About the nature of Kansei information

Kansei studies refer to the more and more holistic consideration of the cognitive and affective processes which occur during user experience. In addition, few studies deal with the experience of the designers during the design process, and its influence on the final design outputs. Historically kansei engineering has been firstly focused on the semantic differential approach. Afterwards emotions were integrated into kansei approaches. The semantic differential approach enabled to evaluate products and then to generate automatically design solutions with semantic input data. Thereafter, evaluations have been completed by physiological measurements in order to reduce the subjectivity involved in those evaluations and also to capture some unconscious reactions. This implementation is still in process. Today kansei studies have been much enriched from the three disciplines of design science, psychology and artificial intelligence. The cross influence between these disciplines brought new dimensions into kansei approaches (multisensory design information, personality, values, and culture, new formalisms and algorithms) which lead progressively towards the consideration of a whole enriched kansei experience. We propose in this paper a description of the nature of kansei information. Then we present some major orientations for kansei evaluation. Finally we propose an overall table gathering information about kansei dimensions and formats.AN

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

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

Immersive moodboards, a comparative study of industrial design inspiration material

A recent trend in our industrial culture has been the gradual emergence of digital tools in various fields of human activity. They aim to reduce development time, cost, or to insure a low error, high quality process. Many fields have been improved thanks to this new computerized approach. This paper is centered on how industrial design could be assisted by virtual reality tools. More specifically it presents a new vision of early design methodologies through immersive technologies. It also presents the results of an experimentation aiming to compare traditional moodboards with a newly developed immersive moodboard. When analyzing and comparing the relationship of the industrial designer to a traditional and an immersive moodboard, our result highlights the fact that immerging the industrial designer in an immersive moodboard induces a high emotional activity without radically modifying the meaning of the represented trend. The moodboard data spatialization stimulates and engages the designer into interacting with the immersive moodboard. The virtual reality system provides the illusion of a potential reality, which can be used by the designer as a reflection basis for his work. We believe that delivering this immersive experience during the early design process will help the industrial designer make style related decisions.Projet CARNO

Analyzing directionality of influence among ensemble musicians using Granger Causality

In small musical groups, performers can seem to coordinate their movements almost effortlessly in remarkable exhibits of joint action and entrainment. To achieve a common musical goal, co-performers interact and communicate using non-verbal means such as upper-body movements, and particularly head motion. Studying these phenomena in naturalistic contexts can be challenging since most techniques make use of motion capture technologies that can be intrusive and costly. To investigate an alternative method, we analyze video recordings of a professional instrumental ensemble by extracting trajectory information using pose estimation algorithms. We examine Kansei perspectives such as the analysis of non-verbal expression conveyed by bodily movements and gestures, and test for causal relationships and directed influence between performers using the Granger Causality method. We compute weighted probabilities representing the likelihood that each performer Granger Causes co-performers’ movements. Effects of different aspects of musical textures were examined and results indicated stronger directionality for homophonic textures (clear melodic leader) than polyphonic (ambiguous leadership)

Emotion and Body Movement

Human needs shift from material to mental with time. And the final need is Self-Actualization. In other words, our needs shifts from product to process. We actualize ourselves to satisfy our emotions. Emotions are interpreted as our feelings toward outside stimuli. But as the fact that etymologies of emotion and motivation come from the same Latin “movere” indicates, emotion means that we are stimulated and motivated by the environment and situation, so that we “move out” into the Real World to establish our own world. It is said that only humans can think about the future. That created “Engineering” to make our dreams come true. As our needs started from material, we eventually looked for better products and for better technologies. And it brought the Industrial Revolution. But the Industrial Society is getting to its ceiling and we need to explore a new society which is emotion-focused. Another important point which we discuss here is the importance of body movement. Although DX is getting wide attention these days, Analog plays an important role in the Real World. Blood is analog and it carries signals and keeps our body organ running after brain death. And Blood and Body Movement plays a crucial role in arousing emotion. When our heart leaps up, our blood boils. And the idea of weight, length are based on our deep sensation of our body movement. This paper discusses how emotion and body movement are deeply associated

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

KEER2022

Avanttítol: KEER2022. DiversitiesDescripció del recurs: 25 juliol 202