About the nature of Kansei information, from abstract to concrete

Designer’s expertise refers to the scientific fields of emotional design and kansei information. This paper aims to answer to a scientific major issue which is, how to formalize designer’s knowledge, rules, skills into kansei information systems. Kansei can be considered as a psycho-physiologic, perceptive, cognitive and affective process through a particular experience. Kansei oriented methods include various approaches which deal with semantics and emotions, and show the correlation with some design properties. Kansei words may include semantic, sensory, emotional descriptors, and also objects names and product attributes. Kansei levels of information can be seen on an axis going from abstract to concrete dimensions. Sociological value is the most abstract information positioned on this axis. Previous studies demonstrate the values the people aspire to drive their emotional reactions in front of particular semantics. This means that the value dimension should be considered in kansei studies. Through a chain of value-function-product attributes it is possible to enrich design generation and design evaluation processes. This paper describes some knowledge structures and formalisms we established according to this chain, which can be further used for implementing computer aided design tools dedicated to early design. These structures open to new formalisms which enable to integrate design information in a non-hierarchical way. The foreseen algorithmic implementation may be based on the association of ontologies and bag-of-words.AN

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 ‘machines’ 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 £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 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

From Biological to Synthetic Neurorobotics Approaches to Understanding the Structure Essential to Consciousness (Part 3)

This third paper locates the synthetic neurorobotics research reviewed in the second paper in terms of themes introduced in the first paper. It begins with biological non-reductionism as understood by Searle. It emphasizes the role of synthetic neurorobotics studies in accessing the dynamic structure essential to consciousness with a focus on system criticality and self, develops a distinction between simulated and formal consciousness based on this emphasis, reviews Tani and colleagues' work in light of this distinction, and ends by forecasting the increasing importance of synthetic neurorobotics studies for cognitive science and philosophy of mind going forward, finally in regards to most- and myth-consciousness

COGNITIVE LINGUISTICS AS A METHODOLOGICAL PARADIGM

A general direction in which cognitive linguistics is heading at the turn of the century is outlined and a revised understanding of cognitive linguistics as a methodological paradigm is suggest. The goal of cognitive linguistics is defined as understanding what language is and what language does to ensure the predominance of homo sapiens as a biological species. This makes cognitive linguistics a biologically oriented empirical science

Shifting perspectives in pictorial narratives

We propose an extension of Discourse Respresentation Theory (DRT) for analyzing pictorial narratives. We test drive our PicDRT framework by analyzing the way authors represent characters’ mental states and perception in comics. Our investigation goes beyond Abusch and Rooth (2017) in handling not just free perception sequences, but also a form of apparent perspective blending somewhat reminiscent of free indirect discourse

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

An exploration into aesthetic association of product form

Creating a relevant and pleasing design aesthetic is a fundamental aim designers endeavour to achieve. Perception of aesthetics takes place both during the design process when the designer creates a form, and later, through the users’ interpretation of the form. Within the perception process, association plays a significant role. This paper addresses the stage research results of our exploration into the associative meanings of a product. By analysing the evaluation of a series of top award winning designs, it was found that some associative meanings (represented by descriptive words) are correlated, such as ‘pure-architecturalgeometrical’, ‘delicate-curvaceous-organic’ etc. By conducting a series of workshops, both in the UK and China, we have been able to explore the extent to which young designers are able to manipulate form, style and create an overall perception of a positive aesthetic. One of the main outputs during the workshops was to design a MP3 player with speaker units, styled in line with three topics of aesthetic association: topic 1 – pure, architectural, geometrical and technical; topic 2 – curvaceous, organic, and fun; topic 3 – graceful, cheerful, and powerful. Three non-correlated associative descriptors were deliberately used in topic 3. Results suggest that young designers tend to differ in their ability and success of manipulating form to match different aesthetic targets. When the descriptive words in one aesthetic topic are correlated, student designers seem to find it easier to manipulate the form matching the topic. Comparative analysis between the results from the workshops in the UK (Southampton Solent University) and in China (Tsinghua University) is also presented in the paper