Limits of Kansei – Kansei unlimited

This article discusses momentary limitations of the Kansei Engineering methods. There are for example the focus on the evaluation of colour and form factors, as well as the highly time consuming creation of the questionnaires. To overcome these limits we firstly suggest the integration of word lists from related research fields, like sociology and cognitive psychology on product emotions in the Kansei questionnaires. Thereafter we present a study on the wide range of Kansei attributes treated in an industrial setting. Concept words used by designers are being collected through word maps and categorized into attributes. In a third step we introduce a user-product interaction schema in which the Kansei attributes from the study are positioned. This schema unfolds potential expansion points for future applications of Kansei engineering beyond its current limits

Musemo: Express Musical Emotion Based on Neural Network

Department of Urban and Environmental Engineering (Convergence of Science and Arts)Music elicits emotional responses, which enable people to empathize with the emotional states induced by music, experience changes in their current feelings, receive comfort, and relieve stress (Juslin & Laukka, 2004). Music emotion recognition (MER) is a field of research that extracts emotions from music through various systems and methods. Interest in this field is increasing as researchers try to use it for psychiatric purposes. In order to extract emotions from music, MER requires music and emotion labels for each music. Many MER studies use emotion labels created by non-music-specific psychologists such as Russell???s circumplex model of affects (Russell, 1980) and Ekman???s six basic emotions (Ekman, 1999). However, Zentner, Grandjean, and Scherer suggest that emotions commonly used in music are subdivided into specific areas, rather than spread across the entire spectrum of emotions (Zentner, Grandjean, & Scherer, 2008). Thus, existing MER studies have difficulties with the emotion labels that are not widely agreed through musicians and listeners. This study proposes a musical emotion recognition model ???Musemo??? that follows the Geneva emotion music scale proposed by music psychologists based on a convolution neural network. We evaluate the accuracy of the model by varying the length of music samples used as input of Musemo and achieved RMSE (root mean squared error) performance of up to 14.91%. Also, we examine the correlation among emotion labels by reducing the Musemo???s emotion output vector to two dimensions through principal component analysis. Consequently, we can get results that are similar to the study that Vuoskoski and Eerola analyzed for the Geneva emotion music scale (Vuoskoski & Eerola, 2011). We hope that this study could be expanded to inform treatments to comfort those in need of psychological empathy in modern society.clos

Influences of Intrinsic and Extrinsic Hand-feel Touch Cues on Sensory Perception and Emotional Responses toward Beverage Products

Consumer perception of and preference toward products are influenced by intrinsic product-specific (e.g., product temperature) and extrinsic non-product-specific (e.g., packaging or container) characteristics. Besides communicating information between products and consumers to create expectations toward the content at the point of sale, packaging also influences sensory perception of the content during consumption. Previous cross-modal studies on packaging effects on the content had largely overlooked hand-feel touch cues. Touch closely relates to consumers’ emotional responses to and their quality evaluation of products. One way to manipulate hand-feel touch cues in a beverage consumption setting is to vary materials of cup sleeve, which are served concurrently with brewed coffee (BC) and green tea (GT). This thesis aimed to determine 1) influences of intrinsic cues (product temperature) on sensory perception of and emotional responses to BC and GT; 2) cross-modal association (CMA) of extrinsic hand-feel touch cues (12 sleeve materials) with evoked emotions, basic tastes, and coffee-related flavors; and 3) cross-modal influences of extrinsic hand-feel touch cues (4 sleeve materials) on emotional responses, sensory perception, arousal, and valence of BC. Results showed both intrinsic and extrinsic cues influenced emotional responses to and sensory perception of BC and GT. Beverages at higher temperature were characterized by positive emotions, while those at room and cold temperatures were characterized by low arousal-negative emotions and high arousal-negative emotions, respectively. CMA between hand-feel touch and taste cues were confirmed to exist: bitter taste and black coffee flavor with cardboard sleeves; sweet taste and creamy flavor with towel; sour taste with stainless steel; and salty taste with linen. Correlations between certain textural parameters and sensory CMA were also observed: thicker and rougher materials positively correlated with positive emotions and sweet taste, while thinner and smoother materials positively correlated with negative and high-arousal emotions and sour taste. Additionally, coffee presented with samples (towel, linen, or stainless steel) were perceived differently, in terms of both emotions and sensory attributes, compared to cardboard (control). As highlighted here, touch cues are important in product evaluation. Professionals in food and beverage industries should consider incorporating more hand-feel textural features on product packaging or container designs

Development of new child-friendly methods to measure food-evoked emotions holistically

Los estudios 5 y 6 pertenecientes al capítulo 4 están sujetos a confidencialidad por la autora.Before conducting a child-centered study, the selection of the methodology to use is of special importance since it should be adapted to their cognitive, physical, and social stage of development. On this regard, researchers are force to reconsider the existing methodologies on consumer science, mainly design for adults, or to develop new ones.It is thought that the measure of emotions could contribute the understanding of consumer,s preferences and food choices. Since emotions have a multicomponent character, the application of methodologies that measure each component of the emotion are necessary to reach a holistic perspective. This dissertation aimed to design new child-friendly methodologies appropriate to measure food-evoked emotions holistically. To achieve this goal an emoji-based tool was developed and its applicability in food studies was validated to examine the cognitive inherent of emotion. A combined methodology was also designed to apply automatic facial coding and the measure of skin conductance response (SCR) to disentangle the behavioural and physiological components of emotion. On this regard, the applicability of facial coding on the evaluation of spontaneous facial expressions elicited by food stimuli was examined. After, a methodological approach was developed to overcome some limitations frequently associated with the use of facial coding and SCR and their applicability in a broad range of sensory tasks was tested

