Individual differences in aesthetic preferences for multi-sensorial stimulation

The aim of the current project was to investigate aesthetics in multi-sensorial stimulation and to explore individual differences in the process. We measured the aesthetics of Interactive Objects (IOs) which are three-dimensional objects with electronic components that exhibit an autonomous behaviour when handled: e.g., vibrating, playing a sound, or lighting-up. The Q-sorting procedure of Q-methodology was applied. Data were analysed by following the Qmulti protocol. The results suggested that overall participants preferred IOs that (i) vibrate, (ii) have rough surface texture, and (iii) are round. No particular preference emerged about the size of the IOs. When making aesthetic judgment, participants paid more attention to the behaviour variable of the IOs than the size, contour or surface texture. In addition, three clusters of participants were identified, suggesting that individual differences existed in the aesthetics of IOs. Without proper consideration of potential individual differences, aesthetic scholars may face the risk of having significant effects masked by individual differences. Only by paying attention to this issue can more meaningful findings be generated to contribute to the field of aesthetics

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

The evolution of a visual-to-auditory sensory substitution device using interactive genetic algorithms

Sensory Substitution is a promising technique for mitigating the loss of a sensory modality. Sensory Substitution Devices (SSDs) work by converting information from the impaired sense (e.g. vision) into another, intact sense (e.g. audition). However, there are a potentially infinite number of ways of converting images into sounds and it is important that the conversion takes into account the limits of human perception and other user-related factors (e.g. whether the sounds are pleasant to listen to). The device explored here is termed “polyglot” because it generates a very large set of solutions. Specifically, we adapt a procedure that has been in widespread use in the design of technology but has rarely been used as a tool to explore perception – namely Interactive Genetic Algorithms. In this procedure, a very large range of potential sensory substitution devices can be explored by creating a set of ‘genes’ with different allelic variants (e.g. different ways of translating luminance into loudness). The most successful devices are then ‘bred’ together and we statistically explore the characteristics of the selected-for traits after multiple generations. The aim of the present study is to produce design guidelines for a better SSD. In three experiments we vary the way that the fitness of the device is computed: by asking the user to rate the auditory aesthetics of different devices (Experiment 1), by measuring the ability of participants to match sounds to images (Experiment 2) and the ability to perceptually discriminate between two sounds derived from similar images (Experiment 3). In each case the traits selected for by the genetic algorithm represent the ideal SSD for that task. Taken together, these traits can guide the design of a better SSD

The Multi-Sensory Landscape as an Inspiration in the Creation of a Tourism Product

Stimulated by growing competition in the tourism market, the offer available needs to be continuously enhanced, and as a result those doing the development reach out for increasingly sophisticated measures. An important element in this context is the popular multi-sensory perception of landscape which guarantees that the tourism product created will be interesting and unique. This helps to provide more interesting experiences and achieve greater involvement, which undoubtedly allows greater satisfaction to be drawn from participation in tourism activities. The purpose of this article is to demonstrate that the multi-sensory approach to landscape may be applied in the creation process of the tourism product, and this proposition will be supported with examples corresponding to particular landscape stimuli. The author intends to show that contemporary tourism offers benefit from the phenomenon of the multi-sensory landscape more and more frequently

Tactons: structured tactile messages for non-visual information display

Tactile displays are now becoming available in a form that can be easily used in a user interface. This paper describes a new form of tactile output. Tactons, or tactile icons, are structured, abstract messages that can be used to communicate messages non-visually. A range of different parameters can be used for Tacton construction including: frequency, amplitude and duration of a tactile pulse, plus other parameters such as rhythm and location. Tactons have the potential to improve interaction in a range of different areas, particularly where the visual display is overloaded, limited in size or not available, such as interfaces for blind people or in mobile and wearable devices. This paper describes Tactons, the parameters used to construct them and some possible ways to design them. Examples of where Tactons might prove useful in user interfaces are given

Audio-tactile stimuli to improve health and well-being : a preliminary position paper

From literature and through common experience it is known that stimulation of the tactile (touch) sense or auditory (hearing) sense can be used to improve people's health and well-being. For example, to make people relax, feel better, sleep better or feel comforted. In this position paper we propose the concept of combined auditory-tactile stimulation and argue that it potentially has positive effects on human health and well-being through influencing a user's body and mental state. Such effects have, to date, not yet been fully explored in scientific research. The current relevant state of the art is briefly addressed and its limitations are indicated. Based on this, a vision is presented of how auditory-tactile stimulation could be used in healthcare and various other application domains. Three interesting research challenges in this field are identified: 1) identifying relevant mechanisms of human perception of combined auditory-tactile stimuli; 2) finding methods for automatic conversions between audio and tactile content; 3) using measurement and analysis of human bio-signals and behavior to adapt the stimulation in an optimal way to the user. Ideas and possible routes to address these challenges are presented

Fit for purpose? Pattern cutting and seams in wearables development

This paper describes how a group of practitioners and researchers are working across disciplines at Nottingham Trent University in the area of Technical Textiles. It introduces strands of ongoing enquiry centred around the development and application of stretch sensors on the body, focusing on how textile and fashion knowledge are being reflexively revealed in the collaborative development of seamful wearable concepts, and on the tensions between design philosophies as revealed by definitions of purpose. We discuss the current research direction of the Aeolia project, which seeks to exploit the literal gaps found in pattern cutting for fitted stretch garments towards experiential forms and potential interactions. Normative goals of fitness for purpose and seamlessness are interrogated and the potential for more integrated design processes, which may at first appear ‘upside down’, is discussed