http://science.sciencemag.org/content/sci/201/4359/899.2.full.pdf

Phenomenology of perception.

In Art as Experience, Dewey brings together the deep and enduring connection between art and human experience. Art is understood not as a commodity or solitary object but as an intensely meaningful...

Art as experience

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The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason

Renewable and sustainable biobased materials: An assessment on biofibers, biofilms, biopolymers and biocomposites

The use of the senses of vision and audition as interactive means has dominated the field of Human-Computer Interaction (HCI) for decades, even though nature has provided us with many more senses for perceiving and interacting with the world around us. That said, it has become attractive for HCI researchers and designers to harness touch, taste, and smell in interactive tasks and experience design. In this paper, we present research and design insights gained throughout an interdisciplinary collaboration on a six-week multisensory display – Tate Sensorium – exhibited at the Tate Britain art gallery in London, UK. This is a unique and first time case study on how to design art experiences whilst considering all the senses (i.e., vision, sound, touch, smell, and taste), in particular touch, which we exploited by capitalizing on a novel haptic technology, namely, mid-air haptics. We first describe the overall set up of Tate Sensorium and then move on to describing in detail the design process of the mid-air haptic feedback and its integration with sound for the Full Stop painting by John Latham (1961). This was the first time that mid-air haptic technology was used in a museum context over a prolonged period of time and integrated with sound to enhance the experience of visual art. As part of an interdisciplinary team of curators, sensory designers, sound artists, we selected a total of three variations of the mid-air haptic experience (i.e., haptic patterns), which were alternated at dedicated times throughout the six-week exhibition. We collected questionnaire-based feedback from 2500 visitors and conducted 50 interviews to gain quantitative and qualitative insights on visitors’ experiences and emotional reactions. Whilst the questionnaire results are generally very positive with only a small variation of the visitors’ arousal ratings across the three tactile experiences designed for the Full Stop painting, the interview data shed light on the differences in the visitors’ subjective experiences. Our findings suggest multisensory designers and art curators can ensure a balance between surprising experiences versus the possibility of free exploration for visitors. In addition, participants expressed that experiencing art with the combination of mid-air haptic and sound was immersive and provided an up-lifting experience of touching without touch. We are convinced that the insights gained from this large-scale and real-world field exploration of multisensory experience design exploiting a new and emerging technology provide a solid starting point for the HCI community, creative industries, and art curators to think beyond conventional art experiences. Specifically, our work demonstrates how novel mid-air technology can make art more emotionally engaging and stimulating, especially abstract art that is often open to interpretation.

Not just seeing, but also feeling art: Mid-air haptic experiences integrated in a multisensory art exhibition

Current interactive media presentations of textiles provide an impoverished communication of their 'textile hand', that is their weight, drape, how they feel to touch. These are complex properties experienced through the visual, tactile, auditory and proprioceptive senses and are currently lost when textile materials are presented in interactive video. This paper offers a new perspective from which the production of multi-touch interactive video representations of the tactile qualities of materials is considered. Through an understanding of hand properties of textiles and how people inherently touch and handle them, we are able to develop methods to animate and bring these properties alive using design methods. Observational studies were conducted, noting gestures consumers used to evaluate textile hand. Replicating the appropriate textile deformations for these gestures in interactive video was explored as a design problem. The resulting digital textile swatches and their interactive behavior were then evaluated for their ability to communicate tactile qualities similar to those of the real textiles.

Tactile perceptions of digital textiles: a design research approach

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.

/pdf/how-do-designers-feel-textiles-3vs3436e9f.pdf

How do designers feel textiles

Handling textiles is not only a semantic experience, but also an emotional one. Whilst handling a textile is crucial for its appreciation and understanding, this channel is still little explored in the digital realm, where focus has been given to the haptic feedback aspect of handling. In this paper, we discuss the importance of touch behaviour in interactive digital handling to allow people to explore, emotionally engage with and understand textile properties. We build on our findings from previous studies, where we investigated how people handle fabrics in real-life situations and more generally how their touch behaviour may affect the experience, relating it to literature from textile, HCI, embodied cognition and embodied affect to discuss how current technology should develop to provide a more realistic touch experience. Additionally, we consider how crowd sourcing of the textile experience could be extended by taking into account non-verbal expressions of textile-handling experience. We show that further knowledge is needed to design interactive technology that supports active and unconstrained touch, as well as the affective aspects of experience.

An Embodiment Perspective of Affective Touch Behaviour in Experiencing Digital Textiles

Tactile experiences of textile materials are difficult to communicate and elicit. To interrogate this space we propose the tactile triangle, a framework to facilitate systematic analysis and comparison of tactile experiences. The three levels reflect different aspects of tactile experience and possible methods to capture them: physical properties, in which human senses or objective testing measure fabric properties; the perceptual space level in which triadic comparisons reveal combinations of various dimensions which capture and describe tactile experiences; and finally the communication level, in which design games elicit languages communicating tactile perceptions. A case study illustrates the frameworks use to compare the tactile experiences of textiles in experts and consumers. The results show expert and consumer perceptions overlapped and correlated well to objective measures except in the perception of temperature. We conclude by discussing the frameworks effectiveness, the contribution of individual methods, and its potential as a communication tool for designers.

/pdf/the-tactile-triangle-a-design-research-framework-pd7c8sg9f0.pdf

The tactile triangle: a design research framework demonstrated through tactile comparisons of textile materials

In a context where fashion design and retail activities are increasingly transferring to the digital environment, mediating touch has become a matter of concern for the field. However, as literature shows, articulating our sensory experiences with materials is a challenging task. This position paper explores the experiential knowledge observed through embodied design processes. This is done by analysing our diverse approaches to introduce tools that help designers to understand people’s perceptual experience with textile materials. We build on our previous research that identified relevant embodied processes to textile selection, and reflect on how we have explored how sensing technology can augment and empower each of these processes, thereby supporting design. We conclude by discussing the learning outcomes of analysing such tools, in order to reflect on the future of our research applied to the digital realm.

Bruna Petreca

Papers

Tactile perceptions of digital textiles: a design research approach

How do designers feel textiles

An Embodiment Perspective of Affective Touch Behaviour in Experiencing Digital Textiles

The tactile triangle: a design research framework demonstrated through tactile comparisons of textile materials

Radically Relational Tools: A Design Framework to Explore Materials through Embodied Processes