Haptic Hybrid Prototyping (HHP): An AR Application for Texture Evaluation with Semantic Content in Product Design

The manufacture of prototypes is costly in economic and temporal terms and in order to carry this out it is necessary to accept certain deviations with respect to the final finishes. This article proposes haptic hybrid prototyping, a haptic-visual product prototyping method created to help product design teams evaluate and select semantic information conveyed between product and user through texturing and ribs of a product in early stages of conceptualization. For the evaluation of this tool, an experiment was realized in which the haptic experience was compared during the interaction with final products and through the HHP. As a result, it was observed that the answers of the interviewees coincided in both situations in 81% of the cases. It was concluded that the HHP enables us to know the semantic information transmitted through haptic-visual means between product and user as well as being able to quantify the clarity with which this information is transmitted. Therefore, this new tool makes it possible to reduce the manufacturing lead time of prototypes as well as the conceptualization phase of the product, providing information on the future success of the product in the market and its economic return

Single chords convey distinct emotional qualities to both naïve and expert listeners.

Previous research on music and emotions has been able to pinpoint many structural features conveying emotions. Empirical research on vertical harmony’s emotional qualities, however, has been rare. The main studies in harmony and emotions usually concern the horizontal aspects of harmony, ignoring emotional qualities of chords as such. An empirical experiment was conducted where participants (N = 269) evaluated pre-chosen chords on a 9-item scale of given emotional dimensions. 14 different chords (major, minor, diminished, augmented triads and dominant, major and minor seventh chords with inversions) were played with two distinct timbres (piano and strings). The results suggest significant differences in emotion perception across chords. These were consistent with notions about musical conventions, while providing novel data on how seventh chords affect emotion perception. The inversions and timbre also contributed to the evaluations. Moreover, certain chords played on the strings scored moderately high on the dimension of ‘nostalgia/longing,’ which is usually held as a musical emotion rising only from extra-musical connotations and conditioning, not intrinsically from the structural features of the music. The role of background variables to the results was largely negligible, suggesting the capacity of vertical harmony to convey distinct emotional qualities to both naïve and expert listeners

Dissociating task difficulty from incongruence in face-voice emotion integration

In the everyday environment, affective information is conveyed by both the face and the voice. Studies have demonstrated that a concurrently presented voice can alter the way that an emotional face expression is perceived, and vice versa, leading to emotional conflict if the information in the two modalities is mismatched. Additionally, evidence suggests that incongruence of emotional valence activates cerebral networks involved in conflict monitoring and resolution. However, it is currently unclear whether this is due to task difficulty—that incongruent stimuli are harder to categorize—or simply to the detection of mismatching information in the two modalities. The aim of the present fMRI study was to examine the neurophysiological correlates of processing incongruent emotional information, independent of task difficulty. Subjects were scanned while judging the emotion of face-voice affective stimuli. Both the face and voice were parametrically morphed between anger and happiness and then paired in all audiovisual combinations, resulting in stimuli each defined by two separate values: the degree of incongruence between the face and voice, and the degree of clarity of the combined face-voice information. Due to the specific morphing procedure utilized, we hypothesized that the clarity value, rather than incongruence value, would better reflect task difficulty. Behavioral data revealed that participants integrated face and voice affective information, and that the clarity, as opposed to incongruence value correlated with categorization difficulty. Cerebrally, incongruence was more associated with activity in the superior temporal region, which emerged after task difficulty had been accounted for. Overall, our results suggest that activation in the superior temporal region in response to incongruent information cannot be explained simply by task difficulty, and may rather be due to detection of mismatching information between the two modalities

Drivers of Consumers’ Emotional Engagement with Everyday Products: An Intensive Review of the Literature and an Attempt to Conceptualize the Consumer-Product Interactions Within the Emotional Design Process

This research intensively reviews the literature on designing emotional-driven products and aims to identify the drivers of the consumers’ emotional engagement with everyday products. The research also aims to develop a conceptual framework based on the basic model of product emotions and the classical process control, by which the identified emotional drivers in consumer products, the basic concerns of consumers, the context of the consumer-product interactions, and the design approach(s) would be interrelated and modeled. Furthermore, this research will study the psychological and theoretical perspectives on the human phenomenon of emotion to understand what does an emotion means, and why and how a human experiences emotion when interacts with stimulus (e.g. product), and how important and rewarding to design for emotions. The research has identified four basic concerns of every consumers; personal, cultural, social, and organizational (societal), and it suggests four emotional drivers; seeing-drivers, feeling-drivers, using-drivers, and touching-drivers. Moreover, as a result of the consumer-product interactions, two more emotional drivers are developing overtime to represent conclusive factors in consumer’s decision making process; product and brand experiences. These two emotional drivers also play the role as becoming new consumer’s concerns (emotional references) each time the consumer decide to buy a product