that subjects got both physically and emotionally
involved in the interaction and that the designed "openness" and
ambiguity of the expressions, was appreciated and understood by our
subjects. Through the user study, we identified four potential design
problems that have to be tackled in order to achieve an affective loop
effect; the extent to which users' /feel in control/ of the interaction,
/harmony and coherence/ between cognitive and physical expressions/,/
/timing/ of expressions and feedback in a communicational setting, and
effects of users' /personality/ on their emotional expressions and
experiences of the interaction
Come, see and experience affective interactive art
The progress in the field of affective computing enables the realization of affective consumer products, affective games, and affective art. This paper describes the affective interactive art system Mood Swings, which interprets and visualizes affect expressed by a person. Mood Swings is founded on the integration of a framework for affective movements and a color model. This enables Mood Swings to recognize affective movement characteristics as expressed by a person and display a color that matches the expressed emotion. With that, a unique interactive system is introduced, which can be considered as art, a game, or a combination of both
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