The body language of fear:fearful nonverbal signals in survival-horror games

In this paper, we present an exploration of players’ nonverbal body expressions when playing survival-horror games. We compared physiological signals and body expressions of 16 participants playing two games: a survival-horror game (Slender: The Eight Pages) and a custom-built baseline game with the same map and controls (Treasure Hunt). We show that the hard fun style of Survival-Horror games makes full body expressions an unsuitable modality for affect recognition, but scary game events are clearly expressed by their physiological signals

The affective body argument in technology design

In this paper, I argue that the affective body is underused in the design of interactive technology despite what it has to offer. Whilst the literature shows it to be a powerful affective communication channel, it is often ignored in favor of the more commonly studied facial and vocal expression modalities. This is despite it being as informative and in some situations even more reliable than the other affective channels. In addition, due to the proliferation of increasingly cheaper and ubiquitous movement sensing technologies, the regulatory affective functions of the body could open new possibilities in various application areas. In this paper, after presenting a brief summary of the opportunities that the affective body offers to technology designers, I will use the case of physical rehabilitation to discuss how its use could lead to interesting new solutions and more effective therapies

Embodied Persuasion: How Holding Your Smartphone Changes Your Product Perception

Online shopping through mobile devices has dramatically increased worldwide. This research investigates the role embodied interactions may play in stimulating virtual product experience in mobile commerce settings. Drawing on research on virtual product experience and embodied cognition, we hypothesize that holding a mobile device in hands (vs. putting the mobile device on the table) is more likely to create an illusion that the products being viewed are actually present in the real world and to stimulate imagery consumption experience, leading to higher purchase intention and choice satisfaction. This effect is more salient for desirable products than for undesirable products. We describe an experiment design for testing the hypotheses, report preliminary data analysis results, and discuss the potential theoretical and practical implications of this study

What does touch tell us about emotions in touchscreen-based gameplay?

This is the post-print version of the Article. The official published version can be accessed from the link below - Copyright @ 2012 ACM. It is posted here by permission of ACM for your personal use. Not for redistribution.Nowadays, more and more people play games on touch-screen mobile phones. This phenomenon raises a very interesting question: does touch behaviour reflect the player’s emotional state? If possible, this would not only be a valuable evaluation indicator for game designers, but also for real-time personalization of the game experience. Psychology studies on acted touch behaviour show the existence of discriminative affective profiles. In this paper, finger-stroke features during gameplay on an iPod were extracted and their discriminative power analysed. Based on touch-behaviour, machine learning algorithms were used to build systems for automatically discriminating between four emotional states (Excited, Relaxed, Frustrated, Bored), two levels of arousal and two levels of valence. The results were very interesting reaching between 69% and 77% of correct discrimination between the four emotional states. Higher results (~89%) were obtained for discriminating between two levels of arousal and two levels of valence

Giving Body to Digital Fashion Tools

‘Super technology is going to ask for super tactility’ (Lidewii Edelkoort). Exploring this statement, this chapter reflects on the disconnection between digital fashion tools that lack sensory feedback and the critical role of designers’ embodied experience for their practice. In order to support this discussion, additional literature is brought in, which shows that in dance bodily engagement is crucial for supporting and enhancing the creative process. This is done to explore aspects of mediation and embodiment further, and to propose a research agenda for the investigation of textile experience

How do designers feel textiles?

Studying tactile experience is important and timely, considering how this channel is being harnessed both in terms of human interaction and for technological developments that rely on it to enhance experience of products and services. Research into tactile experience to date is present mostly within the social context, but there are not many studies on the understanding of tactile experience in interaction with objects. In this paper, we use textiles as a case study to investigate how we can get people to talk about this experience, and to understand what may be important to consider when designing technology to support it. We present a qualitative exploratory study using the ‘Elicitation Interview’ method to obtain a first-person verbal description of experiential processes. We conducted an initial study with 6 experienced professionals from the fashion and textiles area. The analysis revealed that there are two types of touch behaviour in experiencing textiles, active and passive, which happen through ‘Active hand’, ‘Passive body’ and ‘Active tool-hand’. They can occur in any order, and with different degrees of importance and frequency in the 3 tactile-based phases of the textile selection process — ‘Situate’, ‘Simulate’ and ‘Stimulate’ — and the interaction has different modes in each. We discuss these themes to inform the design of technology for affective touch in the textile field, but also to explore a methodology to uncover the complexity of affective touch and its various purposes

Disentangling Fun and Enjoyment in Exergames Using an Expanded Design, Play, Experience Framework: A Narrative Review

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(E)motion and creativity: Hacking the function of motor expressions in emotion regulation to augment creativity

Positive emotion can help augment human creativity. To utilize this potential in an interactive system, we propose that such a system should be designed to regulate the emotions that are caused by a creative task. We argue that this can be done by hacking the function of motor expressions in emotion regulation. To this end, we have conceived and made an interactive system that is designed to regulate positive emotion during an idea generation and an insight problem solving task. The system regulates emotion by letting users interact using arm gestures that are designed based on motor expressions, choreographed in a way that enables emotion regulation. Using this interactive system we experimentally test the hypotheses that positive approaching, rather than negative avoiding arm gestures, used to interact with a system, can heighten positive emotion, and augment creativity. The findings demonstrate that an interactive system can be designed to use the function of motor expressions in emotion regulation to help people perform better on certain creative tasks

Designing for movement quality in exergames: Lessons learned from observing senior citizens playing stepping games

-Background: Exergames are increasingly used as an exercise intervention to reduce fall risk in elderly. However, few exergames have been designed specifically for elderly, and we lack knowledge about the characteristics of the movements elicited by exergames and thereby about their potential to train functions important for fall risk reduction. Objective: This study investigates game elements and older players' movement characteristics during stepping exergames in order to inform exergame design for movement quality in the context of fall preventive exercise. Methods: Fourteen senior citizens (mean age 73 years ± 5.7, range 65 - 85) played 3 stepping exergames in a laboratory. Each of the exergames was described with respect to 7 game elements (physical space, sensing hardware technology, game graphics and sound, model of user, avatar/mapping of movements, game mechanism and game narrative). Five movement characteristics (weight shift; variation in step length, speed, and movement direction; visual independency) were scored on a 5-point Likert scale based on video observations of each player and each game. Disagreement between raters was resolved by agreement. Differences in scores for the 3 exergames were analyzed with a multivariate one-way ANOVA. Results: The Mole received the highest sum score and the best score on each of the 5 movement characteristics (all p values <0.0005). LightRace scored the lowest of the 3 exergames on weight shift and variation in movement direction (both p values <0.0005), while DanceDanceRevolution scored lowest on step length variation and visual independency (p < 0.03 and p < 0.0005, respectively), and lower than The Mole on speed variation (p < 0.05). The physical space players used when exergaming and the on-screen representation of the player, affected movement quality positively as indexed by multiple weight shifts and variation in stepping size, direction, and speed. Furthermore, players' movements improved when playing speed-affected game progression and when the game narrative was related to a natural context. Conclusion: Comparing differences in game elements with associated differences in game movement requirements provides valuable insights about how to design for movement quality in exergames. This provided important lessons for the design of exergames for fall-preventive exercise in senior citizens and illustrates the value of including analyses of movement characteristics when designing such exergames