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-makers’ 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 designers’ capabilities

A Palette of Deepened Emotions: Exploring Emotional Challenge in Virtual Reality Games

Recent work introduced the notion of ‘emotional challenge’promising for understanding more unique and diverse player experiences (PX). Although emotional challenge has immediately attracted HCI researchers’ attention, the concept has not been experimentally explored, especially in virtual reality (VR), one of the latest gaming environments. We conducted two experiments to investigate how emotional challenge affects PX when separately from or jointly with conventional challenge in VR and PC conditions. We found that relatively exclusive emotional challenge induced a wider range of different emotions in both conditions, while the adding of emotional challenge broadened emotional responses only in VR. In both experiments, VR significantly enhanced the measured PX of emotional responses, appreciation, immersion and presence. Our findings indicate that VR may be an ideal medium to present emotional challenge and also extend the understanding of emotional (and conventional) challenge in video games

Effects of musically-induced emotions on choice reaction time performance

The main objective of the current study was to examine the impact of musically-induced emotions on athletes’ subsequent choice reaction time (CRT) performance. A random sample of 54 tennis players listened to researcher-selected music whose tempo and intensity were modified to yield six different music excerpts (three tempi x two intensities) before completing a CRT task. Affective responses, heart rate (HR), and RTs for each condition were contrasted with white noise and silence conditions. As predicted, faster music tempi elicited more pleasant and aroused emotional states; and higher music intensity yielded both higher arousal (p < .001) and faster subsequent CRT performance (p < .001). White noise was judged significantly less pleasant than all experimental conditions (p < .001); and silence was significantly less arousing than all but one experimental condition (p < .001). The implications for athletes’ use of music as part of a preevent routine when preparing for reactive tasks are discussed

A three person poncho and a set of maracas:designing Ola De La Vida, a co-located social play computer game

Events that bring people together to play video games as a social experience are growing in popularity across the western world. Amongst these events are ‘play parties,’ temporary social play environments which create unique shared play experiences for attendees unlike anything they could experience elsewhere. This paper explores co-located play experience design and proposes that social play games can lead to the formation of temporary play communities. These communities may last for a single gameplay session, for a whole event, or beyond the event. The paper analyses games designed or enhanced by social play contexts and evaluates a social play game, Ola de la Vida. The research findings suggest that social play games can foster community through the design of game play within the game itself, through curation which enhances their social potential, and through design for ‘semi-spectatorship’, which blurs the boundaries between player and spectator thus widening the game’s magic circle

Musical Viruses for graceful seduction

The +++ Wearable Player is a result of the application of the Rights through Making approach in designing wearables. This approach aims at designing systems, whose use empowers people towards the materialization of values (e.g. human rights). The +++ Wearable Player system elaborates on the previous project Sound Experience, and introduces the concept of viral music exchange as a motivating factor in the context of social health. This paper describes the morphological genesis, the functional aspects and how they have been implemented in a fully working experienceable prototype. The design process and its outcomes are illustrated, in the framework of the “changing behaviour” design trend

Worlds at our fingertips:reading (in) <i>What Remains of Edith Finch</i>

Video games are works of written code which portray worlds and characters in action and facilitate an aesthetic and interpretive experience. Beyond this similarity to literary works, some video games deploy various design strategies which blend gameplay and literary elements to explicitly foreground a hybrid literary/ludic experience. We identify three such strategies: engaging with literary structures, forms and techniques; deploying text in an aesthetic rather than a functional way; and intertextuality. This paper aims to analyse how these design strategies are deployed in What Remains of Edith Finch (Giant Sparrow, 2017) to support a hybrid readerly/playerly experience. We argue that this type of design is particularly suited for walking simulators because they support interpretive play (Upton, 2015) through slowness, ambiguity (Muscat et al., 2016; Pinchbeck 2012), narrative and aesthetic aspirations (Carbo-Mascarell, 2016). Understanding walking sims as literary games (Ensslin, 2014) can shift the emphasis from their lack of ‘traditional’ gameplay complexity and focus instead on the opportunities that they afford for hybrid storytelling and for weaving literature and gameplay in innovative and playful ways

Social music in cars

This paper builds an understanding of how music is currently experienced by a social group travelling together in a car - how songs are chosen for playing, how music both reflects and influences the group’s mood and social interaction, who supplies the music, the hardware/software that supports song selection and presentation. This fine-grained context emerges from a qualitative analysis of a rich set of ethnographic data (participant observations and interviews) focusing primarily on the experience of in-car music on moderate length and long trips. We suggest features and functionality for music software to enhance the social experience when travelling in cars, and prototype and test a user interface based on design suggestions drawn from the data