Prerequisites for Affective Signal Processing (ASP) - Part III

This is the third part in a series on prerequisites for affective signal processing (ASP). So far, six prerequisites were identified: validation (e.g., mapping of constructs on signals), triangulation, a physiology-driven approach, and contributions of the signal processing community (van den Broek et al., 2009) and identification of users and theoretical specification (van den Broek et al., 2010). Here, two additional prerequisites are identified: integration of biosignals, and physical characteristics

Experience in Social Affective Applications: Methodologies and Case Study

New forms of social affective applications are emerging, bringing with them challenges in design and evaluation. We report on one such application, conveying well-being for both personal and group benefit, and consider why existing methodologies may not be suitable, before explaining and analyzing our proposed approach. We discuss our experience of using and writing about the methodology, in order to invite discussion about its suitability in particular, as well as the more general need for methodologies to examine experience and affect in social, connected situations. As these fields continue to interact, we hope that these discussions serve to aid in studying and learning from these types of application

EMOTIONS THAT INFLUENCE PURCHASE DECISIONS AND THEIR ELECTRONIC PROCESSING

Recent studies have shown that most of our purchasing choices and decisions are theresult of a careful analysis of the advantages and disadvantages and of affective and emotionalaspects. Psychological literature recognizes that the emotional conditions are always present andinfluence every stage of decision-making in purchasing process. Consumers establish with companybrands an overall emotional relationship and express, also with web technologies, reviews andsuggestions on product/service. In our department we have developed an original algorithm ofsentiment analysis to extract emotions from online customer opinions. With this algorithm we haveobtained good results to polarize this opinions in order to reach strategic marketing goals.emotions, emotional marketing, emotional brand, emotions measurement, sentiment analysis.

Tensions of Data-Driven Reflection: A Case Study of Real-Time Emotional Biosensing

Biosensing displays, increasingly enrolled in emotional reflection, promise authoritative insight by presenting users’ emotions as discrete categories. Rather than machines interpreting emotions, we sought to explore an alternative with emotional biosensing displays in which users formed their own interpretations and felt comfortable critiquing the display. So, we designed, implemented, and deployed, as a technology probe, an emotional biosensory display: Ripple is a shirt whose pattern changes color responding to the wearer’s skin conductance, which is associated with excitement. 17 participants wore Ripple over 2 days of daily life. While some participants appreciated the ‘physical connection’ Ripple provided between body and emotion, for others Ripple fostered insecurities about ‘how much’ feeling they had. Despite our design intentions, we found participants rarely questioned the display’s relation to their feelings. Using biopolitics to speculate on Ripple’s surprising authority, we highlight ethical stakes of biosensory representations for sense of self and ways of feeling

Tune in to your emotions: a robust personalized affective music player

The emotional power of music is exploited in a personalized affective music player (AMP) that selects music for mood enhancement. A biosignal approach is used to measure listeners’ personal emotional reactions to their own music as input for affective user models. Regression and kernel density estimation are applied to model the physiological changes the music elicits. Using these models, personalized music selections based on an affective goal state can be made. The AMP was validated in real-world trials over the course of several weeks. Results show that our models can cope with noisy situations and handle large inter-individual differences in the music domain. The AMP augments music listening where its techniques enable automated affect guidance. Our approach provides valuable insights for affective computing and user modeling, for which the AMP is a suitable carrier application

Emotional Biosensing: Exploring Critical Alternatives

Emotional biosensing is rising in daily life: Data and categories claim to know how people feel and suggest what they should do about it, while CSCW explores new biosensing possibilities. Prevalent approaches to emotional biosensing are too limited, focusing on the individual, optimization, and normative categorization. Conceptual shifts can help explore alternatives: toward materiality, from representation toward performativity, inter-action to intra-action, shifting biopolitics, and shifting affect/desire. We contribute (1) synthesizing wide-ranging conceptual lenses, providing analysis connecting them to emotional biosensing design, (2) analyzing selected design exemplars to apply these lenses to design research, and (3) offering our own recommendations for designers and design researchers. In particular we suggest humility in knowledge claims with emotional biosensing, prioritizing care and affirmation over self- improvement, and exploring alternative desires. We call for critically questioning and generatively re- imagining the role of data in configuring sensing, feeling, ‘the good life,’ and everyday experience

4 design themes for skateboarding

Interactive technology can support exertion activities, with many examples focusing on improving athletic performance. We see an opportunity for technology to also support extreme sports such as skateboarding, which often focus primarily on the experience of doing tricks rather than on athletic performance. However, there is little knowledge on how to design for such experiences. In response, we designed 12 basic skateboarding prototypes inspired by skateboarding theory. Using an autoethnographical approach, we skated with each of these and reflected on our experiences in order to derive four design themes: location of feedback in relation to the skater’s body, timing of feedback in relation to peaks in emotions after attempts, aspects of the trick emphasized by feedback, and aesthetic fittingness of feedback. We hope our work will guide designers of interactive systems for skateboarding and extreme sports in general, and will therefore further our understanding of how to design for the active human body